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Wordsworth and Bowen
Andrew Bennett

created at a certain point in one’s development – that it is not something that one is born with, so to speak, but is made as a result of certain life experiences. It is also clear that the unconscious is created and indeed populated at an early age. If our unconscious is us, what or who we are just inasmuch as we do not know what or who we are, it, the unconscious, is us as children, ourselves as ghosts of the past. Melanie Klein and Jean Laplanche have written powerfully on the idea that ignorance is also the basis of human (mis

in Ignorance
Value and fantasy in Hollinghurst’s house of fiction
Geoff Gilbert

, which is also an engagement with the world. In a perfunctory porn scene – say, the plumber coming in to fix the washing machine – the engagement of desire makes visible the thresholds between the domestic and the public, or accounts of labour time and class distinction, which have silently circumscribed and regulated the relation between the subject and the world. As a ‘scene’ emerges, a ‘setting for 128  Alan Hollinghurst desire’ in the words of psychoanalysts Laplanche and Pontalis (to whose work this chapter will return), these circumscriptions and regulations

in Alan Hollinghurst
Abstract only
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
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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
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
Middlemarch and Great Expectations
Andrew Bennett

Dorothea’s state of mind’, it here ‘echoes’ the author’s and the reader’s ‘discontent with the impending union’ ( Vocation and Desire: George Eliot’s Heroines (London: Routledge, 1989), p. 140). 32 The pun is adapted from a phrase by Jean Laplanche that I discuss below (see Chapter 7 ). 33 Even in the final moment of decision, of the impulsive acceptance of each other’s hand in marriage and rejection of the dead hand of Casaubon’s will, hands are at work, although here silently at work, at work without words

in Ignorance
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Trauma, sexuality and creaturely life in Echo’s Bones
Conor Carville

to the ‘spoilt love’. A quote that Santner adduces from Laplanche is useful here. According to the former, unconscious formations arise from: an encounter between an individual whose psycho-somatic structures are situated predominantly at the level of need, and signifiers emanating from an adult. These signifiers pertain to the Smiling tigers 161 satisfaction of a child’s needs, but they also convey the purely interrogative potential of other messages – and those other messages are sexual. These enigmatic messages set the child the difficult, or even

in Samuel Beckett and trauma
Open Access (free)
John Robert Keller

been helpful in developing parts of this section: Laplanche and Pontalis, 1988; Moore and Fine, 1990, 1995; Bacal and Newman, 1990; Summers, 1994; Hinshelwood, 1991; and Rycroft, 1988. 2 Early in her career Klein suggested, following Freud, that the ego’s first act was to deflect outwards (project) the death instinct, and to subsequently face the difficulties of introjecting a now poisoned and dangerous world. The death instinct is a highly problematic concept in psychoanalysis, but is one that could be applied to Beckett’s work. I have tended not to speak of it in

in Samuel Beckett and the primacy of love