Laura Marcus is one of the leading literary critics of modernist literature and culture. Dreams of Modernity: Psychoanalysis, Literature, Cinema covers the period from around 1880 to 1930, when modernity as a form of social and cultural life fed into the beginnings of modernism as a cultural form. Railways, cinema, psychoanalysis and the literature of detection - and their impact on modern sensibility - are four of the chief subjects explored. Marcus also stresses the creativity (...) of modernist women writers, including H. D., Dorothy Richardson and Virginia Woolf. The overriding themes of this work bear on the understanding of the early twentieth century as a transitional age, thus raising the question of how 'the moderns' understood the conditions of their own modernity. (shrink)
Applying ideas drawn from contemporary critical theory, this book historicizes psychoanalysis through a new and significant theorization of the Gothic. The central premise is that the nineteenth-century Gothic produced a radical critique of accounts of sublimity and Freudian psychoanalysis. This book makes a major contribution to an understanding of both the nineteenth century and the Gothic discourse which challenged the dominant ideas of that period. Writers explored include Mary Shelley, Edgar Allan Poe, Robert Louis Stevenson, and Bram Stoker.
_On the Lyricism of the Mind: Psychoanalysis and Literature_ explores the lyrical dimension of the psychic space. It is not presented as an artistic disposition, but rather as a universal psychic quality which enables the recovery and recuperation of the self. The specific nature of human lyricism is defined as the interaction as well as the integration of two psychic modes of experience originally defined by the psychoanalyst Wilfred Bion: The emergent and the continuous principles of the self. Dana (...) Amir elaborates Bion's general notion of an interaction between the emergent and the continuous principles of the self, offering a discussion of the specific function of each principle and of the significance of the various types of interaction between them as the basis for mental health or pathology. The author applies these theoretical notions in her analytic work by means of literary illustrations showing how the lyrical dimension may be used to teach psychoanalytic readings of literature and explore the connection between psychoanalytic and literary languages._ _ On the Lyricism of the Mind presents a new psychoanalytic understanding of the capacity to heal, to grieve, to love and to know, using literary illustrations but also literary language in order to extract a new formulation out of the classic psychoanalytic language of Winnicott and Bion. This book will appear to a wide audience to include psychoanalysts, psychotherapists and art therapists. It is also extremely relevant to literary scholars, including students of literary criticism, philosophers of language and philosophers of mind, novelists, poets, and to the wide educated readership in general._ _. (shrink)
_From Illiteracy to Literature_ presents innovative material based on research with ‘non-reading’ children and re-examines the complex relationship between psychoanalysis and literature, through the lens of the psychical significance of reading: the forgotten adventure of our coming to reading. Anne-Marie Picard draws on two specific fields of interest: firstly the wish to understand the nature of literariness or the "literary effect", i.e. the pleasures we derive from reading; secondly research on reading pathologies carried out at St Anne’s Hospital, (...) Paris. The author uses clinical observations of non-reading children to answer literary questions about the reading experience, using psychoanalytic theory as a conceptual framework. The notion that reading difficulties or phobias should be seen as a symptom in the psychoanalytic sense, allows Picard to shed light on both clinical vignettes taken from children’s case histories and reading scenes from literary texts. Children experiencing difficulties in learning to read highlight the imaginary stakes of the confrontation with the arbitrary nature of the letter and the "price to pay" for one’s entrance into the Symbolic. Picard applies the lesson "taught" by these children to a series of key literary texts featuring, at their very core, this confrontation with the signifier, with the written code itself.. This book argues that there is something in literature that drives us back, again and again, to the loss we have suffered as human beings, to what we had to undergo to become human: our subjection to the common place of language. Picard shows complex Lacanian concepts "at work" in the field of reading pathologies, emphasizing close reading and a clinical attention to the "letter" of the texts, far from the "psychobiographical" attempts at psychologizing literary authors. _From Illiteracy to Literature_ presents a novel psychodynamic approach that will be of great interest to psychotherapists and language pathologists, appealing to literary scholars and those interested in the process of reading and "literariness.". (shrink)
This volume is an introduction to the relationship between psychoanalysis and literature. Jean-Michel Rabaté takes Sigmund Freud as his point of departure, studying in detail Freud's integration of literature in the training of psychoanalysts and how literature provided crucial terms for his myriad theories, such as the Oedipus complex. Rabaté subsequently surveys other theoreticians such as Wilfred Bion, Marie Bonaparte, Carl Jung, Jacques Lacan, and Slavoj Žižek. This Introduction is organized thematically, examining in detail important terms (...) like deferred action, fantasy, hysteria, paranoia, sublimation, the uncanny, trauma, and perversion. Using examples from Miguel de Cervantes and William Shakespeare to Sophie Calle and Yann Martel, Rabaté demonstrates that the psychoanalytic approach to literature, despite its erstwhile controversy, has recently reemerged as a dynamic method of interpretation. (shrink)
The interactions between literature and science and between literature and psychoanalysis have been among the most thriving areas for interdisciplinary study in recent years. Work in these 'open fields' has taught us to recognize the interdependence of different cultures of knowledge and experience, revealing the multiple ways in which science, literature, and psychoanalysis have been mutually enabling and defining, as well as corrective and contestatory of each other. Inspired by Gillian Beer's path-breaking work on (...) class='Hi'>literature and science, this volume presents fourteen new essays by leading American and British writers. They focus on the evolutionary sciences in the nineteeth-century; the early years of psychoanalysis, from Freud to Ella Freeman Sharpe; and the modern development of the physical sciences. Drawing on recent debates within the history of science, psychoanalytic literary criticism, intellectual history, and gender studies, the volume makes a major contribution to our understanding of the formation of knowledge. Among its recurrent themes are: curiosity and epistemology; 'growth', 'maturity', and 'coming of age' as structuring metaphors ; taxonomy; sleep and dreaming and elusive knowledge; the physiology of truth; and the gender politics of scientific theory and practice. The essays also reflect Beer's extensive influence as a literary critic, with close readings of works by Charlotte Brontë, Alfred Lord Tennyson, George Eliot, Thomas Hardy, Henry James, Oscar Wilde, H. G. Wells, Edith Ayrton Zangwill, Charlotte Haldane, Virginia Woolf, George Orwell, and Karin Boye. (shrink)
Dear Professor Heller . . . Your paper had started out superbly. It was a great aesthetic and cognitive pleasure to follow you as you guided us through the intellectual history of the main idea of Kleist's essay, from Plato through the biblical Fall of Man, to Schiller, and Kierkegaard, and Kafka. Indeed the perceptive listener's experience was so satisfying that his disappointment was doubled when he came to realize that all this erudition and beauty had been displayed only in (...) order to serve as a contrast-providing background for the sharp delineation of a reductionistic explanation which you consider to be characteristic of psychoanalysis: the interpretation of the disturbance of man's naive, unselfconscious pre-Fall state as nothing more than a portrayal of sexual impotence—the reduction of a deep existential preoccupation to a case of phimosis. I am certain that the relief I felt when you then took up Freud's demonological-neurosis paper was not an idiosyncratic response on my part but an experience shared by many open-minded listeners in your psychoanalytic audience. Let us, therefore, disregard the "text" of your sermon and consider the substantial questions that you raised after you turned to Freud; these are to my mind the most central ones that you undertook to examine in your—despite its disappointing aspects—splendid address to us. Put into my own words, your most important question was this: What is the purpose of the psychoanalyst's efforts outside the clinical setting, in particular when his contributions take the form of a pathography? That is, To what end do analysts study the psychopathology of the creators of great works? I, too, have asked myself this question, and since you read my old essay "Beyond the Bounds of the Basic Rule" , you know some of my answers. But important basic questions are hardly ever answered once and for all; and I will, therefore, under the impact of your lecture, respond as if I had heard the question for the first time. Heinz Kohut, M.D., is Professorial Lecturer in Psychiatry at the University of Chicago and a teacher and training analyst at the Chicago Institute for Psychoanalysis. His works include The Restoration of the Self, The Analysis of the Self: A Systematic Approach to the Psychoanalytic Treatment of Narcissistic Personality Disorders—which has appeared in German, French, and Italian translations—, The Restoration of the Self and collection of his essays, Scientific Empathy and Empathic Science. His "A Reply to Margret Schaefer"" was published in the Spring 1978 issue of Critical Inquiry. See also: "Psychoanalysis and the Marionette Theater: Interpretation is Not Depreciation" by Margret Schaefer in Vol. 5, No. 1. (shrink)
In _Narcissus Transformed_, Gray Kochhar-Lindgren interprets Narcissus as thematizing the tragic situation of the postmodern subject. After showing the connections between Cartesian philosophy and narcissism, he proceeds to lay out the function of Narcissus as a poetic figure of discourse in the fields of psychoanalysis and modern fiction. He moves beyond the description of narcissism to an interpretation of the conditions necessary for Narcissus, the beautiful boy captivated by his own image, to become a different kind of subject. The (...) topos of narcissism, which is first articulated by Ovid, always includes within itself a mirror, a gap, self-referential desire, and death—all of which culminate in Narcissus's inability to make space for an Other. Kochhar-Lindgren contends that this is the founding topos of modern philosophy, which is then incorporated into and transmuted by the disciplines of psychoanalysis and fiction. With the extensive work of Freud on narcissism, it becomes a central concept for psychoanalysis; and with Lacan's interpretation of the narcissist as phantom, statue, and automaton, narcissism moves into a specifically textual interpretation of subjectivity. Kochhar-Lindgren then provides close readings of fictional texts-—_The Waves_ by Virginia Woolf, _The Ogre _by Michel Tournier, and _Daniel Martin_ by John Fowles—to show more explicitly the textual construction of the narcissistic subject and to suggest ways that Narcissus might be transformed into a subject not held in thrall to the "glassy-eyed stare of Thanatos." He concludes with an enactment, from a Lacanian and fictional perspective, of the beginnings of the undoing of the narcissistic topos of contemporary culture. Narcissus steps from the self-reflective mirror into a theater; he stops longing to be a purely self-reflexive work in order to become part of the play of a text. (shrink)
This powerful study is based on the premise that literary theory is important because literature is important. Bugliani explores the intersection of tragedy with philosophy and psychoanalysis. A threefold purpose is evident: to examine the tension between philosophy and literature, to discuss the teaching of tragedy and finally to discuss that teaching in the works of Lacan, Marcel and, above all, Paul Claudel.
Abstract Occupational stress in nursing has attracted considerable attention as a focus for research and as a consequence multiple objects of nurses' stress, or 'stressors', have been identified. This paper puts into question the dominant conceptual and methodological approach to occupational stress in nursing research by both foregrounding the notion of anxiety and juxtaposing it with the notion of 'stress'. It is argued that the notion of 'stress' and the domination of the questionnaire have produced a narrow reading of the (...) topic. Some of the literature on occupational stress/anxiety in nursing is reviewed and our analysis illustrates how the identified objects of stress have a tendency to multiply contingent on the number of studies undertaken. Thus definitive objects of nurses' stress remain elusive. We argue that a return to the notion of 'anxiety' and methodological approaches other than empirical ones can bring both depth and breadth to the consideration of occupational distress in nursing. Further, we argue that the object of 'anxiety' is unconscious, thus unknown, and given this, a more informative approach is to map nurses' response to anxiety, the discursive formations arising out of anxiety, rather than attempt to define those objects of anxiety. (shrink)
This is the story of the clattering of elevated subways and the cacophony of crowded neighborhoods, the heady optimism of industrial progress and the despair of economic recession, and the vibrancy of ethnic cultures and the resilience of ...
The uncanny is the weird, the strange, the mysterious, a mingling of the familiar and the unfamiliar. Even Freud, patron of the uncanny, had trouble defining it. Yet the uncanny is everywhere in contemporary culture. In this elegant book, Nicholas Royle takes the reader across literature, film, philosophy, and psychoanalysis as he marks the trace of the uncanny in the modern world. Not an introduction in the usual sense, Nicholas Royle's book is a geography of the uncanny as (...) it manifests itself - and disturbs our thinking - in a range of disciplines. (shrink)
Ever since Freud, psychoanalysts have explored the connections between psychoanalysis and literature and psychoanalysis and philosophy, while literary criticism, social science and philosophy have all reflected on and made use of ideas from psychoanalytic theory. The Academic Face of Psychoanalysis presents contributions from these fields and gives the reader an insight into different understandings and applications of psychoanalytic theory. This book comprises twelve contributions from experts in their fields covering philosophy, psychoanalysis, sociology and literary theory. (...) The chapters are divided into three distinct sections: Psychoanalysis Philosophy Social science and literary theory Louise Braddock and Michael Lacewing successfully bring these contributions together with an in-depth introduction that allows the reader to explore the connections between the different disciplines. The multi-disciplinary approach to this book is rare; it will appeal to academics and students, from the subject areas of psychoanalysis, humanities and social science. (shrink)
Seit über 30 Jahren gibt es in den deutschen wie französischen Kultur- und Geisteswissenschaften das Bestreben, den Begriff der »Lesbarkeit« von seiner engen Bindung an den geschriebenen Text zu emanzipieren. Die vorliegende Ausgabe von Trivium lässt einige der maßgeblichen Stimmen in dieser Debatte zu Wort kommen. Auf der gemeinsamen Schnittfläche von Mikrohistorie, Semiologie, Psychoanalyse, Kulturgeschichte, Physiognomie und Mantik zeichnet sich ein neues und zugleich altes Verständnis des Lesens ab. Wenn sich in der Moderne die Frage nach dem Lesen von Spuren (...) – und damit im weiteren Sinne von Indizien, Symptomen, Vorzeichen etc. – neu stellt, so wird damit an eine archaische Praxis des Lesens neu angeknüpft, welche uns vor das unabschließbare Problem der Lesbarkeit der Welt stellt. -/- Lire. Voilà une chose que ne réfléchissent plus les sur-alphabétisés que nous sommes, habitués à ingérer les signes sans y prendre garde. Repenser la lecture et l’investir d’une fonction critique suppose de méditer la lettre en revenant à son antériorité : se souvenir que, de tout temps et avant tout livre, il y a eu des lecteurs. Des lecteurs – littéralement – avant la lettre. L’art de la lecture réunit le chasseur lisant les déjections des animaux dans les forêts, l’astronome babylonien scrutant les cartographies stellaires, le pêcheur hawaïen lisant les courants marins en plongeant dans l’eau sa main et l’amant déchiffrant aveuglément le corps de l’aimée. On apprend à lire non seulement des textes, mais encore des partitions de musique, des tableaux de peinture, des cartes à jouer, des notations chorégraphiques, des sillons dans la terre, des tourbillons dans l’eau, des gestes révélateurs ou bien des rêves. (shrink)