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Journal articles on the topic 'Uncanny'

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Author: Grafiati

Published: 4 June 2021

Last updated: 31 July 2024

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1

Rae, Caroline Emily. "Uncanny Waters." Feminist Review 130, no. 1 (March 2022): 61–77. http://dx.doi.org/10.1177/01417789211066012.

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In this article, I argue for the notion of what I term ‘uncanny water’ as a conceptual tool for reading contemporary oceanic fictions. The uncanny’s affective capacity to destabilise epistemological and ontological certainties makes it a particularly potent literary tool for challenging the nature/culture binary. I argue that fictions which actively defamiliarise the ocean can be used to redress the anthropocentric privilege found in hitherto narratives of the oceanic that were predicated upon mastery and control, and that uncanny moments of displacement and uncertainty can illuminate human/oceanic interconnections and foster a sense of responsibility and compassion towards the oceans. I identify resonances between the uncanny’s continuing referentiality and the notion that feminist transcorporeality interrelates the subject into networks of materiality which extend across time and space in unknowable ways. Both transcorporeality and the uncanny work against the conceit of the individual through the dissolution of boundaries, and, crucially, both require a suspension of assumptions of the self as whole, discrete and impermeable. To demonstrate this, I read the uncanny waters of contemporary fictions from the Northern Atlantic Littoral (Atlantic Canada and the westernmost parts of the UK). The littoral position of these spaces makes them ideally placed to negotiate the borders between habitable and unhabitable spaces, and the limitations of knowledge that run alongside this. I assert that iterations of uncanny water offer a transoceanic dialogue which shifts constructions of subjectivity away from national and terrestrial boundaries to one more akin to the fluid and relational dialectics of transcorporeality.

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2

Jandrić, Petar, and Ana Kuzmanić. "Uncanny." Postdigital Science and Education 2, no. 2 (March 14, 2020): 239–44. http://dx.doi.org/10.1007/s42438-020-00108-5.

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3

Betts, Gregory. "Uncanny Academe." ESC: English Studies in Canada 44, no. 4 (2018): 11–15. http://dx.doi.org/10.1353/esc.2018.0027.

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4

Pająk, Patrycjusz. "Uncanny Styria." Prace Filologiczne. Literaturoznawstwo, no. 9(12) cz.1 (July 4, 2019): 149–62. http://dx.doi.org/10.32798/pflit.114.

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The nineteenth century in the West was a period of intellectual and artistic fascination with the East, both distant and near: Asian and Eastern European. One of the regions that attracted the interest of Western Europeans was Styria, situated on the border separating Austria from Hungary and the Balkans, that is, the West from the East. Borderland cultural phenomena stimulate the imagination as much as exotic phenomena. Both disturb with their hybrid character, which results from the mixing of elements from familiar and alien cultures. With their duality and ambiguity, borderlands are the source of the uncanny, which in the Western literature of the nineteenth century became the basic ingredient of the Western image of the Styrian lands. Uncanny Styria was discovered by Basil Hall, a Scottish traveler who reported the impressions of his stay in this region in his 1830s travelogue Schloss Hainfeld; or, a Winter in Lower Styria. In the second half of the century, two Irishmen wrote about the uncanny Styrian borderland: Joseph Sheridan Le Fanu and Bram Stoker. Both associated Styria with vampirism: the former in the 1870s novella Carmilla, the latter in the 1890s short story Dracula’s Guest. The central thread that runs through all three texts is the decline of Styrian nobility. From Hall, it prompts expression of melancholy regret, accompanied by a sense of strangeness. In his work, the erosion of the culture of the nobility results from Styria’s isolated location in the borderlands, as well as the destructive influences of modernity. Le Fanu balances the regret with horror, related to a different interpretation of decline as cultural regression. In Stoker’s story, the terror intensifies with the sense that the regression that affects the province of Styria could extend to Western Europe.

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5

Puddu, Sabrina, and Giaime Meloni. "Uncanny Beauty." idea journal 16, no. 1 (December 17, 2017): 102–29. http://dx.doi.org/10.37113/ideaj.vi0.22.

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This essay reflects on the paradox that invests common perceptions of prison interiors by presenting a formal investigation of the nineteenth century prison of Buoncammino in Italy. While we unanimously refuse as abominable the pre-modern dark dungeon, we are also very ambivalent towards the (unrealised) promises of the carefully designed enlightened and ‘enlightening’ spaces of the modern prison, which in principle we consider superior but that, ultimately, we end up perceiving in a not too dissimilar way from the pre-modern imaginary of darkness. Is this survival of darkness inside modern institutions, born in the age of the Enlightenment, a sign of failure for the hopes embedded in the modern prison? Or does it derive from the imperfect implementation of the model modern prison in reality? Or, alternatively, was darkness already embedded in modernity itself? The apparently irresolvable paradox of the coexistence of ‘dark space’ in ‘light space’ relates to the dichotomic nature of contemporary debates on penal institutions: whether to humanise or abolish them.

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6

Mellencamp, Patricia. "‘Uncanny’ feminism." Afterimage 14, no. 2 (September 1, 1986): 12–15. http://dx.doi.org/10.1525/aft.1986.14.2.12.

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7

Mellencamp, Patricia. "‘Uncanny’ feminism." Afterimage 14, no. 2 (September 1, 1986): 12–15. http://dx.doi.org/10.1525/aft.1986.14.2.12.

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8

McNeill, Will. "Uncanny Belonging." Heidegger Circle Proceedings 47 (2013): 144–65. http://dx.doi.org/10.5840/heideggercircle2013478.

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9

Höing, A. "Uncanny Pets." Anglistik 30, no. 2 (2019): 69–82. http://dx.doi.org/10.33675/angl/2019/2/9.

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10

Chess, Shira. "Uncanny Gaming." Feminist Media Studies 15, no. 3 (June 24, 2014): 382–96. http://dx.doi.org/10.1080/14680777.2014.930062.

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11

Benjamin, C. "The Uncanny." Literature and Theology 18, no. 1 (March 1, 2004): 109–11. http://dx.doi.org/10.1093/litthe/18.1.109.

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12

Moylan, Katie. "Uncanny TV." Television & New Media 18, no. 3 (August 1, 2016): 269–82. http://dx.doi.org/10.1177/1527476415608136.

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This article explores how two recent television drama miniseries, Top of the Lake and Les Revenants produce moments of the uncanny. I argue that both series produce the uncanny in formal ways made possible by conditions of a televisuality characterized by narrative complexity and a pronounced aesthetic. In their first season, both series draw on recognizable conventions of the police procedural genre, but each develops a dialectical narrative structure that rotates between a rational procedural plotline and an irrational, less linear narrative of a secretive community. In my exploration, I conceive of the televisual moment as a form of rupture and draw on Freud’s original sense of “the uncanny” as making strange what was fundamentally familiar. I argue that ultimately each series mobilizes “the uncanny” in distinctive ways, resulting in two endings with very different implications.

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13

Boomkens, RenÈ. "Uncanny Identities." European Journal of Cultural Studies 7, no. 1 (February 2004): 59–74. http://dx.doi.org/10.1177/1367549404039860.

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14

Zellen, Jody. "Uncanny Beauty." Afterimage 41, no. 2 (September 1, 2013): 33. http://dx.doi.org/10.1525/aft.2013.41.2.33.

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15

Dixon, Steve. "Uncanny Interactions." Performance Research 11, no. 4 (December 2006): 67–75. http://dx.doi.org/10.1080/13528160701363473.

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16

Mesches, A. "American Uncanny." Cultural Politics an International Journal 11, no. 1 (January 1, 2015): 36–52. http://dx.doi.org/10.1215/17432197-2842397.

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17

Ayiter, Elif. "Uncanny symmetries." Technoetic Arts 15, no. 2 (June 1, 2017): 111–20. http://dx.doi.org/10.1386/tear.15.2.111_1.

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18

Taub, David. "Uncanny idea." New Scientist 217, no. 2904 (February 2013): 33. http://dx.doi.org/10.1016/s0262-4079(13)60432-7.

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19

Hanrahan, Mairéad. "Uncanny Genet?" Oxford Literary Review 42, no. 2 (December 2020): 197–200. http://dx.doi.org/10.3366/olr.2020.0318.

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20

Prenowitz, Eric. "Uncanny Cast." Oxford Literary Review 42, no. 2 (December 2020): 265–68. http://dx.doi.org/10.3366/olr.2020.0333.

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21

Young, Robert J. C. "Fanon's Uncanny." Oxford Literary Review 42, no. 2 (December 2020): 310–13. http://dx.doi.org/10.3366/olr.2020.0343.

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22

Goebel, James R. "Uncanny Meat." Caliban, no. 55 (June 1, 2016): 169–90. http://dx.doi.org/10.4000/caliban.3438.

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23

Gelder, Ken, and Jane M. Jacobs. "Uncanny Australia." Ecumene 2, no. 2 (April 1995): 171–83. http://dx.doi.org/10.1177/147447409500200204.

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24

Cavazzana, Alessandro, and Marianna Bolognesi. "Uncanny resemblance." Cognitive Linguistic Studies 7, no. 1 (August 19, 2020): 31–57. http://dx.doi.org/10.1075/cogls.00048.cav.

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Abstract What is the relation between the three following elements: words, pictures, and conceptual representations? And how do these three elements work, in defining and explaining metaphors? These are the questions that we tackle in our interdisciplinary contribution, which moves across cognitive linguistics, cognitive sciences, philosophy and semiotics. Within the cognitive linguistic tradition, scholars have assumed that there are equivalent and comparable structures characterizing the way in which metaphor works in language and in pictures. In this paper we analyze contextual visual metaphors, which are considered to be the most complex ones, and we compare them to those that in language are called indirect metaphors. Our proposal is that a syllogistic mechanism of comprehension permeates both metaphors expressed in the verbal modality as well as metaphors expressed in the pictorial modality. While in the verbal modality the metaphoric syllogism is solved by inference, we argue that in the pictorial modality the role of inference is performed through mental imagery.

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25

Schwenger, Peter. "Uncanny Reading." ESC: English Studies in Canada 21, no. 3 (1995): 333–45. http://dx.doi.org/10.1353/esc.1995.0025.

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26

Vienne, Gisèle, and Anna Gallagher-Ross. "Uncanny Landscapes." Theater 47, no. 2 (2017): 35–45. http://dx.doi.org/10.1215/01610775-3785146.

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27

Fernando, Mayanthi. "Uncanny Ecologies." Comparative Studies of South Asia, Africa and the Middle East 42, no. 3 (December 1, 2022): 568–83. http://dx.doi.org/10.1215/1089201x-10148233.

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Abstract If secularity ushered in the notion of humans as buffered subjects immune to nonhuman agents, recent attempts to recognize the agency of nonhumans and to see humans as always in relation to nonhumans—the natureculture turn—may be understood as both a posthumanist and postsecularist project. Yet this scholarship has largely restricted nonhumans to entities previously classified as “natural” phenomena, leaving “supernatural” beings out of the conversation and leaving the distinction between nature and supernature intact. Fernando argues that fully undoing the nature/culture distinction means attending to this third domain—the more-than-natural—still banished from our ontological horizons. This is especially important for any consideration of the Anthropocene, since climate crisis affects communities that do not live only in secular worlds nor abide only by secular categories. The author therefore turns to South Asia to theorize what she calls uncanny ecologies—that is, interspecies webs of care and commitment among animals, humans, and deities. The author also asks why these nonsecular multispecies worlds have not been taken up as viable models of relationality and Anthropocene livability to the extent that Amerindian ontologies have, speculating that more-than-natural, more-than-human agency remains a problem for secular sensibilities.

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28

Farah, Sumbul. "Uncanny ethics." HAU: Journal of Ethnographic Theory 13, no. 1 (March 1, 2023): 82–100. http://dx.doi.org/10.1086/725343.

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29

Janion, Maria, and Marta Figlerowicz. "Uncanny Slavdom." PMLA/Publications of the Modern Language Association of America 138, no. 1 (January 2023): 110–26. http://dx.doi.org/10.1632/s0030812922000943.

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30

O, Jonathan. "Uncanny Galaxies." Scientific American 330, no. 5 (May 2024): 70. http://dx.doi.org/10.1038/scientificamerican0524-70.

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31

Allison, L. "Review: Reading the Uncanny * Nicholas Royle: The Uncanny." Cambridge Quarterly 33, no. 3 (March 1, 2004): 277–81. http://dx.doi.org/10.1093/camqtly/33.3.277.

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32

Spassova, Kamelia. "Freud and Jentsch read Hoffmann’s Uncanny Automata." Bulgarski Ezik i Literatura-Bulgarian Language and Literature 64, no. 6 (November 21, 2022): 575–84. http://dx.doi.org/10.53656/bel2022-6-7ks.

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The following paper examines the elaboration of the concept of uncanny between literature and psychoanalysis. In shaping the concept, both Ernst Jentsch in “On the Psychology of the Uncanny” (1906) and Sigmund Freud in “The Uncanny” (1919) carefully read Hoffmann’s fantastic stories of automata. While Freud develops his theory of the uncanny (concerning the automatism of unconscious repetition) by reading “The Sandman”, Jentsch dwells on “Automata” in his approach on intellectual uncertainty. In this paper I also discuss anthropomorphic machines and the idea of uncanny valley in robotics, concluding that the notion of uncanny always involves negative anagnorisis, or misrecognition between inside/outside; human/automaton; animate/inanimate.

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33

Ajibade, Mayowa. "Johannesburg Drift: Variations of the Uncanny in Ivan Vladislavić’s The Exploded View." Cambridge Journal of Postcolonial Literary Inquiry 8, no. 1 (November 10, 2020): 80–93. http://dx.doi.org/10.1017/pli.2020.28.

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This article focuses on some of the major scenes of the uncanny in Ivan Vladislavić’s The Exploded View. It identifies, describes, and connects the multiple registers of the uncanny operative in The Exploded View. It considers these multiple registers of the uncanny as parts of an overarching aesthetic framework discernible in the novel. This aesthetic framework, what we could call Vladislavić’s aesthetic of the uncanny, is discussed with a focus on three constituent and dynamic levels of activity: the formal level (textual repetition), the psychosocial level (“the political uncanny” and psychogeography), and the historical level. The article ultimately makes a case for using the aforementioned levels of the uncanny as productive frames for reading Vladislavić’s novel.

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34

Bal, Mieke. "MURDER AND DIFFERENCE: UNCANNY SITES IN AN UNCANNY WORLD1." Literature and Theology 5, no. 1 (1991): 11–19. http://dx.doi.org/10.1093/litthe/5.1.11.

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35

Sellars, Roy. "What Is Uncanny, This Is Uncanny: Beckett's Foreign Language." Oxford Literary Review 42, no. 2 (December 2020): 283–86. http://dx.doi.org/10.3366/olr.2020.0337.

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36

Pihlaja, Eeva. "“Where, Meantime, Was the Soul?”: The Uncanny as an Aesthetic Image of Impossibility." American Imago 81, no. 1 (March 2024): 133–54. http://dx.doi.org/10.1353/aim.2024.a923508.

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Abstract: The uncanny experience refers to unsettling feelings that emerge when confronted with events that seem remotely familiar but still strange and opaque. It relies on magical thinking, as the experience seems to take place emphatically in the sensorial realm, partly lacking symbolic quality. In this article, I approach the uncanny as representing an inability to represent, revealing discontinuities and gaps in experience. I suggest that the uncanny representation can be approached creatively and turned into an aesthetic experience. The uncanny as an aesthetic experience enables a creative elaboration of being unable to overcome a gap. Thus, it can contribute to self-growth and deepening of a subjective sense of self. To illustrate the creative potential of the uncanny I look at two examples, one from literature and the other a personal account. I further elaborate on the position of the uncanny in the field of aesthetics by comparing it with the sublime experience and suggest that the uncanny is a negative of the sublime. In the sublime, a representation of the infinite and unspeakable is formed, while the uncanny, in contrast, represents the impossibility of doing so.

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37

Bartholomew, H. G. "Enstranged Strangers: OOO, the Uncanny, and the Gothic." Open Philosophy 2, no. 1 (September 30, 2019): 357–83. http://dx.doi.org/10.1515/opphil-2019-0027.

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AbstractExploring the links between Speculative Realism, psychoanalysis, and literary criticism, this article examines OOO’s entanglement with the ‘uncanny’. Reading OOO against three notable treatments of the concept - Sigmund Freud’s 1919 essay “The ‘Uncanny’”, Ernst Jentsch’s 1906 paper “On the Psychology of the Uncanny”, and Martin Heidegger’s discussion of uncanniness in his Introduction to Metaphysics (1953) - it argues that OOO reconfigures the ‘uncanny’ as a profoundly ontological concept premised on aesthetic enstrangement. Using E.T.A. Hoffmann’s short story “The Sandman” as a case study, it assesses what the consequences of this reconfiguration are for literary criticism and, in particular, the study of the Gothic. By splicing OOO into the history and practice of Gothic scholarship, this article traces the outline of an “object-oriented uncanny”, pushing the ‘uncanny’ out of Freud’s shadow and into the “great outdoors”.

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38

MacDorman, Karl F., and Steven O. Entezari. "Individual differences predict sensitivity to the uncanny valley." Interaction Studies 16, no. 2 (November 20, 2015): 141–72. http://dx.doi.org/10.1075/is.16.2.01mac.

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It can be creepy to notice that something human-looking is not real. But can sensitivity to this phenomenon, known as the uncanny valley, be predicted from superficially unrelated traits? Based on results from at least 489 participants, this study examines the relation between nine theoretically motivated trait indices and uncanny valley sensitivity, operationalized as increased eerie ratings and decreased warmth ratings for androids presented in videos. Animal Reminder Sensitivity, Neuroticism, its Anxiety facet, and Religious Fundamentalism significantly predicted uncanny valley sensitivity. In addition, Concern over Mistakes and Personal Distress significantly predicted android eerie ratings but not warmth. The structural equation model indicated that Religious Fundamentalism operates indirectly, through robot-related attitudes, to heighten uncanny valley sensitivity, while Animal Reminder Sensitivity increases eerie ratings directly. These results suggest that the uncanny valley phenomenon may operate through both sociocultural constructions and biological adaptations for threat avoidance, such as the fear and disgust systems. Trait indices that predict uncanny valley sensitivity warrant investigation by experimental methods to explicate the processes underlying the uncanny valley phenomenon.

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39

McCuskey, Brian. "Not at Home: Servants, Scholars, and the Uncanny." PMLA/Publications of the Modern Language Association of America 121, no. 2 (March 2006): 421–36. http://dx.doi.org/10.1632/003081206x129639.

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In “The Jolly Corner” (1908), Henry James locates the uncanny in the servants' quarters at the top of the house, where the genteel protagonist finally corners his ghostly double. James thus prompts us to reread Freud's “The Uncanny” (1919) with a pair of questions in mind. First, how does class identity bear on the uncanny; and, second, how in turn does the uncanny bear on class identity? Steering well clear of servants in his discussion, Freud apparently dodges the issue altogether; a closer look, however, reveals that he cannily represses the social value of the uncanny so as to hold it in reserve. James, on the other hand, documents how and why psychoanalysis converts bourgeois anxiety about servants into “the uncanny,” an abstraction that floats freely across the twentieth century from séance to academic circles, where it continues to function as a ghostlier demarcation of class. (BMcC)

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40

Harahap, Aris Masruri. "The Disappearance of Uncanny in Winnie-The-Pooh and its Use for Education." Language Circle: Journal of Language and Literature 12, no. 2 (April 24, 2018): 182–94. http://dx.doi.org/10.15294/lc.v12i2.14177.

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This article discusses disappearance of uncanny in one of the greatest children novel from The First Golden Age of Children Literature in Britain, Winnie-the-Pooh. The discussion is meant to uncover why the uncanny does not arise when it is read although it has the elements to arise the uncanny. Moreover, the novel is very popular of its canniness. In doing analysis, Freud‘s thoughts on the uncanny help me to find the reason. The analysis resulted that the use of fantasy in the novel and how its story is narrated determine the readers to not concentrate on the uncanny. The disappearance of the uncanny and the emergence of canny in the novel has made the novel as a favorite reading material for children. This, in fact, is an approach to teach children some values which is influenced by the development of children literature since the 18 th century.

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41

Seyama, Jun'ichiro, and Ruth S. Nagayama. "The Uncanny Valley: Effect of Realism on the Impression of Artificial Human Faces." Presence: Teleoperators and Virtual Environments 16, no. 4 (August 1, 2007): 337–51. http://dx.doi.org/10.1162/pres.16.4.337.

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Roboticists believe that people will have an unpleasant impression of a humanoid robot that has an almost, but not perfectly, realistic human appearance. This is called the uncanny valley, and is not limited to robots, but is also applicable to any type of human-like object, such as dolls, masks, facial caricatures, avatars in virtual reality, and characters in computer graphics movies. The present study investigated the uncanny valley by measuring observers' impressions of facial images whose degree of realism was manipulated by morphing between artificial and real human faces. Facial images yielded the most unpleasant impressions when they were highly realistic, supporting the hypothesis of the uncanny valley. However, the uncanny valley was confirmed only when morphed faces had abnormal features such as bizarre eyes. These results suggest that to have an almost perfectly realistic human appearance is a necessary but not a sufficient condition for the uncanny valley. The uncanny valley emerges only when there is also an abnormal feature.

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42

Lydenberg, Robin. "Freud's Uncanny Narratives." PMLA/Publications of the Modern Language Association of America 112, no. 5 (October 1997): 1072–86. http://dx.doi.org/10.2307/463484.

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Critics who work at the intersection of psychoanalysis and narratology frequently examine Freud's “The Uncanny” (“Das Unheimliche”). A close reading of the anecdotes interpolated in Freud's essay suggests that while narrative is often motivated by an effort to contain charged material, something always escapes that control, threatening to proliferate without stopping. The dual containing and dispersing effect of narrative is reflected in Freud's doubling of himself as narrator and protagonist; in his ambivalence toward women, the maternal, and creativity; and in his attraction and resistance to literature. Although Freud often appears to reduce literature to an illustration of psychoanalytic laws, the subversive literariness of language and the instability of the subject emerge dramatically in the uncanniness of his own narratives.

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43

Sonnefeld, Bethanie. "The Uncanny Mind." Edgar Allan Poe Review 22, no. 2 (November 1, 2021): 329–42. http://dx.doi.org/10.5325/edgallpoerev.22.2.0329.

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Abstract Among the psychological interpretations of Edgar Allan Poe's “The Black Cat,” trauma theory has yet to make an appearance. However, the confessional nature of the story shifts—via a trauma reading—from an attempt by the narrator to ease his guilt to his attempt to understand what happened to him. “The Black Cat” reveals a man's search to understand how he committed violent acts when trauma and preconceived self-understandings obscure his ability to reconcile his violent actions. The narrator's murder of his wife traumatized him, causing erasures in the timeline and several forms of dissociation. These erasures and dissociations cause an uncanny effect within the story, which show the narrator to be his own doppelganger as well as an instance of the biform. However, these symptoms suggest that the narrator does not have enough critical distance from the events, so telling his tale becomes a form of reliving that does not relieve the confusion he experiences. Ultimately, the narrator's confession does not provide the understanding he hopes for, which places the burden of creating an understanding of the story on the individual reader.

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44

Kozin, Alexander. "The Uncanny Body." Janus Head 9, no. 2 (2006): 463–84. http://dx.doi.org/10.5840/jh20069212.

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In this essay I explore a possibility of experiential synthesis of the medicalized abnormal body with its aesthetic images. A personal narrative about meeting extreme abnormality serves as an introduction into theorizing aesthetic abnormality. The essay builds its argument on the phenomenological grounds; I therefore approach corporeality with Edmund Husserl and Maurice Merleau-Ponty. In turn, Max Ernst introduces an aesthetic frame for the subsequent examination of uncanny surreality. Two exemplars of the surreal body, Joel Witkins "Satiro" and Don DeLillds "Body Artist," intend to substantiate the preceding theoretic. The study shows how the encounter with the abnormal embodiment may suspend normalized modes of constitution to provoke uncanny experiences.

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45

Levenson, Karen Chase. "Brontë’s Domestic Uncanny." Victorians: A Journal of Culture and Literature 130, no. 1 (2016): 124–38. http://dx.doi.org/10.1353/vct.2016.0017.

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46

Dea, Shannon. "Vico’s Uncanny Humanism." Symposium 11, no. 1 (2007): 211–13. http://dx.doi.org/10.5840/symposium200711121.

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47

Tinwell, Angela, Mark Grimshaw, and Andrew Williams. "The Uncanny Wall." International Journal of Arts and Technology 4, no. 3 (2011): 326. http://dx.doi.org/10.1504/ijart.2011.041485.

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48

Garratt, Dean. "Queer and Uncanny." Qualitative Inquiry 21, no. 9 (March 26, 2015): 776–86. http://dx.doi.org/10.1177/1077800415574910.

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49

Bullock, Marita. "FIGURING THE UNCANNY." Australian Feminist Studies 22, no. 54 (November 2007): 409–11. http://dx.doi.org/10.1080/08164640701591180.

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50

Muehlmann, Shaylih. "The Narco Uncanny." Public Culture 32, no. 2 (May 1, 2020): 327–48. http://dx.doi.org/10.1215/08992363-8090101.

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This article analyzes the unease created in northern Mexico by the prevalence of “narco-accusations,” which single out individuals suspected of being drug traffickers. The official discourse to justify the Mexican government’s unwillingness to investigate the majority of the 235,000 murders created by the “war on drugs” since 2006 is that the deaths consist of “narcos killing each other off.” However, as a result of the profound interlocking of legal and illegal sectors, most forms of livelihood in the borderlands are potentially implicated in the drug economy. Therefore, the way that deaths are dismissed when labeled as those of “narcos” produces a particular discomfort among people working at the blurry edges of the narco-economy. By analyzing these experiences through the lens of “the uncanny” this article argues that the subject position of the narco is not just derivative of a set of political discourses but a powerful way that people attempt to distance themselves, and their loved ones, from violence.

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