III
In the last chapter of the essay, Freud looks at the 'uncanny' effects which would fall out of the conditions we laid out so far, which constitute the 'uncanny'. With some examples of the effects created by figures, places and narratives he has found in literature and fairy tales, he follows with the necessity to "distinguish between the 'uncanny' one knows from experience and the 'uncanny' one only fancies or reads about."He only allowed a brief analysis on the 'uncanny' experienced in the real life and concluded; "...the 'uncanny' elements we know from experience arises either when repressed childhood complexes are revived by some impression, or when primitive beliefs that have been 'surmounted' appear to be once again confirmed."
Much deeper and more sensitive observations were done on the other species of the 'uncanny' throughout the chapter, with careful studies and analysis on various literature.
He suggests that; "The variety that derives from repressed complexes is more resistant: with one exception, it remains as 'uncanny' in literature as it is in real life. The other species of the 'uncanny', deriving from superannuated modes of thought, retains its character in real-life experience and in writings that are grounded in material reality, but it may be lost where the setting is a fictive reality invented by the writer."
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