Through the prisms of psychoanalysis and narrative theory the article addresses the concepts of temporality and transgenerational phantom in Elizabeth Gaskells Gothic piece ‘The Poor Clare’ (1856). Gaskells text, which revolves around an ancestral curse, is but a loose repetitious narrative characterized by the circularity of its structure and tone – its end casting one back into its middle – with its narrator narrating the past locked into the present, which is completely determined by the future, by the curse to be fulfilled. Narration becomes unsettling and obsessional, revealing the texts shared phantoms/foreign bodies as these implicate the characters and the narrating persona in a complex web of unconscious identifications and psychic splits, eventually coming to congeal around the biblical prophecy: ‘the sins of the fathers shall be visited upon the children’. In being reiterated throughout, the cryptic and (encrypted) words reaffirm both the efficacy of the curse –which always already doubles back on the one that has hurled it – and the texts playing out of desire and trauma, thus rendering the celebrated subject of the Enlightment both an ailing subject and an alien to itself.
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.
This book looks at sovereignty as a particular form of power and politics. It shows that the fate of bodies in the transition from life to death can provide a key to understanding fundamental ways in which sovereignty is claimed and performed. The contributions analyse (post-)conflict as well as non-conflict contexts, which too often are studied in isolation from one another. Focusing on contemporary issues rather than the equally important historical dimensions, they all grapple with the questions of who governs the dead bodies, how, why and with what effects. The book analyses how dead bodies are placed and dealt with in spaces between competing, overlapping and nested sovereign orders, under normal as well as exceptional conditions. It looks at contributions that draw on psychoanalysis, critical theory, the structuralist-functionalist anthropology of burial rituals and recent ideas of agency and materiality. The book first explains the efforts of states to contain and separate out dead bodies in particular sites. It explores the ways in which such efforts of containment are negotiated and contested in struggles between different entities that claim the dead bodies. The book then shows how entities that claim sovereignty produce effects of sovereignty by challenging and transgressing the laws regarding the legitimate use of violence and how dead bodies should be treated with dignity.
Conducting an analysis of some of the most candid interview materials ever gathered from former Irish Republican Army (IRA) members and loyalists in Northern Ireland, this book demonstrates through a psychoanalysis of slips of the tongue, jokes, rationalisations and contradictions that it is the unconscious dynamics of the conflict — that is, the pleasure to be found in suffering, failure, domination, submission and ignorance, and in rivalry over jouissance — that lead to the reproduction of polarisation between the Catholic and Protestant communities. As a result, it contends that traditional approaches to conflict resolution which overlook the unconscious are doomed and argues that a Lacanian psychoanalytic understanding of socio-ideological fantasy has great potential for informing the way we understand and study all inter-religious and ethnic conflicts and, as such, deserves to be further developed in conflict-management processes. Whether readers find themselves agreeing with the arguments in the book or not, they are sure to find it a change from both traditional approaches to conflict resolution and the existing mainly conservative analyses of the Northern Ireland conflict.
This book demonstrates that incest was representative of a range of interests crucial to writers of the Gothic, often women or homosexual men who adopted a critical stance in relation to the heteronormative patriarchal world. In repositioning the Gothic, representations of incest are revealed as synonymous with the Gothic as a whole. The book argues that extending the traditional endpoint of the Gothic makes it possible to understand the full range of familial, legal, marital, sexual and class implications associated with the genre's deployment of incest. Gothic authors deploy the generic convention of incest to reveal as inadequate heteronormative ideologies of sexuality and desire in the patriarchal social structure that render its laws and requirements arbitrary. The book examines the various familial ties and incestuous relationships in the Gothic to show how they depict and disrupt contemporary definitions of gender, family and desire. Many of the methodologies adopted in Gothic scholarship and analyses of incest reveal ongoing continuities between their assumptions and those of the very ideologies Gothic authors strove to disrupt through their use of the incest trope. Methodologies such as Freudian psychoanalysis, as Botting argues, can be positioned as a product of Gothic monster-making, showing the effect of Gothic conventions on psychoanalytic theories that are still in wide use today.
This volume tells the story of the case study genre at a time when it became the genre par excellence for discussing human sexuality across the humanities and the life sciences. A History of the Case Study takes the reader on a transcontinental journey from the imperial world of fin-de-siècle Central Europe and the Austro-Hungarian Empire to the interwar metropolises of Weimar Germany, and to the United States of America in the post-war years. Foregrounding the figures of case study pioneers, and always alert to the radical implications of their engagement with the genre, the six chapters scrutinise the case writing practices of Sigmund Freud and his predecessor sexologist Richard von Krafft-Ebing; writers such as Leopold von Sacher-Masoch, Oskar Panizza and Alfred Döblin; Weimar intellectuals such as Erich Wulffen, and New York psychoanalyst Viola Bernard. There result important new insights into the continuing legacy of such writers, and into the agency increasingly claimed by the readerships that emerged with the development of modernity—from readers who self-identified as masochists, to conmen and female criminals. Where previous accounts of the case study have tended to consider the history of the genre from a single disciplinary perspective, this book is structured by the interdisciplinary approach most applicable to the ambivalent context of modernity. It focuses on key moments in the genre’s past, occasions when and where the conventions of the case study were contested as part of a more profound enquiry into the nature of the human subject.
This is the first extensive study of literary swooning, homing in on the swoon’s long, rich and suggestive history as well as its potential for opening up new ways of thinking about the contemporary. From the lives of medieval saints to recent romance fiction, the swoon has had a pivotal place in English literature. This study shows that swoons have been intimately connected to explorations of emotionality, ecstasy and transformation; to depictions of sickness and of dying; and to performances of gender and gendering. A literary history of swooning is therefore also a history of crux points for how we imagine the body, and for evolving ideas of physiology, gender, and sexuality. Tracking the history of the figure of the swoon from the thirteenth to the twenty-first century, this study suggests that the swoon has long been used as a way to figure literary creation and aesthetic sensitivity: from the swoons of early mystics to contemporary literary-theoretical depictions of destabilised subjects, literary faints have offered a model of overwhelming, aesthetic, affective response. In the work of Chaucer and Shakespeare, swoons are seen as moments of generic possibility, through which the direction of a text might be transformed. In romantic, gothic and modernist fiction, this study focuses on morbid, feminised swoons used by writers who reject masculinist, heteronormative codes of health. In contemporary romance fiction, irony, cliché and bathos shadow the transformative possibilities of the swoon. This book offers an exciting new way to examine the history of the body alongside the history of literary response.
This groundbreaking book highlights, for the first time, a generation of women making art to define a culture of experimental thought and practice against the backdrop of the French women’s movement, or Mouvement de libération des femmes (MLF) (1970–1981). Women’s art is viewed in relation to some of the most exciting thinkers emerging from radical trends in philosophy and literature in France in the 1970s – Hélène Cixous, Luce Irigaray and Julia Kristeva – who are widely seen to represent the international brand of ‘French feminism’. The women artists in this book force a timely reconsideration of the full spectrum of revolutionary practices by women in the years that followed the events of May ’68.
Psychoanalysis plumbs the depths of
how we imagine ourselves, how we establish worldviews and values, and
how we relate out of these. 1
According to Anthony Elliott, psychoanalysis ‘powerfully accounts
for the … essential and primary foundations of all human social
activity’, 2 namely
representation, fantasy, identification and
Psychoanalysis in 1934 was no longer a particularly
young discipline. Sigmund Freud had published The Interpretation of Dreams , with its
new theory of the unconscious mind and an early version of the Oedipus complex, some
thirty-five years earlier in 1899 (dating it 1900 to emphasise its novelty and modernity).
The Vienna Psychoanalytic Society was founded in 1902, and the International Psychoanalytic
Association (IPA) in 1910. By the mid-1930s, Freud was in his late seventies with most of his