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2. Francesca Woodman Untitled, Providence, Rhode Island, 1976 (P.059) gelatin
silver estate prints 20.3 x 25.4 cms, 8 x 10 inches edition 15/40 (FW 65) The Estate of
Francesca Woodman, courtesy George e Betty Woodman

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Jui-Ch'i Liu ,2004,p4)

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Barbara Creed, (1993)The Monstrous-Feminine: Film, Feminism, Psychoanalysis,London: Routledge
unheimlich translated into English as uncanny, see Freud, Das Unheimliche (1919), paraphrased by Anthony Vidler in The Architectural
Uncanny, stressing the etymology of Heim / home.
Uncanny
Unheimliche
Vidler
home
unheimlich
postive
Thus, in the very word heimlich , the familiar and intimate are reversed into their opposites.
The immanence of the strange within the familiar is considered as an etymological proof of the psychoanalytic hypothesis
according to which "the uncanny is that class of the frightening, which leads back to what is known of old and long familiar."
Vidler
As Freud noted, "It often
happens that neurotic men declare that they feel there is something uncanny about the female genital organs. This unheimlich place, however, is
the entrance to the former Heim of all human beings, to the place where each of us lived once upon a time and in the beginning."
unheimlich
(p.245) (cf. Kiesler and the nanny)
Vidler describes the womb-house, what Tzara called "intra-uterine" architecture, as the very center of the uncanny. Freud wanted to demonstrate
at the outset, on the basis of a semantic study of the German adjective Heimlich and its antonym unheimlich that a negative meaning close to that
of the antonym is already tied to the positive term heimlich , "friendlily comfortable," which would also signify "concealed, kept from sight,"
"deceitful and malicious," "behind someone's back
For Freud, the uncanny ( Unheimliche ) is thus the estranged familiar ( Heimlich ) "For this uncanny is in reality nothing new or alien, but
something which is familiar and old-- established in the mind and which has become alienated from it only through the process of repression” )

6. -

7. Francesca Woodman Untitled, Providence, Rhode Island, 1976 (P.059) gelatin silver
estate prints 20.3 x 25.4 cms, 8 x 10 inches edition 15/40 (FW 65) The Estate of
Francesca Woodman, courtesy George e Betty Woodman

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Barbara Creed, (1993)The Monstrous-Feminine: Film, Feminism, Psychoanalysis
(London: Routledge,), 54
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Chris Townsend, (2006) Reviewed by Jovana Stokic
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Francesca Woodman in Woman’s Art J 30 no1 (Spr/Summ 2009), Phaidon
Evans, D. (1996), An Introductory Dictionary of Lacanian Psychoanalysis, Routledge, London,.
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Foster, Hal(1993) Compulsive Beauty ,Cambridge, Mass.: MIT Press, ,
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2, 8-13, 62, 70, 101.
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Jones A. and Warr T., 2000)The Artist's Body ,London: Phaidon,
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,p' 170.
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Kristeva, J (1982), Powers of Horror: An Essay on Abjection, Leon S.
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Roudiez, trans, New York: Columbia University
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Lacan, J. (1977), The mirror stage as formative of the function of the I as revealed in psychoanalytic experience, In Ecrits: A Selection, Translated by A
Sheridan, New York and London, [1949].
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Lacan J (1973). The Four Fundamental Concepts of Psychoanalysis 1963-4. Seminar XI,. Penguin
.
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Jui-Ch'i Liu (2004) FRANCESCA WOODMAN'S SELF-IMAGES
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Transforming Bodies in the Space of Femininity in Woman’s Art J 25 no1 Spr/Summ 2004
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http://www.guardian.co.uk/artanddesign/2010/nov/21/francesca-woodman-photographs-miro-review
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http://www.newstatesman.com/199908230027.htm
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http://cafe.mouse.co.il/post/531464