The German term unheimlich (literally "un-home-like") seems apt here. ❋ Hal Duncan (2006)
Some people are amused that I use phrases like "unheimlich" and "belly fire" in my music reviews. ❋ Lazarus (2003)
He contended that the link between the German words for “uncanny” (unheimlich) and “familiar” (heimlich) suggests an inner connection between the two. ❋ Russell Jacoby (2011)
In German, however, unheimlich (uncanny) stands opposite to heimlich (familiar; belonging to the house, homey). ❋ Russell Jacoby (2011)
It's an unthreatening simulacrum of dark passion in which everything wild and unheimlich about sexual obsession, murder, disfigurement and – my personal favourite – Dostoyevskian self-loathing is benumbed with unremittingly sweet tunes many of which, according to Kit and the Widow's turn at August's Comedy Prom, Lloyd Webber recycled from older, better composers. ❋ Unknown (2011)
It ' s the interaction between Miles, who gleefully delights in being a " bad boy, " and the governess, who only wants to save his soul, that underpins the play and contributes most to the feeling of unheimlich, where something is strange because it is too familiar, and in this case, a public manifestation of something to be kept secret. ❋ Julie Steinberg (2010)
But even if there is no explicit postulation of affect, the term deeply implies a negative reaction in its connotations, its associations with the other-worldly, the unnatural, the eery, the eldritch, the unheimlich. ❋ Hal Duncan (2008)
In einer Welt wo alle Übeltaten online archiviert werden und Fehltritte von Suchmaschinen leicht vor dem eigenen Webauftritt gelistet werden können ist es unheimlich wichtig seine Integrität zu schützen und eine halbwegs weiße Weste zu bewahren. ❋ Unknown (2007)
The unheimlich, by contrast, are those moments where this symbolic skein breaks down either through the appearance of some Thing that fits in none of these categories, or that paradoxically twists the categories... ❋ Tusar N Mohapatra (2009)
I've argued in those strange fiction posts that tragic and comic narratives are companions to strange fiction in so far as they exploit the unheimlich and the absurd (building to crises of horror or hilarity) the way strange fiction exploits the incredible. ❋ Hal Duncan (2007)
Spinoza takes the familiar concepts of theology, retains them, and completely inverts them in a way that renders them thoroughly unfamiliar, unheimlich, and even a bit terrifying... ❋ Tusar N Mohapatra (2008)
Is it the fact that, for the sake of naturalism, the irrational -- the absurd and the unheimlich -- must be excised almost completely? ❋ Hal Duncan (2006)
But it sits in an otherwise pathetic narrative, one which seems to be laying claim to versimillitude; and so, rather than maintaining the tragic tension between suspension of disbelief and the unheimlich, the very tension set up by the unheimlich element collapses. ❋ Hal Duncan (2006)
