Unit 3: Environment

The Uncanny Essay

1,500 word written assignment investigating the uncanny in relation to J.K. Rowlings Harry Potter book series.
This essay shall explore J.K. Rowlings books for examples of the uncanny and to what effects they may have upon the reader. The uncanny is best described as something familiar that has another, more sinister association linked to it that invokes an uncomfortable feeling from an individual. Childrens literature is not the first place one would expect to find examples of the uncanny being used, however, J.K. Rowlings Harry Potter book series is rife with it. Noted neurologist Sigmund Freuds essay, The Uncanny, explains his theories behind the phenomena of the uncanny. His essay will play a key role in exploring this topic. The following published works will also help explore this subject: The Uncanny Harry Potter: and the Philosophers Stone Sigmund Freud J K Rowling

and the Chamber of Secrets and the Prisoner of Azkaban and the Goblet of Fire and the Order of the Phoenix and the Half-Blood Prince and the Deathly Hallows
Dream Dictionary The Magical World of Harry Potter Richard Craze David Colbert

To begin with, a clear understanding of the uncanny must be achieved. Freud summarises it as The uncanny is that species of the frightening that goes back to what was well known

and has long been familiar (Freud, 124:1919). Something that draws both familiar and
frightening associations from an individuals memory so the emotional response is to feel frightened of something that is familiar and most likely harmless. In Rowlings first book Harry Potter and the Philosophers Stone, Harry stumbles across a mirror called The Mirror of Erised. A mirror is a harmless and familiar item no matter the size or the frame it sits in. However, the way in which Rowling describes it sets the reader up to question the mirrors innocence. She places it before revealing what the item is, propped up against the wall

facing him was something that didnt look as if it belonged there, something that looked as if someone had just put it there to keep it out of the way. (Rowling,
152:1997). Before the reader can visualise the item in their mind theyre predisposed to imagine something out of place and perhaps dangerous as its had to be hidden away and the mirror has almost had a personality assigned to it before its powers are even revealed. Thus, the effect of the familiar is intertwined with the frightening. Mirrors are already suspect items as they are culturally associated with being portals to parallel worlds or possessing powers associated with the doppelganger, something that will crop up again later in this essay. Freud marks the mirror image as an example of the double and goes on to explain the significance, The double was originally an insurance
Figure 1 - The Mirror of Erised

against the extinction of the self he goes on to say, though, the meaning of the double changes: having once been an assurance of immortality, it becomes the uncanny harbinger of death(Freud, 142:1919). Doubles represent a lasting impression of a person but also,
through time, have become linked with death. Another explanation given by Freud as to the uncanny nature of the double is its link with repressed desires. A double can often have the originals true dreams assigned to it and other accomplishments that were never achieved as if the double were a better of the original. The Mirror of Erised is able to reflect the user, yet, also reflect that individuals hearts desire. Harrys desire continues the uncanny affect set up by the mirror: In it, he sees his dead parents beside him and his whole departed family behind him. The combined effect of death and desire is an uncanny one that is felt through the pages. The uncanny doesnt have to be found in an object, its just as easily produced by assigning certain qualities to the most familiar object of all, the human. Freud writes, We can also call

a living person uncanny, that is to say, when we credit him with evil intent. But this alone is not enough: it must be added that this intent to harm us is realized with the help of special powers (Freud, 149:1919). People become uncanny when they are already intent on
harming, but they also have additional powers at their disposal that are unnatural or un-human. Rowling uses this particular common uncanny example to great effect in how she creates her villains. The character Dolores Umbridge, for example, is a kitten-loving, pink-wearing ministry official, however, though-out Harry Potter

and the Order of the Phoenix it becomes

sugar-coating for her evil nature. As the book goes on her authoritive status

increases as she controls more of the school which is the special power she possesses that Freud describes. Her rein seems unstoppable as she effortlessly removes all other authorities in the school. She is described as having the features of a toad and Rowling establishes early on that she is suspect and different than what she seems, The witch spoke in a fluttery,

girlish, high-pitched voice that took Harry aback; he had been expecting a croak. (Rowling,
134:2003). The toad comparison de-humanises her in the minds eye of the reader, the image created is that of a toad in pink. This means that whenever she is present in the book she seems un-human and her actions demonise her further yet she wears pink (a colour associated with childish innocents), her office is covered in kittens and she speaks in a sweet tone. The reader experiences the uncanny effect anytime these familiar, kindly things occur as they are associated with Umbridges evil. Harry Potters arch-enemy is Lord Voldemort. Again, Rowling demonises him by removing his human features but this time other aspects of the uncanny come into play that make Voldemort such an epic foe. Alot is made in the books about his association with snakes from his ability to converse with them (an uncommon trait even among wizards) to his snake-like features. Much the same as with Umbridge and the colour pink, anything relating to snakes is linked to Voldemort. However, Rowling goes further to create this subconscious feeling of danger for Voldemort. In Harry Potter
Figure 3 - Lord Voldemort

and the Half-Blood Prince the reader discovers that

The uncanny feeling is most prominent when, in the afore mentioned book, the reader learns about Voldemorts childhood. By this point Rowling has fully de-humanised him but then hes described as a boy in a run-down orphanage, innocent and ignorant of the magical world. The reader is suddenly shown that this enemy is human and that the evil grew from that familiar entity. Freud writes on the topic of the human uncanny Here the layman

sees a manifestation of forces that he did not suspect in a fellow human being, but whose stirrings he can dimly perceive in remote corners of his own personality. (Freud, 150:1919). If
another person is able to perform misdeeds that are classed as inhuman then the idea is unlocked that anyone, including the self, is also capable. The self is perhaps the most familiar so the notion of their being something concealed within, particularly an element of evil, is a discomforting one. Rowling assures that the reader is fully immersed in their hatred of Voldemort even at a subconscious level by building the uncanny into her story. The doppelganger makes a return here as the uncanny link between Voldemort and Harry Potter is explored. Harry unknowingly possesses a fragment of Voldemorts soul and conscious within him which means they are able to access each others emotions, thoughts and memories. Harry also has similarities to Voldemort and occasionally loses control of his conscious self so he fears that he is, somehow, becoming Voldemorts doppelganger. Freud describes some of the characteristics of a double, a person may identify himself with

another and so become unsure of his true self; or he may substitute the others self for his own. The self may thus be duplicated, divided and interchanged. Finally there is the constant recurrence of the same thing, the repetition of the same facial features, the same characters, the same destinies [and] the same misdeeds (Freud, 142:1919). When the idea is planted
that there are significant similarities between two people it becomes hard to distinguish between them and see them as individuals. When applied to the self it creates a disruption in what should be familiar, ones own mind, and doubts are formed as to ones
Figure 4 - Harry and Voldemort

individuality and creating the feeling of the uncanny. Harry experiences this disruption and the reader along

with him. Hes unsure as early as the second book in the series (Harry Potter and the

Chamber of Secrets) as to whether he remains soul possessor of his thoughts and actions as
he believes he could be attacking the students of his school without conscious knowledge. The greatest example, however, occurs in the fifth book (Harry Potter and the Order of the

Phoenix) as though-out Harry loses control of his thoughts as he is dragged into Voldemorts
mind. He feels emotions that arent his own and begins to consider himself a danger to the others. The reader experiences the effects of the uncanny as they begin to associate the familiar character of Harry with the demonised Voldemort.

In conclusion, although the uncanny is not the driving force in the literature Rowling uses it to its advantages. The reader become involved in the story on a subconscious levels and Rowling is able to draw strong emotions from a reader without them knowing or understanding why they are so drawn in. She has created villains that are truly frightening as theyre monstrous nature is deeper than their aesthetics as it plays with its readers fears as she builds upon the uncanny feeling.

Figure 5 - Harry Potter Series

List of Illustrations Front Cover. Potter and Voldemort by Cuson. (2010) [Digital Art] At:
http://browse.deviantart.com/?q=harry voldemort&order=9&offset=96#/d2xw0qs (Accessed on: 17.1.2012) Fig 1. The Mirror of Erised (2001) From: Harry Potter and the Philosophers Stone (2001) Directed by Chris Columbus. [film still] USA: Warner Bros. Pictures Fig 2. Umbridges Office by Feliciacano. (2011) [Watercolour] At: http://browse.deviantart.com/?q=umbridge&order=9&offset=24#/d4k0930 (Accessed on: 17.1.2012) Fig 3. Lord Voldemort by ValiantParadox. (2011) [Digital Art] At: http://browse.deviantart.com/?q=voldemort&order=9&offset=48#/d472nnk (Accessed on: 17.1.2012) Fig 4. Harry and Voldemort by ichan-01. (2011) [Digital Art] At: http://browse.deviantart.com/?q=harry voldemort&order=9&offset=48#/d3b9joq (Accessed on: 17.1.2012) Fig 5. Harry Potter Series by anon. (2011) [Photo] At: http://www.mylot.com/w/image/2363468.aspx (Accessed on: 17.1.2012)

Bibliography

-Freud, S. (1919) The Uncanny. UK: Penguin Books -Rowling, J. K. (1997) Harry Potter and the Philosophers Stone. UK: Bloomsbury Publishing PLC -Rowling, J. K. (2003) Harry Potter and the Order of the Phoenix. UK: Bloomsbury Publishing PLC

Research

-Colbert, D. (2001) The Magical Worlds of Harry Potter. UK: Puffin Books -Craze, R. (2003) Dream Dictionary. UK: Lorenz Books -Rowling, J. K. (1998) Harry Potter and the Chamber of Secrets. UK: Bloomsbury Publishing PLC -Rowling, J. K. (1999) Harry Potter and the Prisoner of Azkaban. UK: Bloomsbury Publishing PLC -Rowling, J. K. (2000) Harry Potter and the Goblet of Fire. UK: Bloomsbury Publishing PLC -Rowling, J. K. (2005) Harry Potter and the Half-Blood Prince. UK: Bloomsbury Publishing PLC -Rowling, J. K. (2007) Harry Potter and the Deathly Hallows. UK: Bloomsbury Publishing PLC