앤 래드클리프의『이탈리아인』 —‘낯선 두려움’의 세계
The Uncanny World of Ann Radcliffe’s The Italian
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This paper examines whether Sigmund Freud’s concept of the uncanny can give new depth to our understanding of one of Gothic’s central figure, Ann Radcliffe. The Italian (1797) is probably the high-water mark of her achievement,and the uncanniness of the phenomena is the biggest draw of this novel. I refer to Freud’s magnificent, troubling, and inspired essay of 1919, “The Uncanny” because Freud offers us a much improved theory of terror, a theory which helps to explain the dreadful terror in Radcliffe’s The Italian. In the most basic definition, the uncanny, the particular species of the frightening, is the feeling of unease that arises when something familiar suddenly becomes strange and unfamiliar. Taking my lead from Freud I argue in this study that Freud’s uncanny offers an interesting perspective on the theme of the fear and terror in Radcliffe’s The Italian. I try to make clear how Radcliffe’s world of Gothic novel is so evidently one of the uncanny, a new human experience of strangeness, anxiety, bafflement,and intellectual impasse, by focusing on the aesthetic notions of the uncanny of ambivalence, defamiliarization, otherness. The Radcliffian atmosphere of “dreadful uncertainty” creates the conditions for the uncanny. The ‘otherness’ of Italy plays out the central issue of foreign-ness and familiarity that Freud treats as integral to the logic of uncanniness. Freud notes that to many people the height of the uncanny is represented by anything to do with death, dead bodies, the return of the dead, spirits and ghosts, superstitions,premonitions, the evil eye, the double, strange repetitions and coincidences. Many of these appear in The Italian, and Radcliffe’s character Schedoni becomes the prototype for uncanny villains.
Abstract
This paper examines whether Sigmund Freud’s concept of the uncanny can give new depth to our understanding of one of Gothic’s central figure, Ann Radcliffe. The Italian (1797) is probably the high-water mark of her achievement,and the uncanniness of the phenomena is the biggest draw of this novel. I refer to Freud’s magnificent, troubling, and inspired essay of 1919, “The Uncanny” because Freud offers us a much improved theory of terror, a theory which helps to explain the dreadful terror in Radcliffe’s The Italian. In the most basic definition, the uncanny, the particular species of the frightening, is the feeling of unease that arises when something familiar suddenly becomes strange and unfamiliar. Taking my lead from Freud I argue in this study that Freud’s uncanny offers an interesting perspective on the theme of the fear and terror in Radcliffe’s The Italian. I try to make clear how Radcliffe’s world of Gothic novel is so evidently one of the uncanny, a new human experience of strangeness, anxiety, bafflement,and intellectual impasse, by focusing on the aesthetic notions of the uncanny of ambivalence, defamiliarization, otherness. The Radcliffian atmosphere of “dreadful uncertainty” creates the conditions for the uncanny. The ‘otherness’ of Italy plays out the central issue of foreign-ness and familiarity that Freud treats as integral to the logic of uncanniness. Freud notes that to many people the height of the uncanny is represented by anything to do with death, dead bodies, the return of the dead, spirits and ghosts, superstitions,premonitions, the evil eye, the double, strange repetitions and coincidences. Many of these appear in The Italian, and Radcliffe’s character Schedoni becomes the prototype for uncanny villains.
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