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Limited by the principles of brevity and conciseness, all short fictions pay attention to the choice of the time and the space. The uncanny tale, transgressing fantastic and marvelous poetics, appropriates some places and moments reserved to these two categories but it uses them in an original way. In order to describe the uncanny chronotope we examine some of short fictions of Marcel Aymé, Jean-Baptiste Baronian, Georges-Olivier Châteaureynaud, Philippe Dumas et Boris Moissard, Pierre Gripari, Marcel Schneider, Jules Supervielle and Marguerite Yourcenar. In our study we take in consideration the definition of the uncanny proposed by Michel Guiomar in 1957. According to the critic, the uncanny is based on the derogation to fixed norms, customs, rules or laws. We present the uncanny tale as the transgression of traditional fantastic and marvellous. First of all, we study the realistic space which conserves some marks of the fantastic but rejects its essential features like the irruption of the supernatural element and the play with fear. Then, we observe the time and the space oscillating between the reality and the unreality, with examples of the garden and of the Christmas Eve's night. Finally, we consider the space entirely imaginary, situated in the other worlds (the underwater spaces, village suspended on the ocean, the air populated with shadows) where the time becomes eternal.

Limited by the principles of brevity and conciseness, all short fictions pay attention to the choice of the time and the space. The uncanny tale, transgressing fantastic and marvelous poetics, appropriates some places and moments reserved to these two categories but it uses them in an original way. In order to describe the uncanny chronotope we examine some of short fictions of Marcel Aymé, Jean-Baptiste Baronian, Georges-Olivier Châteaureynaud, Philippe Dumas et Boris Moissard, Pierre Gripari, Marcel Schneider, Jules Supervielle and Marguerite Yourcenar. In our study we take in consideration the definition of the uncanny proposed by Michel Guiomar in 1957. According to the critic, the uncanny is based on the derogation to fixed norms, customs, rules or laws. We present the uncanny tale as the transgression of traditional fantastic and marvellous. First of all, we study the realistic space which conserves some marks of the fantastic but rejects its essential features like the irruption of the supernatural element and the play with fear. Then, we observe the time and the space oscillating between the reality and the unreality, with examples of the garden and of the Christmas Eve's night. Finally, we consider the space entirely imaginary, situated in the other worlds (the underwater spaces, village suspended on the ocean, the air populated with shadows) where the time becomes eternal.