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Nicholas Royle

enchantment and enchancement, fate and (in Freud’s phrase) ‘a kind of magic’, perhaps, and above all the fairy or demon of literary fiction . 1 As Derrida comments, with respect to the fort-da movement of Beyond the Pleasure Principle : ‘ “literary fiction” … already watches over, like a fairy or demon [ comme une fée ou un demon ], the structure of the fort:da , its scene of writing or of inheritance in dissemination’. 2 It watches over everything, it watches, it wakes, to awake: fairyground analysis. They’re not interested in resting inter or transitioning, in

in Hélène Cixous
Peter Barry

openly faced, rather than remaining ‘buried’ in the unconscious. This practice is based upon specific theories of how the mind, the instincts, and sexuality work. These theories were developed by the Austrian Sigmund Freud (1856–1939). There is a growing consensus today that the therapeutic value of the method is limited, and that Freud's life-work is seriously flawed by methodological irregularities. All the same, Freud remains a major cultural force, and his impact on how we think about ourselves has been incalculable. Freud's major ideas include those italicised

in Beginning theory (fourth edition)
Abstract only
Jeremy Tambling

This chapter engages with Jacques Lacan’s influential ‘return to Freud’, and that requires engaging with some Freud texts examined only partially so far: The Interpretation of Dreams, Jokes and Their Relation to the Unconscious, ‘Instincts and Their Vicissitudes’ and Beyond the Pleasure Principle. I discuss four of Lacan’s essays in the Écrits, and

in Literature and psychoanalysis
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Narco-cultural studies of high modernity
Author: Dave Boothroyd

Never has a reconsideration of the place of drugs in our culture been more urgent than it is today. Drugs are seen as both panaceas and panapathogens, and the apparent irreconcilability of these alternatives lies at the heart of the cultural crises they are perceived to engender. Yet the meanings attached to drugs are always a function of the places they come to occupy in culture. This book investigates the resources for a re-evaluation of the drugs and culture relation in several key areas of twentieth-century cultural and philosophical theory. Addressing themes such as the nature of consciousness, language and the body, alienation, selfhood, the image and virtuality, the nature/culture dyad and everyday life – as these are expressed in the work of such key figures as Freud, Benjamin, Sartre, Derrida, Foucault and Deleuze – it argues that the ideas and concepts by which modernity has attained its measure of self-understanding are themselves, in various ways, the products of encounters with drugs and their effects. In each case, the reader is directed to the points at which drugs figure in the formulations of ‘high theory’, and it is revealed how such thinking is never itself a drug-free zone. Consequently, there is no ground on which to distinguish ‘culture’ from ‘drug culture’ in the first place.

Open Access (free)
Sara Haslam

chopped up in bits’, posed The narrative push 21 a model of the self divided into three components: material, social and spiritual – and he said to Freud in 1909 that ‘the future of psychology belongs to your work’.4 Psychoanalysis emerged as simply ‘a psychology that emphasised the unconscious mind’,5 rather than its conscious counterpart. Indeed, Richard Slobodin has claimed that ‘in the pre-war years there was no great gulf between psychoanalysis and the experimental forms of neurology and psychology’, reminding us that Freud had been a neurologist.6 But the

in Fragmenting modernism
Norman Etherington

At some time between July 1897 and September 1899, Sigmund Freud dreamed about H. Rider Haggard’s novels. Freud habitually summoned writers to his aid when interpreting dreams but rarely surprised them in his bedchamber. How did the author of King Solomon’s Mines get in? Freud himself insisted that nothing in dreams should be dismissed as trivial or fortuitous, so the

in Imperium of the soul
Anna Green and Kathleen Troup

historians, psychoanalysts, and ‘psychohistorians’ to date, however, suggests that no such simple solution exists, and of course, as we see below, such a solution has been critiqued as ‘ahistorical’. This chapter focuses on the use of psychoanalysis (a subset of psychology) in history: uses of other forms of psychology are discussed in later chapters, in particular in chapter 15 on the emotions. 4 Psychoanalytic theory was developed by Sigmund Freud in the late nineteenth and early twentieth centuries, but was little employed by historians in the first half of the

in The houses of history
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Nicholas Royle

sights a point he is on his mark, he is off, he is gone. In the opposite direction. In all the opposite directions. 3 In these fleeting sentences we have it all – the divivacity of Derrida and Cixous, their strange intimacy and difference, marked in particular in the irony of the ‘fundamental axiom’, the shared affirmation of ‘the divisibility of the point’, the seriousness (‘point of honour’) but also the humour (point of donation, gift or give-laughter) that plays over the writing, the embrace of psychoanalysis (especially Freud) in complicating

in Hélène Cixous
Ronit Lentin

were killed’ (Neslen 2006: 143). Unlike Ben Yehuda, some Israeli Jewish resisters travelled a long way to our current oppositional stance, as I write in Chapter 5. In this chapter I want to suggest that ‘our’ passionate love for the land is tinged with deep melancholia. Melancholia as the impetus to evoking the Nakba is the central argument of this book. I begin this chapter with a discussion of Freud’s ‘Mourning and melancholia’ (1957) in which he distinguishes between mourning, a normal process of coming to terms with the loss of a loved object, a process that

in Co-memory and melancholia
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Dana Arnold

described almost simultaneously. However, in the pre-Freudian world of the long eighteenth century this form of writing opened the door to what was to become known as the human subconscious. And it is helpful to use Freud anachronistically to understand the role of memory in the subjective experience of Rome. Importantly, too, Freud gives us some insight into the part prints played in the memorialisation of cities. There is no doubt of the importance of the city – not least Rome – as a means of describing the workings of the mind. For instance in Freud’s Civilization

in Architecture and ekphrasis