In this article, we will analyze some central scenes in Henrik Ibsen’s Peer Gynt (Ibsen [1867a] 2007) in light of Sigmund Freud’s ideas about Das Unheimliche, usually translated as the uncanny (Freud 1919). Peer Gynt is a work where the story twists and turns as it proceeds, mirroring the protagonist’s volatile mind. We will demonstrate an affinity between Freud’s conception of the uncanny and the way Ibsen composes crucial scenes in his text. Our focus is on scene changes followed by remarkable shifts in atmosphere. Based on Freud’s thorough examination of the German concept unheimlich, and its opposite heimlich, we will analyze the dynamics of the scene in the woods where Peer Gynt is building a hut. Our point is that both the sequence and the contents of the scene can be understood using Freud’s description of the transition from heimlich to unheimlich. A crucial point is that what appears to be cosy and comforting actually conceals its opposite, something uncanny. Freud defines the uncanny as “the name for everything that ought to have remained (... ) secret and hidden but has come to light” (Freud 1919, 223), inspired by the romantic philosopher Schelling. Schelling was concerned with the “mythology of mind”, a romantic view of the unconscious. In his examination of the uncanny, Freud restricts his interest to the content of intolerable thoughts: “What is involved is an actual repression of some content of thought and a return of this repressed content” (Freud 1919, 248). From these specifications, we can conclude that Freud deals with central aspects of mental content. First, the uncanny is

中文翻译：

---

Peer Gynt 和弗洛伊德的不可思议的

在本文中，我们将根据西格蒙德·弗洛伊德 (Sigmund Freud) 关于 Das Unheimliche（通常被翻译为不可思议（Freud 1919））的观点来分析 Henrik Ibsen 的 Peer Gynt（Ibsen [1867a] 2007）中的一些中心场景。Peer Gynt 是一部故事随着进行而曲折的作品，反映了主人公多变的头脑。我们将展示弗洛伊德的不可思议的概念与易卜生在他的文本中创作关键场景的方式之间的密切关系。我们的重点是场景变化，然后是气氛的显着变化。基于弗洛伊德对德国概念 unheimlich 及其对立面的 heimlich 的彻底检查，我们将分析 Peer Gynt 正在建造小屋的树林中场景的动态。我们的观点是，使用弗洛伊德对从 heimlich 到 unheimlich 过渡的描述，可以理解场景的序列和内容。关键的一点是，看似舒适和安慰的东西实际上隐藏了它的反面，一些不可思议的东西。弗洛伊德将不可思议定义为“所有本应保持（......）秘密和隐藏但已被曝光的事物的名称”（弗洛伊德 1919, 223），其灵感来自浪漫主义哲学家谢林。谢林关注的是“心灵神话”，一种对无意识的浪漫观点。在他对不可思议的考察中，弗洛伊德将他的兴趣限制在无法忍受的思想内容上：“所涉及的是对某些思想内容的实际压抑以及这种被压抑的内容的回归”（Freud 1919, 248）。从这些规格来看，我们可以得出结论，弗洛伊德处理的是心理内容的核心方面。首先，不可思议的是