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John Gibbs

the characters can openly express themselves in dance or decisive action – we encounter both the bond between character psychology and visual style, and the metaphorical use of psychoanalytic terms and concepts which underlie much of Elsaesser’s argument and find particular expression in the second of his models of melodramatic mise-­en-­scène. Character into décor Elsaesser argues that one factor in the development and reception of the postwar family melodrama was America’s ‘discovery’ of Freud: ‘the connections of Freud with melodrama are as complex as they are

in The life of mise-en-scène
The (un)homeliness of Gainsbourg’s persona
Felicity Chaplin

figure’ in the film ‘as she was playing a demonic wife [in Antichrist ]’ . Despite the strange location Gainsbourg ‘exudes a sympathetic, matter-of-fact naturalness’. Holden here points to another important contradiction in Gainsbourg’s persona, which is brought into play particularly during this stage of her career: she is both ‘striking’ and ‘natural’, both out of place and at home. It is a strange familiarity one experiences watching Gainsbourg during this period, which the German term unheimlich or ‘unhomely’ describes well and which, as Freud points out in his

in Charlotte Gainsbourg
Charles Olson, Susan Howe, Redell Olsen
Will Montgomery

_Herd_Printer.indd 166 21/11/2014 12:39 Charles Olson, Susan Howe, Redell Olsen 167 Call Me Ishmael makes explicit use of psychoanalysis as a critical tool. One means of explicating the repressed savagery in Melville lies, for Olson, in an adaptation of Freud’s theory of the primal horde, as expressed in Moses and Monotheism, in which the founding moment of the institution of society is the murder of the father/leader by his sons. (Olson wrote Call Me Ishmael before he came under the sway of Jung.)26 Moby-Dick is for Olson a book of the ‘old dispensation’, predating the feminising

in Contemporary Olson
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‘The world of things’: an introduction to mid- century gothic
Lisa Mullen

, narratives about gothic objects not only expressed the psychological residues which attached to mid-century things, but carried a hefty cargo of political freight. The terms ‘gothic’ and ‘uncanny’ connect this emergent critique of consumerism with a tradition of literary insubordination which goes back to Horace Walpole’s The Castle of Otranto . 23 Freud’s essay on ‘The Uncanny’ (‘Das Unheimliche’) was itself a critique of a gothic text, E.T.A. Hoffmann’s ‘The Sandman’, and made explicit for the first time the way gothic literature had foreshadowed

in Mid-century gothic
Fred Botting

functions and expectations, something that, though inassimilable to sense, remains at the heart of subjectivity and culture. The death drive introduces heterogeneity, difference and something daemonic into everyday exchange. It is Freud, of course, who speculates on the significance of the child’s game. The game played by his grandson intrudes in the grandfather’s hesitant, repetitive and circuitous pursuit

in Limits of horror
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The cultural unconscious of the Celtic Tiger in the writings of Paul Howard
Eugene O’Brien

it is through such fictional representations that the ‘real’ of this period can be accessed. Humour, according to Sigmund Freud, can be ‘purposive’, and he goes on to define this purposivity in terms of its ‘tendency’ to run ‘the risk of ruffling people who do not wish to hear it’ (Freud 1922, p. 128). Howard’s work is an example of such tendency-­ wit. Even the rhyming slang has an exclusionary quality to it, as those who are part of the elite group are aware of the rhyming significations, while those who are not part of this group are not, and are left at an

in From prosperity to austerity
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The joys of literature and the return of the dead
Nicholas Royle

hard not to feel the informing spirit of Derrida, whom Cixous elsewhere memorably describes as ‘the dreamer-philosopher, the only one, the martyr, the torn-between philosophy and naïveté’. 6 In particular, ‘Avertissements’ resonates from the beginning with Derrida’s ‘To Speculate – on “Freud” ’ in La Carte postale (1980), which starts with a section bearing the same title, ‘Avertissements’ (translated by Alan Bass as ‘Notices (Warnings)’). 7 Cixous, then, invokes Derrida’s reading of Freud’s Beyond the Pleasure Principle without naming him as such

in Hélène Cixous
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The tattoo as navel in Louisa May Alcott’s ‘V.V.: Or, plots and counterplots’
Alexander N. Howe

problematises any final marking – and thus knowing – of the woman. Virginie’s tattoo in fact serves as the navel of the story, in the sense spoken of by Sigmund Freud, Jacques Lacan, Shoshana Felman and others – that is, a tangled knot of signification that remains impenetrable to interpretation. The navel marks that point where signification traumatically touches the body, yet in this tangle the body likewise speaks through its disruption of narrative. Alcott engages this disruption by embodying Virginie incessantly and inscrutably throughout the story, thus proleptically

in Tattoos in crime and detective narratives
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Catholic imagination, modern Irish writing and the case of John McGahern
Frank Shovlin

Communion would regularly pass out in the bad air and have to be carried outside. Not to attend Sunday Mass was to court social ostracism, to be seen as mad or consorting with the devil.’ In such a world, heaven, hell and purgatory were as real to him as England or America. But this intense, unquestioning belief slipped away from him as an adolescent so that, as he memorably puts it, he awoke one day ‘like a character in a Gaelic poem’ and realised he was no longer dreaming. ‘The way I view that whole world now’, he writes, ‘is expressed in Freud’s essay “The Future of an

in Irish Catholic identities
Jonathan P. Eburne

documentary trace, the retrospectively constituted object of fascination for the interwar avant-garde. I propose instead to situate it among contemporary thinking about the problem of recording and assessing historical experience. Thus we might consider Fantômas less as an object for Benjaminian or surrealist analysis alone, than as a project contemporary with other ongoing efforts to comprehend the special resonance of historical truth, from the work of Nietzsche, Freud and Bergson, to the work of that other great serial writer of the belle époque, Marcel Proust. The

in 1913: The year of French modernism