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This article analyzes six short stories by the Argentinian author: Nosotros, La propiedad, Los amigos, La oración, Mimoso and La boda. The study made use of two theoretical frameworks: first, the theory elaborated by Sigmund Freud on his 1919 essay Das Unheimliche; second, Michel Foucault's study about the origin of the social notion of anomaly. The psychoanalytical theory propoundedby Freud has become a mandatory model in which the uncanny implies the horror of the embodimentof something that should have remained hidden. However, this article suggest the possibilityfor the characters to experience pleasure in response to the grisly events recounted. The stylistic ambiguity and the semantic presuppositionsplay a crucial role in the interpretation of the text, as well as the establishment of a fascinating ans startling narrative atmosphere. In addition, Foucault's postulates suggest interpretations of how the conception of the term anomaly, from a psychiatric standpoint, and the resulting moral connotations in the way how the individual perceives and juges others establish a rigid social structure, leaving almost no room for dissension.

Art and the Uncanny are linked in the aesthetic that explores the limits of unconscious desire, there where the sinister feeling is experienced. Although there are various causes that have long ago brought out this disturbing and attractive sensation, women have been undoubtedly one of the issues that has raised it. Its uncanny potential arises as a result of a patriarchal society that has negativized its differential condition from the dominant gender. Thus, since Greek myths like Galatea or Medusa, passing through the famous automatons of Romanticism such as Hoffmann's Olimpia, the image of women along literary and visual arts has been based on sinister fantasies of domination. The present article aims to rescue and analyse these and other misogynist imaginary figures in order to clarify the causes of the feminine uncanny with a gender perspective.

This article explores the boundary between horror and uncanny based on the essay Das Unheimliche, published by Sigmund Freud in 1919. The analysis is developed through certain images linked to the armed conflict in Colombia, produced by the artists Juan Manuel Echavarría and Juan David Ortiz, and the photojournalist Jesús Abad Colorado. The notions of reality and fiction, as well as the complex dilemmas relating to the aestheticisation of pain or the ambiguity between representing or concealing brutality, are the reference axes that serve as the basis on which wider issues linked to all representations of violence are addressed and a possible boundary between anxiety and horror is traced.

In Sigmund Freud's interpretation of the tale "The Sandman" (Der Sandmann, 1816), by E.T.A. Hoffmann, the concept of the uncanny is conceptualised linked to repression in the psychic life of the subject, which mantains in the uncounscious representations linked to the drives. These representations are repressed in the psyche for their unpleasant potential and materialize in thoughts, images, fantasies or figures.  In this article we shall analyze how the concept of the uncanny is represented in the film Parents (Bob Balaban, 1989) through different figures linked to the psychoanalitic notions of fantasy, repression and the uncounscious. At the same time, through the hybrid genre of horror comedy, the film deeply criticices the middle-class family and the consumerist lifestyle of American society, as well as the imperialism and colonialism that have characterized the history of the United States.

To this day, it is possible to say that the general disrepute into which structuralist poetics has fallen has not resulted in a sufficient revision of the distorted image of the main theses of Russian formalism, arranged by the structuralist authors in accordance with precise interests of genealogical self-description. Against the exaggerated heteronomism of contemporary literary studies, as a partially extravagant consequence of deconstructive premises (although historically not so unusual), the analytical breakdown of the fundamental valencies of the term «deautomatization» may allow us to account for the extent to which Russian formalism developed a complete and sophisticated system of study of literary phenomena, which at all levels of analysis emphasizes the features of antinomy, transgression and dynamization.

Films as Frankenstein as Dracula realaded by Universal Pictures in 1931 are the beginning of a new Gothic horror bounded with some movies of the Weimar production and of the Ggothic predecents, The Phantom of the Opera (Rupert Julian, 1926) for instance. A film Gothic was born inspired in Gothic novels' imaginary and in the romantic paintings with some relation too with de Baroque iconograpy (vanitas). The esthetic is ralated with the rupture with leads Romanticism widing the concept of beaty toward  unheimlich and sinister. This article is trying to demostrate how performs this new neo-romantic estetic in the different sets in a wide meaning.    

From the 8th century onwardas Jesus was represented curcified, from that moment the gaze began a long path of accommodation began a losg path that would encourage the Western world to contemplate and educat themselves in the aesthetic enjoyment of violence. The troubadour oral tradition, as well as the depiction fo intinerant comedians recounted truculent crimes for decades that satified the morbid thirst of the populatuib wguke taught from dangers or bad behaviors that had to be avoided. But in the 19th century, this morbid thirst is fueled by a low-cost sensational press that recounts crimes and , above all, provides images that attract the eyes of readers and illiterates.

The hybridization between organic and inorganic produces a sinister emotion In the cyborg, the organic part claims its place in humanity, but we fail to grant it. Except in one case: that of Roy Baty, the Nexus–6 replicant of Do Androids Dream of Electric Sheep? and its film adaptation Blade Runner. In this article, we are going to find out why.

Freud´ s essay The Uncanny (1919), created to analyze E. T. A. Hoffmann´ s tale The Sandman (1817), is a review of Schelling´ s concept about The Sinister, defined by the philosopher in "everything that should have remained hidden, but has finally come to ligth". Psychoanalysis converts the sinister Freudian into an aesthetic category that allows us to analyze the most disturbing part of art: the monstrous, the abject, the grotesque, the formless, the obscene, the ominous, the horrifying, etc. Sinister factors are manifested in the following literary works and films analyzed: The Island of Dr. Moreau (H. G. Wells 1895) / Island of Lost Souls (E. C. Keaton, 1932): Suddenly, Last Summer (T. Williams, 1958) / Suddenly, Last Summer (J. L. Mankiewicz, 1959); The eyes without a face (J. Redon, 1959) / Les yeux sans visage (G. Franju, 1960), and The Strange Case of Doctor Jekyll and Mister Hyde (R. L. Stevenson, 1886) / Doctr Jekyll and Sister Hyde (R. W. Baker, 1971). They include intertextualities between literature, philosophy, psychoanalysis, cinema, the chronicle of real events, the most chilling experiments of sciencie, and even comics. And its protagonists are incarnations of the sinister factor: crazy scientists, femmes fatales, Doppelgängers and body mutilations.  

Throughout the last decades, as the knowledge evolves and breaks through different disciplines, several proposals have incorporated a thermodynamic perspective to economic, social and anthropological analysis. However, we find very few theoretical applications to the analysis of arts, and there is a complete absence of exegetical proposals coming from a perspective merged with the so-called ‘natural’ science. In this paper, I will present an approach to a theoretical proposal where chemical thermodynamic tools are redefined to be used in philological hermeneutics. In this specific case, in the meaning and qualitative and semiquantitative parametrization of "uncanny" literature. In the first section of this paper, a basic thermodynamic analysis theory for basic emotions and literary genres will be described, taking as starting point theoretical studies suggesting that human behaviour could be assimilated to natural science’s models. In the second section, a thermodynamic analysis of "uncanny states" will be performed, defining and interpreting their limits and composition according to a couple of classic studies on this matter: The Uncanny by S. Freud, and Lo bello y lo siniestro, by E. Trías.