Supernatural power in carrie

King strategically introduces the supernatural element in a way that erodes the clear boundary
between the mundane and the extraordinary. The effacement of this distinction amplifies the
uncanny effect as readers confront a protagonist who wields powers traditionally relegated to the
realm of fantasy.
"This is that an uncanny effect is often and easily produced when the distinction between
imagination and reality is effaced, as when something that we have hitherto regarded as
imaginary appears before us in reality, or when a symbol takes over the full functions of the thing
it symbolizes, and so on. It is this factor which contributes not a little to the uncanny effect
attaching to magical practices."
Moreover, the narrative structure of "Carrie" contributes to the uncanny by seamlessly
integrating supernatural occurrences into the everyday fabric of the story. The telekinetic events,
initially perceived as products of Carrie's imagination, transcend the confines of her mind and
manifest in the tangible world. This blurring of boundaries aligns with the idea that an uncanny
effect is heightened when something previously regarded as imaginary becomes a concrete
reality. The telekinetic occurrences, far from being confined to the realm of fiction, materialize
within the narrative, unsettling the reader's preconceived notions of what is plausible.
In connection with the notion of magical practices contributing to the uncanny, Carrie's
supernatural abilities can be seen as a form of modern-day magic. The way in which her powers
disrupt the natural order of things aligns with the idea that the uncanny often arises from
phenomena that challenge the expected and familiar. Carrie's telekinesis, acting as a form of
magical practice within the narrative, amplifies the uncanny effect by subverting conventional
understandings of reality.

Madness in the shining

"The uncanny effect is often and easily produced by effacing the distinction between imagination
and reality"

In "T.he Shining," the uncanny effect within the theme of madness is intricately tied to the
deliberate effacement of the boundary between imagination and reality. Jack Torrance's descent
into madness is not a linear progression but a complex interplay between his psychological
unraveling and the supernatural forces at play in the haunted Overlook Hotel.
The uncanny emerges as Jack's perception of reality becomes increasingly distorted. The
Overlook Hotel serves as a breeding ground for both supernatural entities and the manifestations
of Jack's deteriorating mental state. The hotel's ghostly influences and Jack's internal
psychological turmoil create a narrative landscape where the line between what is imagined and
what is real becomes increasingly blurred. This effacement of distinction intensifies the uncanny
effect, as readers are thrust into an unsettling reality where the supernatural and the
psychological converge.
The use of unreliable narration and shifting perspectives further contributes to the uncanny. As
readers delve into Jack's perspective, the narrative invites them into the labyrinth of his disturbed
mind. Scenes that may initially seem grounded in reality take on an eerie quality as Jack's
perception becomes increasingly unreliable. The narrative's ability to manipulate the distinction
between what Jack envisions and what is objectively happening amplifies the uncanny,
generating a pervasive sense of unease.
The Overlook Hotel itself serves as a catalyst for the effacement of reality. The building, with its
labyrinthine corridors and malevolent spirits, blurs the boundaries between the tangible and the
supernatural. Jack's madness becomes entangled with the hotel's haunting history, creating an
environment where the uncanny thrives. The hotel, as a symbolic entity, merges the imagined
horrors of Jack's psyche with the concrete terrors of the supernatural, creating a seamless fusion
that erases the clear demarcation between the two realms.
The uncanny effect in the madness theme is heightened by the omnipresence of spectral
manifestations. Ghostly encounters and surreal occurrences contribute to the overarching
atmosphere of ambiguity. As Jack grapples with his internal demons and external supernatural
forces, the reader is constantly confronted with the challenge of discerning whether the perceived
horrors are products of a disturbed mind or genuine supernatural phenomena.

Religion In Carrie

Sigmund Freud's concept of the uncanny, as articulated in his essay "The Uncanny" (1919),
involves the idea that the uncanny arises when something familiar becomes unfamiliar or when
there is a blurring of boundaries between the familiar and the unfamiliar. One aspect of Freud's
definition that applies to the theme of religion in Carrie's novel is the notion of the return of the
repressed.
In the context of Margaret's extreme interpretation of religious teachings and her distorted
application of religious principles, the uncanny arises from the return of repressed elements
within her psyche. Margaret's psychological defenses, latent conflicts, and repressed desires find
expression in her intense religious fanaticism and extreme practices. Her self-flagellation, harsh
disciplinary methods, and distorted beliefs are manifestations of her inner turmoil, guilt, and
anxiety.
Freud suggests that the uncanny often involves something that was once familiar and comforting
but has become unsettling due to repression. In Margaret's case, her religious beliefs may have
started from conventional and familiar notions of faith, but they have evolved into something
extreme and disturbing. The return of the repressed elements of Margaret's psyche, expressed
through her religious fanaticism, contributes to the uncanny atmosphere in the novel.
Additionally, Freud discusses the uncanny in relation to the repetition of the same themes or
motifs in literature and mythology. Margaret's adherence to Puritanical beliefs and her portrayal
as a figure haunted by the fear of sin and punishment align with historical and cultural motifs
associated with Puritanism. This repetition of themes from the past, coupled with Margaret's
extreme interpretation, adds an uncanny dimension to the religious theme in the novel.
In summary, Freud's concept of the uncanny, particularly the idea of the return of the repressed
and the repetition of familiar themes in an unsettling manner, applies to the exploration of
religion in Carrie's novel, especially in the characterization of Margaret and her extreme religious
practices.

The theme of religion is embodied by the atmosphere created by Margaret’s extreme

interpretation of religious teachings, which is uncanny and disquieting to readers. Her use of self-
flagellation, punishment, and isolation against Carrie demonstrates her perverted understanding
of religion. Although religion remains recognizable to readers, Margaret’s extreme conduct and
beliefs make it uncanny and unfamiliar. By deviating from the widely accepted interpretation of
the Christian doctrine, Margaret fixates on notions of punishment, sin, and damnation, diverging
from religion’s emphasis on love, forgiveness, and mercy. Margaret’s cruel treatment of Carrie,
comprising physical and emotional abuse, can be attributed to her distorted comprehension of
religious principles. She believes that exerting control over Carrie through strict discipline and
unwavering adherence to religious doctrines shield her daughter from sin and damnation. This
characterization sometimes leads readers to view Margaret as the novel’s antagonist.
Relentlessly, Margaret insists that Carrie is an unwanted child and the product of a one-night
stand. She firmly believes that engaging in sexual activity is the most grievous of sins, a
perspective she clings to even after marriage. She sees that God has sentenced her to spend the
rest of her life raising Carrie as a constant reminder of her sin owing to her one-night passion.

Another answer
The concept of the uncanny in Freud's definition can be related to the theme of religion in
Carrie's novel through Freud's idea that the uncanny arises when something familiar becomes
unfamiliar or when there is a blurring of boundaries between the familiar and the strange.
Margaret's extreme interpretation of religious teachings, her self-flagellation, punishment, and
isolation methods, create an atmosphere that is uncanny and disquieting to readers.
Freud's notion of the uncanny involves a feeling of discomfort and unease when something that
should be familiar takes on an unfamiliar and unsettling form. Margaret's extreme religious
practices and beliefs, although rooted in recognizable religious themes, deviate significantly
from the widely accepted interpretation of Christian doctrine. This deviation makes religion, as
portrayed by Margaret, uncanny and unfamiliar to readers. The conventional understanding of
religion emphasizes love, forgiveness, and mercy, but Margaret fixates on notions of punishment,
sin, and damnation.
Margaret's distorted comprehension of religion, her fixation on punishment, sin, and her extreme
acts of self-flagellation and isolation, contribute to the uncanny atmosphere. Her treatment of
Carrie, involving physical and emotional abuse under the guise of religious discipline, further
enhances the uncanny nature of the religious theme in the novel. Margaret's characterization as
an antagonist due to her distorted religious beliefs adds to the uncanny element, as she represents
a perversion of familiar religious principles.
Moreover, the allusions to Puritanism in the novel, with Margaret's resemblance to Puritan attire,
her exclusive religious practices at home, and her view of God as a vengeful authority, contribute
to the uncanny atmosphere. The Puritans' rigid religious rules and preoccupation with sin and
punishment parallel Margaret's extreme religious beliefs and practices, making the familiar
theme of religion unfamiliar and unsettling.
In summary, Margaret's extreme interpretation of religious teachings and her deviant religious
practices contribute to the uncanny atmosphere in the novel by making the familiar theme of
religion unfamiliar and unsettling, aligning with Freud's concept of the uncanny.