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Extra info for Volleys of Humanity: Essays 1972-2009
Sample text
Thus, in one stroke, the two great and extraordinary figures are ousted, and with them, Hoffmann’s theatre: one half of the textual body is eliminated. Only the eyes remain: Freud’s terrain is now less mobile; we are on territory which is very much reinforced by observations and theoretical knowledge (‘to learn’, ‘learned’): on the one hand, the fear of the loss of sight is a fact of daily experience which clichés underscore; it is a familiar terror. Moreover, examination of three formations of the unconscious (dreams, phantasms, myths) shows that this fear hides another, that of castration.
A heap. But in the end the figure of a body of examples emerges, but without ‘revealing’ itself, a figure of figures, a body which returns to its dislocation. It is this ‘body’ which Freud ‘crowns’ (by the crown, there is reference to a head that is not there) with the supremely disquieting idea: the phantasm of the person buried alive: his (absent) textual head, shoved back into the maternal body, a horrible voluptuousness. Thus the Unheimliche that enters head first into the Heimliche, an inverse birth.
Indd 38 07/06/2011 11:09 Fiction and Its Phantoms 39 12. , p. 220. 13. , p. 224. ]. Freud’s text is riddled with linguistic patterns, which are sometimes obvious and sometimes hidden. Cf. note 35, pp. 39–40, ‘Translating the Unheimliche’ [in this volume] [HC] 14. Sigmund Freud, ‘The Uncanny’, p. 227. 15. , p. 227. 16. Cf. Sigmund Freud, ‘The Uncanny’, p. 230: ‘For the conclusion of the story makes it quite clear that Coppola the optician really is the lawyer Coppelius and also, therefore, the Sandman.
