Vicky Lebeau

man, the white woman rapes herself raping a woman, a coalition that underlines the conceptual turmoil accompanying any attempt to distinguish between activity and passivity at the level of the drive (masochists, as Jean Laplanche has put it, ‘are very active in getting their masochistic satisfaction’ (quoted in Fletcher and Stanton (eds) 1992: 80)). Drawing on the psychoanalysis of female sexuality put forward through the 1940s by Helene Deutsch and Marie Bonaparte, Fanon writes his way into that turmoil via the figure of the young white girl, oscillating between

in Frantz Fanon’s 'Black Skin, White Masks
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Andrew Bennett

–6. 33 Burrow, ed., Complete Sonnets and Poems , p. 138. 34 John Keats, The Letters of John Keats, 1814–1821 , ed. Hyder Edward Rollins, 2 vols (Cambridge, Mass.: Harvard University Press, 1958), 1: 188; Jean Laplanche, ‘Transference: Its Provocation by the Analyst’, in Essays on Otherness (London: Routledge, 1999), p. 229: for more on Laplanche’s sense of the importance of ignorance in psychoanalysis see pp. 156–8 below. 35 Berys Gaut, ‘Art and Knowledge’, in Jerrold Levinson, ed., The Oxford Handbook of

in Ignorance
Peter Barry

‘subconscious’ (as used in phrases like ‘the unconscious mind’ and ‘the subconscious mind’) often seem to be interchangeable in popular usage, as if they were synonyms, but this an error in the context of Freudian discussion. Freud used the term ‘subconscious’ (which was ‘in fairly common use in the late nineteenth century’; see Laplanche and Pontalis, p. 430) only in his early writings, and quickly abandoned it because it seemed wrongly ‘calculated to stress the equivalence of what is psychical [that is, within the mind] to what is conscious’. 1 The unconscious, as used by

in Beginning theory (fourth edition)
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body and sexuality in reverse motion
James S. Williams

, according to Shaviro, can offer the intoxicated viewing body a ‘shattering’ masochistic pleasure of obsessive passivity and abjection due to the spectactor’s abandonment to free-floating sensation and visual fascination. Shaviro’s concept of masochism in film has little to do with the elaborate contracts of Sacher-Masoch. Underpinning his idea of masochistic excitement is fean Laplanche’s theory that fantasy, or the imaginary

in Jean Cocteau
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The monstrous feminine as femme animale
Barbara Creed

Barnes said: ‘God, children know something they can’t tell; they like Red Riding Hood and the wolf in bed!’ 33 Freud’s theory of the primal phantasies is central to an understanding of this scene. According to Freud, the primal phantasies involve three of life’s major mysteries. Where did I come from? Whom do I desire? Why am I different? Laplanche and Pontalis point out that the primal phantasies directly

in She-wolf
John Borneman

The Ego and the Id (1923: 29), for example, Freud explicitly insisted on the permanent traces left by losses, a point Laplanche (1999) has made central to his work on Otherness. Freud conceptualised the healthy ego not merely as an autonomous object free to love but as always ‘a precipitate of abandoned object-cathexes’. In short, our losses remain with us as accumulated internal objects, which, in the case of melancholia, lead to an identification with the dead. For the melancholic, the lost person is then ‘transformed into 240 John Borneman an ego-loss’ (Freud

in Governing the dead
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Valentina Vitali

clear are the mechanisms by which history writes itself into a film, how ‘the dynamics animating historical change “present” in representations’ (Willemen 2010: 252). In psychoanalysis the term fantasy refers to an ‘imaginary scene in which the subject is a protagonist, representing the fulfilment of a[n unconscious] wish in a manner that is distorted to a greater or lesser extent by defensive processes’ (Laplanche and Pontalis 1973: 314). This notion of fantasy as the distorted expression of an unconscious wish can provide an opening towards understanding how films

in Capital and popular cinema
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A dialogue on influence
Michèle Mendelssohn and Denis Flannery

, however. He considers the novel’s correlation between psychic reality and real-world values by building on Laplanche and Pontalis’s psychoanalytic work on the construction of the subject in relation to its place in the world, as well as on Virginia Woolf ’s vision of autonomy. DJF: One of the joys of editing this collection has been what its contributors have taught me about Hollinghurst. I’ve always found The Folding Star dense, gloomy and, for a novel about erotic obsession, oddly unsexy. Robert L. Caserio’s ‘Hollow auguries: eccentric genealogies in The Folding Star

in Alan Hollinghurst
Douglas Morrey

status of the primal scene is open to question, the event located somewhere between a real childhood experience that is neither understood nor assimilated and a false , falsely remembered or fantasised, experience later in life. As Laplanche and Pontalis comment, sexuality thus emerges in ‘une dialectique entre le trop et le trop peu de l’excitation, le trop tôt et le trop tard de l’événement’ 40 (Laplanche and Pontalis

in Jean-Luc Godard
Tim Woods

‘acting-out’, ‘workingthrough’ involves a sustained, problematic relation between witnessing and a critical comparative history that marks differences, including those between the present and the past; it also involves the attempt to acquire some perspective on experience without denying its claims or indeed its compulsive force. LaCapra points out that Laplanche and Pontalis’s presentation of ‘working

in African pasts