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Patrick Duggan

were all wicked or evil there ‘would be no problem’ in understanding why (and how) tragedy gives pleasure (Nuttall 1996: 1). He goes on to juggle the notion of an underlying evil in humankind, both denying it with ease and then reintroducing it as a possibility when reading Freud. The idea that we might derive pleasure from tragedy because we might be inherently evil is the central philosophical dilemma that Nuttall grapples with throughout and which stimulates the deceptively simple question of the title. His detailed and complex reading of multiple writers and

in Trauma-tragedy
Open Access (free)
Art as the ‘organ of philosophy’
Andrew Bowie

becomes manifest that nature is originally identical with what is known in us as intelligent and conscious’ (I/3 p. 341). Schelling attempts to address the identity of the processes of nature with the processes of thought in terms now more familiar from Freud. Nature is described as being ‘unconsciously’ productive, and ‘mind’ as being ‘consciously’ productive. Manfred Frank and Gerhard Kurz suggest that ‘Freud and Schelling both presume that consciousness means becoming conscious, a fragile synthesis of voluntary and involuntary motivations, and that this consciousness

in Aesthetics and subjectivity
Rowland Atkinson and Sarah Blandy

evocations of the self or the family we want in our homes; gestures to buttress what we want to be. (Wright, 1991: 223) Such reflections place us in a kind of limbo – caught between a worrisome world outside and the possible fear of life within the household and home – feelings of agoraphobia that operate in tension with domophobia (fear of the home). This may seem an overstatement, so let us turn for a moment to Freud’s essay on the unheimlich (or unhomely/ uncanny) and its deeper associations. For Freud, the homely (heimlich) is connected to ideas of homeliness

in Domestic fortress
Red love and the Americanization of Marx in the interwar years
Jesse F. Battan

economics.” Since the same sorts of changes were occurring in capitalist countries as well as in the Soviet Union, Dell was skeptical that changes in sexual morality were an expression of class interests driven by economic conditions rather than the result of the changes wrought by industrialization and the psychology—the idiosyncratic needs—of the individual. In questioning the explanatory power of the theories of Marx rather than Freud to explain these changes, he concluded his review with a challenge to Calverton and “other philosophers of the revolutionary movement

in Marxism and America
W. G. Sebald’s Corsica
Graeme Gilloch

consultations by widow(er)s and orphans who are drawn to them for advice ‘über die Nutzung des Landes und sonstige die rechte Lebensführung betreffende Fragen’ (‘on the cultivation of the land and other matters to do with the correct conduct of life’ (2003b: 27; 2005b: 24–5)). On Corsica, the dead make themselves very much ‘at home’ (2005b: 24) among the living. And this homeliness is, of course, unhomely, the very ambiguity of heimlich–unheimlich that Freud famously explored in his 1919 essay ‘The Uncanny’ (1955: 234–6). The uncanny, for him, is to be understood as that

in A literature of restitution
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Heroism, masculinity and violence in Vietnam War narratives
Angela K. Smith

regarding these paradoxical emotions than Owen might have chosen to be. Caputo’s memoir, A Rumor of War , consciously debates issues such as heroism, masculinity, violence and sexuality, identified and linked by Freud at the beginning of the twentieth century, but more confidently verbalised in the aftermath of Vietnam than after any previous war. This chapter seeks to explore this verbalisation, through

in Gender and warfare in the twentieth century
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Technology, bodies, Gothic
Author: Fred Botting

Horror is not what it used to be. Nor are its Gothic avatars. The meaning of monsters, vampires and ghosts has changed significantly over the last 200 years, as have the mechanisms (from fiction to fantasmagoria, film and video games) through which they are produced and consumed. This book, moving from gothic to cybergothic, through technological modernity and across a range of literary, cinematic and popular cultural texts, critically examines these changes and the questions they pose for understanding contemporary culture and subjectivity. Re-examining key concepts such as the uncanny, the sublime, terror, shock and abjection in terms of their bodily and technological implications, it advances current critical and theoretical debates on Gothic horror to propose a new theory of cultural production based on an extensive discussion of Sigmund Freud's idea of the death drive.

Author: Paul K. Jones

Critical theory and demagogic populism provides a detailed analysis of the relevance of the Frankfurt School’s work to understanding contemporary populism. It draws on the research that the Institute for Social Research conducted concerning domestic demagogues during its period of ‘exile’ in the USA. The book argues that the figure of the demagogue has been neglected in both orthodox ‘populism studies’ and in existing critical approaches to populism such as that of Ernesto Laclau. Demagogic ‘capture’ of populist movements and their legacies is thus a contingent prospect for ‘left’ and ‘right’ populist movements. An account of ‘modern demagogy’ is thus detailed, from the Institute’s own dedicated demagogy studies through to their dialogue with Weber’s work on charismatic leadership, the US liberal critique of demagogy and Freud’s group psychology. The Institute’s linkage of ‘modern demagogy’ to the culture industry speaks to the underestimation in ‘populism studies’ of the significance of two other ‘modern phenomena. The first is ‘cultural populism’ – the appeal to a folkloric understanding of ‘the people’ and/or ‘their culture’. The second is the pivotal role of modern means of communication, not only in the recent prominence of social media but demagogic exploitation of all media since the rise of literacy and the widening of the suffrage in the nineteenth century. The dialectical dimensions of these processes are also highlighted in reconstructing the Institute’s work and in extending these analyses through to the present. The book so concludes by weighing up potential counter-demagogic forces within and beyond the culture industry.

Elisabeth Bronfen

PART II From animate body to inanimate text Writing was in its origin the voice of an absent person; and the dwelling-house was a substitute for the mother’s womb, the first lodging, for which in all likelihood man still longs, and in which he was safe and felt at ease. Sigmund Freud

in Over her dead body
Sexology, psychoanalysis, literature

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.