Egon Schiele's Art

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The eruptions of the Uncanny in Egon Schiele’s art legacy
Introduction:
The notion of the uncanny is the key term for psychoanalysis and psychoanalytical approach for interpretation of the art. The uncanny effect is ingrained not by unfamiliar or something frightening but because it conveys something that has been lived through and exuded to the sphere of an unconscious. Text that was written about literary, psychoanalytical, critical but not art purpose at all was erupted into art discourse (Walsh 21). (Then I’m not sure, should I introduce the whole concept of the uncanny straight away in the introduction AND then introduce a short introduction about Egon Schiele’s life. -> ) The Austrian Expressionist painter Egon Schiele (1890 – 1918), whose art works have been referred to as manifesting motifs of ‘sexuality, insanity, and death’ (Knafo 138) that compels scrutiny of personal psychic borders, ‘primarily through repeated, merciless confrontations with […] identity, sexuality, and mortality’ (Knafo 134) that parallels the bourgeoning attention to psychoanalysis at fin-de-siecle Vienna that was depicted as ‘an isolation cell in which one is allowed to scream’ (Comini 1974, 3). (Should I add more about his lifespan and to connect why I consider this uncanny or not to be repeated this should be introduced in the main body?)
Thesis:
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The aim of this paper is, therefore, threefold: Firstly, to analyze the inceptives of the uncanny within the artist’s path, second, to establish the relationship between the motherhood and monstrousness within Schiele’s art heritage. Egon Schiele’s masterpieces will be pertained so as to depict the theoretical texts’ pertinency for literary discourse. The point of departure for the current essay is Freudiean theory of the uncanny (Should I state how and what is going to be

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