ABSTRACT
Le ricordanze' is a poem about 'coming back home': as Jacques Lacan suggested while commenting Sigmund Freud's 'The Uncanny', the word 'home' should be invested with all possible resonances, including astrological ones. In being an aesthetic experience rooted in a tension between homeliness and unhomeliness, as well as between proximity and distance, the uncanny presents a remarkable closeness to Giacomo Leopardi's reflection. The uncanny ghost-story provides thus the model for the 'nameless science' that early twentieth-century German-Jewish thought tries to construct in order to question the aporias of historicism. Mirroring the uncanny, the Urszene of paternal seduction is an image possessing the same emotional intensity as a real experience, but through a psychical reality rather than actuality. The 'images' perceived in the space of the 'house'/Heim catalyze the unexpected resurfacing of memories, creating an indistinguishable superimposition between visual and actual images and the inner-standing point from which they are perceived.
