The Times in Which We Live : Freud’s The Uncanny, World War One, and Trauma of Contagion

The effect of World War One on Freud is well known, yet its relation to The Uncanny (1919) remains mysterious. Although scholars have mentioned the war’s atmospheric effect, I ask: What if the connection to The Uncanny is more essential, as exemplified by the essay’s implicit references to the war—including a 1917 story about trauma in colonial New Guinea and Napoleonic war shock resonating through Hoffmann’s “The Sandman”? The fact that Freud does not connect these traumas directly to “uncanniness” speaks to the problem they pose—to him and to psychoanalytic theory. This silence creates an uncanny effect within the essay itself: The Uncanny stages the same “return of the repressed” that it diagnoses. I aim to delineate this staging and, later, propose its conceptual relevance. The shadow of the war forces us to understand the uncanny differently: not just as a personal trauma but as a social symptom of the repression of this suffering. The real horror of the uncanny, Freud’s essay teaches us, is not our own but the other’s trauma—as embodied in wartime Europe by the “war neurotic” and his contagious afflictions. An article-length version of this research has been published in the journal Psychoanalysis and History, vol 20, issue 2, pp. 165-190, https://doi.org/10.3366/pah.2018.0257.Non UBCUnreviewedFacult

Kafka\u27s travels: Exoticism, imperialism, modernism

Franz Kafka (1883-1924) lived through an era of unprecedented change in travel culture: literary (by 1910 the exoticist boom had hit the German publishing industry, resulting in a spate of travel writings); imperial (German protectorates were founded in Africa and Asia in 1885 and 1898, respectively); and technological (between 1850 and 1900 the European rail system expanded over ten times). Although Kafka never left Europe, his fascination with travel was reflected in his 1911 plan to make millions by writing a series of low-budget travel guides, On the Cheap, and in his love for Hermann Schaffstein\u27s imperial adventure series, the Grune Bandchen (1910-71). I contend that travel, for Kafka, developed from a private passion into a prominent metaphorical system. By examining this critically overlooked trope, I argue that travel presents a uniquely modernist metaphorics of alienation that extends through the kafkan paradigms of exoticism and imperialism--as they traffic in what I term the economy of self-discovery. Drawing on neglected literary and cultural materials including travel diaries, train schedules, and adventure novels, I travel methodologically between two modes of inquiry--psychoanalytical and historical--corresponding to imaginary travel on the one hand and real travel on the other. My initial chapter examines how fin-de-siecle writers (Hermann Hesse, Norbert Jacques, Bernard Kellermann) tended to undergird their notions of home by displacing strangeness onto distant lands. I argue that Kafka, an avid reader of popular travel writings, challenged these contemporaries by bringing the foreign into the heart of the European Heim. Chapters 2 and 3 further trace this process of what I term internalizing the exotic through Kafka\u27s major works (Amerika, The Metamorphosis, The Trial). Chapter 4 argues that Kafka\u27s final novel, The Castle, both resists and reproduces popular imperialist ideologies by borrowing the Grune Bandchen\u27s typical narrative of self-discovery (Selbstfindung) and transforming it into a tale of self-dissolution. Chapter 5 demonstrates how modern technologies of travel shaped Kafka\u27s exotic love relationship with the Czech-speaking Gentile, Milena Jesenska. In conclusion, I contend that Kafka\u27s encounter with fin-de-siecle travel culture indelibly transformed the exotic from a mappable geographical space into a peculiarly modernist structure of mind

Kafka\u27s travels: Exoticism, imperialism, modernism

Franz Kafka (1883-1924) lived through an era of unprecedented change in travel culture: literary (by 1910 the exoticist boom had hit the German publishing industry, resulting in a spate of travel writings); imperial (German protectorates were founded in Africa and Asia in 1885 and 1898, respectively); and technological (between 1850 and 1900 the European rail system expanded over ten times). Although Kafka never left Europe, his fascination with travel was reflected in his 1911 plan to make millions by writing a series of low-budget travel guides, On the Cheap, and in his love for Hermann Schaffstein\u27s imperial adventure series, the Grune Bandchen (1910-71). I contend that travel, for Kafka, developed from a private passion into a prominent metaphorical system. By examining this critically overlooked trope, I argue that travel presents a uniquely modernist metaphorics of alienation that extends through the kafkan paradigms of exoticism and imperialism--as they traffic in what I term the economy of self-discovery. Drawing on neglected literary and cultural materials including travel diaries, train schedules, and adventure novels, I travel methodologically between two modes of inquiry--psychoanalytical and historical--corresponding to imaginary travel on the one hand and real travel on the other. My initial chapter examines how fin-de-siecle writers (Hermann Hesse, Norbert Jacques, Bernard Kellermann) tended to undergird their notions of home by displacing strangeness onto distant lands. I argue that Kafka, an avid reader of popular travel writings, challenged these contemporaries by bringing the foreign into the heart of the European Heim. Chapters 2 and 3 further trace this process of what I term internalizing the exotic through Kafka\u27s major works (Amerika, The Metamorphosis, The Trial). Chapter 4 argues that Kafka\u27s final novel, The Castle, both resists and reproduces popular imperialist ideologies by borrowing the Grune Bandchen\u27s typical narrative of self-discovery (Selbstfindung) and transforming it into a tale of self-dissolution. Chapter 5 demonstrates how modern technologies of travel shaped Kafka\u27s exotic love relationship with the Czech-speaking Gentile, Milena Jesenska. In conclusion, I contend that Kafka\u27s encounter with fin-de-siecle travel culture indelibly transformed the exotic from a mappable geographical space into a peculiarly modernist structure of mind