sovereignty. But it is more likely that the world system will go
through a prolonged period of turbulence and wars provoked by sudden changes and increasingly
unstable alliances, precisely because it is reproducing the history of the formation of the
European state system on a planetary scale.
Translated from Portugese by Juliano Fiori.
In the psychological and psychoanalytical theories of Sigmund Freud and Carl Jung, as in the
structural anthropology of Claude Lévi-Strauss, mythology occupies a
Not only did Sigmund Freud know literature intimately, and quote liberally from literatures of several languages, he has also inspired twentieth-century writers and philosophers, and created several schools of criticism, in literary and cultural studies. Freud was not just practising psychotherapy on his patients, helping them in difficult situations, but helping them by studying the unconscious as the basis of their problems. This book deals with Freud and psychoanalysis, and begins by analysing the 'Copernican revolution' which meant that psychoanalysis decentres the conscious mind, the ego. It shows how Freud illuminates literature, as Freud needs attention for what he says about literature. The book presents one of Freud's 'case-histories', where he discussed particular examples of analysis by examining obsessional neurosis, as distinct from hysteria. It analyses Freud on memory, in relation to consciousness, repression and the unconscious. Guilt was one of his central topics of his work, and the book explores it through several critical texts, 'Criminals from a Sense of Guilt', and 'The Ego and the Id'. The book discusses Melanie Klein, a follower of Freud, and object-relations theory, while also making a reference to Julia Kristeva. One of the main strands of thought of Jacques Lacan was the categories of the Imaginary, the Symbolic, and the Real, as well as paranoia and madness, which are linked to literature here. The book finally returns to Freud on hysteria, and examines him on paranoia in Daniel Paul Schreber, and the psychosis of the 'Wolf Man'.
This book provides a lucid, wide-ranging and up-to-date critical introduction to the writings of Hélène Cixous (1937–). Cixous is often considered ‘difficult’. Moreover she is extraordinarily prolific, having published dozens of books, essays, plays and other texts. Royle avoids any pretence of a comprehensive survey, instead offering a rich and diverse sampling. At once expository and playful, original and funny, this micrological approach enables a new critical understanding and appreciation of Cixous’s writing. If there is complexity in her work, Royle suggests, there is also uncanny simplicity and great pleasure. The book focuses on key motifs such as dreams, the supernatural, literature, psychoanalysis, creative writing, realism, sexual differences, laughter, secrets, the ‘Mother unconscious’, drawing, painting, autobiography as ‘double life writing’, unidentifiable literary objects (ULOs), telephones, non-human animals, telepathy and the ‘art of cutting’. Particular stress is given to Cixous’s work in relation to Sigmund Freud and Jacques Derrida, as well as to her importance in the context of ‘English literature’. There are close readings of Shakespeare, Emily Brontë, P. B. Shelley, Edgar Allan Poe, Lewis Carroll, Virginia Woolf, James Joyce and Samuel Beckett, for example, alongside in-depth explorations of her own writings, from Inside (1969) and ‘The Laugh of the Medusa’ (1975) up to the present. Royle’s book will be of particular interest to students and academics coming to Cixous’s work for the first time, but it will also appeal to readers interested in contemporary literature, creative writing, life writing, narrative theory, deconstruction, psychoanalysis, feminism, queer theory, ecology, drawing and painting.
Some of the most compelling and enduring creative work of the late Victorian and Edwardian Era came from committed imperialists and conservatives. This book explores the relationship of the artists with conservatism and imperialism, movements that defy easy generalisations in 1899. It does so by examining the work of writers Rudyard Kipling, Joseph Conrad, Rider Haggard and John Buchan along with the composer Edward Elgar and the architect Herbert Baker. The book presents an analysis of their mutual infatuation with T. E. Lawrence, or Lawrence of Arabia, who represented all their dreams for the future British Empire. It also explores the reasons why Lawrence did not, could not, perform the role in which his elder admirers cast him, as creative artist and master statesman of British Empire. Haggard's intrusion into Sigmund Freud's dream world at a critical point in the development of psychoanalytic theory suggests a divergent approach to the novels of imperial adventure. Writing imaginative literature about India as an imperialist enabled Kipling to explore a whole universe of perverse and forbidden pleasures without blowing the top off the volcano. Elgar occupies a higher position in the world of classical music than anyone imagined even at the zenith of his popularity in the Edwardian era. John Buchan mixed art and politics to a greater extent than any British writer, especially with his 'The Loathly Opposite'. The real-life political counterparts of the imperial romance were Britain's experiments with indirect rule from Fiji and Zululand to Nigeria and Tanganyika.
proposed in the period of ‘high structuralism’, a framework that even Althusser eventually had recanted.
I have instead sought points of common contact or even prospective contact between the Gramscian and Institute projects.
The guiding principle here is my focus on a critical sociological approach to demagogic populism. The first of these is based on the pivotal role Freud's Group Psychology plays for both Adorno and Laclau
Before discussing psychoanalysis and
literature, we must ask the question: who was Freud, creator of
psychoanalysis, whose name, as an adjective –
‘Freudian’ – invokes unconscious thought and
motivations, and sexuality?
He was born on 6 May 1856, in Pribor, then called Freiberg,
in Moravia, in the now Czech Republic, then part of
On 25 January 1920 Sophie
Freud-Halberstadt, aged twenty-six, died of influenzal pneumonia,
‘snatched away’ in Sigmund Freud’s words
‘from glowing health, from her busy life as capable mother and
loving wife, in four or five days, as if she had never
collectively referred to as
creative artists. Both psychiatric discourse and the more conservative
strand of psychoanalytic discourse provided a powerful new lens through
which to interpret b
iographies of exceptional human beings. Artist
pathographies, or psychiatric case studies of creative artists, expanded
the case study genre towards biography and presented readers with new
insights into the private lives of particular creative artists.
Sigmund Freud and his pupil Otto Rank brought contrasting approaches to enquiring into aspects of artistic personality, creativity and
every case is alert to the effect of gender in relation to
them. Rather than ponder the nature of the subject, for example, as though
it were a universal subject (and therefore implicitly male), Irigaray
discusses sexually different subjects; rather than consider desire in itself,
Irigaray works with sexually different desire.
This emphasis on desire and sexual difference obviously intersects
with the psychoanalytic theories of Freud and Lacan, theories which had
enormous impact on French philosophers of the time. Irigaray, in common
with most other psychoanalytic
I wake up awash in the cries of herring gulls, not yet light, and am thinking what an extraordinary thing, in 2017, to have received a letter from Freud, fresh this morning, written in English. It’s the ever-odd of the hypnopompic, how much can be held, recalled, cradled before the great tsunami of oblivion called ‘everyday life’. I know that there were several sentences, already receding in a great silent sucking motion, passed all tensions, all tense past, but the only words that survive the experience of being hauled up out of the quicksands of sleep