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The veil in me
Nicholas Royle

’ of the ‘primal scenes’ of Cixous’s book. It is a terrifying terrified scene of looking, as Freud’s notion of primal scene might lead us to expect. And as in the Freudian version, too, it is a scene scored by deferred effect. But it is also singular and quite other. It is not obviously ‘sexual’ or straightforwardly ‘in the family’ (the classic Freudian case of a child watching and being traumatised by the violence of sexual intercourse between his or her parents). It is not uncannily private (a domestic scene that ‘ought to have remained secret and hidden’), but

in Hélène Cixous
Christina Petraglia

reminded of his inevitable mortality in a modern world where ‘tame death’ (Ariès, 1981 : 603–5), which is accompanied by an afterlife, no longer necessarily exists. In his essay ‘The Uncanny’ (1919), Freud emphasises the modern shift in the double’s meaning in relation to death: while in primitive times, the double was ‘an assurance of immortality’, in a secularised world, the

in The Gothic and death
Elisabeth Bronfen

If a woman insists she can and does love and her living isn’t loveless or dead, she dies. So either a woman is dead or she dies. Kathy Acker Freud

in Over her dead body
Gerry Smyth

and the Hero’) with which I commenced this book. Besides the usual points relating to Judas’s role in expediting the act of sacrifice upon which the Christian myth is based, Borges proposes that, in so far as he’s the one who takes on the burden of irredeemable suffering and unforgivable guilt throughout history, Judas, rather than Jesus, is God’s manifestation on Earth. The traitor as saviour: now, there’s a thought to conjure with. Sigmund Freud and the betraying animal What was going through Judas’s mind when he opted to hand his master over to his enemies? We

in The Judas kiss
Minding the gap in The Winter’s Tale
Elisabeth Bronfen and Beate Neumeier

time . Sensible Cleomenes is therefore anticipating Freud’s thesis in ‘Mourning and Melancholia’ that the work mourning performs consists of a painful yet possible withdrawal from the lost loved one by means of an interiorizing idealization which can be figured as a devouring (cf. Freud 244). But Paulina thinks she knows better, and foreshadows both Gothic fiction and Derridean

in Gothic Renaissance
Open Access (free)
Literary satire and Oskar Panizza’s Psichopatia criminalis (1898)
Birgit Lang

acknowledgement of Krafft-Ebing’s new intellectual adventures in the world of sexual perversion, nor of the explorations of hysteria undertaken respectively by Ganser, Sigmund Freud and Josef Breuer. The dialectic in Psichopatia criminalis is the exaggeration that any thought directed against authority both undermines the order of the German state and constitutes the symptom of a psychiatric illness that requires institutionalisation. Ultimately, of course, this implies that all human beings need to be committed to a mental asylum.23 Panizza’s technique of negation is repeated

in A history of the case study
Elisabeth Bronfen

question that grounds human existence, on the basis of which life can be defined even as no fixed answer, no stable truth can emerge. Death and femininity function as privileged enigmas to be solved yet also defying decipherment in another sense; they must not be solved, must be left open, undecided, indeterminate, marking the limit a system sets itself. Significantly, Freud aligns

in Over her dead body
Bonnie Evans

sale of 62,000 copies of his book in the English language, with more in translation, ‘I am ever more convinced that these principles are valid.’ 11 Furthermore, in 1938, Freud and his family moved from Vienna to London in order to escape persecution. Freud’s psychological take on instincts, society and individualism was becoming increasingly well known in Britain, in

in The metamorphosis of autism
Naomi Booth

). The most famous vampire text, Dracula (1897), coincides with the early development of psychoanalysis; its swoon-states express deep anxieties about interference and thought transference, anxieties that also dogged the development of psychoanalysis and Freud's treatment of swooning hysterics. I propose a set of correspondences between the vampiric swoon-states of Dracula , the early hypnotic treatment of hysteria, and psychoanalysis's anxious relation to telepathy and occult modes of thinking. I argue that the swoon iconises a pleasurable softening into

in Swoon
Open Access (free)
Chantal Chawaf ’s melancholic autofiction
Kathryn Robson

position of a melancholic: ‘La blessure que je viens de subir’ (p. ; my italics) (‘The wound I have just suffered’ (p. )). In speaking as a melancholic, rather than as an analyst, she seems to suggest that melancholia demands a first-person subject position.  Rewriting the past Yet psychoanalytic theories of melancholia following from Freud repeatedly emphasise that melancholia precisely cannot be spoken in the first person. In this chapter, I focus on the figure of the female vampire in Vers la lumière in order to explore what it means to ‘write melancholia’ in the

in Women’s writing in contemporary France