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An introduction
Neil Cornwell

’, although there remains a deficiency in Koestler’s approach, in that ‘comic art’ is a concept which he ‘is reluctant to admit into his framework’ (Parkin, 151). Parkin considers too the potential for humour theory in writings by Mikhail Bakhtin, Northrop Frye and Hélène Cixous.33 As a further development he explores the concept of ‘incongruity resolution’ as against jokes depending on ‘nonsense’. Bruce Michelson (20–30) considers the humour speculations of such ‘elder[s] in literary theorizing’ as Bergson, Freud and Bakhtin to be buried in outmoded paradigms of the past

in The absurd in literature
From Madonna to Ally McBeal
Geraldine Harris

paradigm shift might be viewed in relation to ‘French Feminism’ of the 1970s and 1980s. This usually signifies the work of Hélène Cixous, Julie Kristeva and Luce Irigarary, although there are important differences between these three thinkers. Nevertheless, in general terms, they all use poststructuralist linguistic and psychoanalytical theory, mostly drawn from Jacques Derrida and Jacques Lacan, to perform a first- and (arguably) second-stage deconstruction of the western, patriarchal ‘phallologocentric’ symbolic system, that constructs woman and/or the feminine as the

in Beyond representation
Frankenstein in new media
Tully Barnett and Ben Kooyman

, the Glass Cat was lying before the mirror and the Patchwork Girl lay limp and lifeless upon the bench. (‘labor’) Jackson adopts different fonts and textual forms to signify that different passages of text derive from different sources, as seen in this quotation. Clicking on any piece of text from the lexia provides the list of sources for these quotes: the plain text comes from Shelley’s Frankenstein , the italics from Hélène Cixous, and the bold text from L. Frank Baum’s The Patchwork Girl of Oz

in Adapting Frankenstein
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Illness, disability and ‘improper’ subjects
Stephen Greer

impropriety might yet challenge their supposed authority. To theorise the misfit –​and experiences of illness, impairment and disability  –​in terms of propriety is to invoke a dense field of ordered, hierarchical meaning. In the work of Hélène Cixous, the domain of the proper describes a political and moral empire that at once includes and excludes, an empire that is semantic, ontological, and sexual: the proper is property (propriéte), possession, the self (mon proper, my own), the generally accepted meaning of a word (le sens proper), that which defines or identifies

in Queer exceptions
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Hysteria, paranoia, psychosis
Jeremy Tambling

out of any experience something other, double, ambivalent, reversing all senses, and a prompting towards death (Royle, 2003 , Cixous, 1976 : 525–48). One further instance of reversal comes from the book published as Group Psychology and the Analysis of the Ego (1921), when Freud is discussing the ‘herd instinct’ and noting the demand for justice as equal treatment

in Literature and psychoanalysis
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Jeremy Tambling

considered in terms of binary opposites. Poststructuralist thought owes much to Foucault, and Derrida, and to the post-Nietzschean philosophers Bataille, Blanchot, Levinas, and Deleuze. There was also the Marxism of Louis Althusser, and the feminism of Julia Kristeva, who had studied with Barthes, Hélène Cixous, and Luce Irigaray. Discussing Lacan means navigating a pathway past these and other names

in Literature and psychoanalysis
Christine Brooke-Rose’s Thru
Glyn White

the book and equally, because our interaction is with the graphic surface, we, the readers, refuse to concede to the text the ability to reject, and so limit, aspects of itself. The same is true of critics: Sarah Birch’s useful analysis identifies the feminist impulse accurately in the text but while catching references to Cixous and Irigaray she strays into parts of the text

in Reading the graphic surface
Abstract only
Orpheus and Pygmalion
Sarah Annes Brown

context of Freud’s own analysis include H. Cixous, ‘Fiction and its Phantoms: A Reading of Freud’s Das Unheimliche’, New Literary History , 7.3–4 ( 1976 ), 525–48; Royle, The Uncanny , pp. 39–50; J. M. Todd, ‘The Veiled Woman in Freud’s ‘Das Unheimleiche”, Signs , 2.3 ( 1988 ), 519

in A familiar compound ghost
Elisabeth Bronfen

. 4 J.B. Pontalis, 1978 . 5 H. Cixous, 1981 . 6 R. Hertz, 1960 . 7 M. Eliade, 1977

in Over her dead body
Elisabeth Bronfen

masculinity, in the terms of Cixous, is the position of preservation, the aporic inclusion of its diametric opposite, namely excess and expenditure, may be what women’s resistance addresses. There are a multitude of examples for the way women writers today turn back to their heritage of cultural image repertoire, to repeat, invert and re-invent in the duplicitous

in Over her dead body