Search results

You are looking at 61 - 70 of 1,337 items for :

  • Refine by access: All content x
Clear All
Abstract only
Elisabeth Bronfen and Beate Neumeier

of the fact of his own death – of creating a ‘double’ in which an earlier, more ‘friendly aspect’, the person of the accomplished concert pianist, reduced to a skull, is now transformed into an object of terror. The reasoning here is, of course, that of Freud’s essay ‘The Uncanny’, although for the actor playing Hamlet death is a recurrent feature of performance. Indeed, in

in Gothic Renaissance
Abstract only
Nature and spirit
David Punter

. His fame in England seemed – wrongly, as it turned out – secured when he embarked on a radio career in 1934, which later took him on to television as a story-teller and led in 1949 to the award of a CBE for services to literature. Blackwood was interested in science; he was interested in psychology and psychoanalysis, and was an avid reader of Freud; he was interested in various strands of late

in Ecogothic
Elisabeth Bronfen

PART I Death – the epitome of tropes If we cannot see things clearly we will at least see clearly what the obscurities are. Sigmund Freud

in Over her dead body
Abstract only
Kate Ince

the hermetic, predictable and phallocentric frameworks on which psycho analytic criticism has often relied – Freud’s Oedipalism and Lacan’s concept of the Symbolic order. In this context, it should perhaps not be forgotten that Franju was a lifelong depressive who regarded psychoanalysis as an art rather than a science (70). However, it was not analysis he depended on to keep him going, but his work: ‘if I don’t work I’m down and if I do I’m up

in Georges Franju
Abstract only
Fred Botting

’( Derrida, 1981 : 268). This affirmation of an originary absence to meaning or truth, sketched in terms of sexuality and reproduction by Derrida (‘virgin substance’, ‘generation’, ‘dis semination ’) is linked to the play of the uncanny in Freud, a play in which the meaning of the word ‘ unheimlich crosses from familiar to strange, homely to unhomely, canny to

in Limits of horror
Louise Tondeur

reviews to the Sedgwick makes clear is that both masturbation and pubic hair are about sexuality itself, in its most dangerous and threatening manifestations. The notions embedded in the Terry Eagleton quotation are reminiscent too of another thinker, in that the most (in)famous essay on pubic hair is Freud’s The Medusa’s Head . It is interesting to note, then, that narcissism is also a famous Freudian concept. That sexuality is directly linked by Freud to health and well-being is almost too obvious to point out, but it makes the reviewers

in The last taboo
Abstract only
Drugs in theory
Dave Boothroyd

experimental readings of a number of texts by writers whose own diverse inquiries into the condition of modernity have found prominence in the annals of twentieth-century philosophy and cultural theory. This resulting cocktail of chapters I pass on to the reader to take as they wish. Together they offer a series of oblique and partial entries principally to the work of Freud, Benjamin, Sartre, Derrida, Foucault and Deleuze, in each case from the perspective of their encounters with drugs or on the basis of where the theme of ‘drugs’ touches upon their writings. This book

in Culture on drugs
Abstract only
Emma Robinson-Tomsett

expectation that women would assume any (supposedly) masculine attributes, such as being overly learned or too interested in topics such as nature and technology: they were unable to employ these journey discourses as substantially as they might have wished when they published their accounts because they were not deemed fitting topics for women. The journey(er) gaze was also gendered in one particular aspect. In her essay on the spectator and the cinema, Laura Mulvey utilized Sigmund Freud’s psychoanalytic definition of gazing as socophilic. She argues that Freud associated

in Women, travel and identity
Abstract only
A reading of Charles Olson’s ‘The Lordly and Isolate Satyrs’
Stephen Fredman

be compared to Allen Ginsberg’s ‘Howl’, Robert Frank’s photographs in The Americans, Kenneth Anger’s film Scorpio Rising, and the social posture of cool rebellion in Hollywood movies and Pop songs of the era. ‘The Lordly and Isolate Satyrs’ was written in April 1956 and based on a dream. A serious reader of Freud and Jung, Olson believed that dreams supply essential psychic information that cannot be obtained by other means. The narrative voice of the poem bears the hallmark of MUP_Herd_Printer.indd 181 21/11/2014 12:39 182 Section IV: History dream

in Contemporary Olson
Le Diable probablement and L’Argent
Keith Reader

We have often enough seen how important the death-drive, Thanatos, is for Bresson’s work. Freud’s Civilisation and its Discontents describes ‘the struggle between Eros and Death, between the instinct of life and the instinct of destruction’ as ‘what all life essentially consists of’ (Freud [1930] 1961 : 82), and Bresson’s last two films foreground that struggle with particular

in Robert Bresson