This essay investigates how H G Wells’s The Island of Doctor Moreau employs the
gothic trope of the uncanny. Despite Wells’s use of ‘uncanny’ twice to describe
humanized animals, prior critics haven’t explored what the uncanny adds to our
understanding of the novel, perhaps because Freud’s famous essay ‘The ‘Uncanny’
was written in 1913, following The Island of Doctor Moreau by more than two
decades. We argue, however, that both men were working from notions of the
uncanny circulating in fin de siècle Europe and describing a larger colonial
dynamic, so that even though Wells’s work preceded Freud’s, we can use Freud’s
explanation of the uncanny to better understand what Wells was doing and why the
animals in The Island of Doctor Moreau are so unsettling to readers in our time
and in his. That is, the uncanny helps to explain how the novel works as a
gothic. Moreover, by examining how Freud’s theories help us to understand Wells,
we also see elements of Freud’s essay that we wouldn’t otherwise. We will argue
that because Freud and Wells were describing the world around them, overlap is
logical, even predictable, and certainly useful to understanding both
Trauma realities defy easy access to comprehension and thus require alternative discourses to understand them. This article looks at Pat Barkers employment of the Gothic tropes in the examination and explication of war trauma in her Regeneration trilogy. More pertinently, it scrutinizes the complex relation between Gothicized landscapes and trauma by analyzing three specific sites – Craiglockhart War Hospital, trenches and England as ‘Blighty’ – in the Regeneration trilogy. This article shows traumas destabilizing impact by examining how landscapes become imprinted with trauma. The physical disempowerment of landscapes is further complemented by a psychological disempowerment by examining traumatized patient-soldiers mindscapes and dreamscapes. It further examines how Barker employs tropes of haunting, dreams and nightmares, staple Gothic emotions of fear, terror and horror, Freuds Unheimlich to dispossess the owners control and locates trauma realities lurking therein. Thus Barkers Regeneration narrative bears witness to the phantom realities of war trauma by privileging the uncanny personal histories of traumatized soldiers.
The late twentieth century is fascinated by the phenomenon of the gothic child, the child who manifests evil, violence, and sexual aggression. On the face of it, this evil is “caused” by either medical or social factors: medicinal drugs, radiation, or the corrupting influences,of political others. However, this essay argues that the gothic child actually arises from conflicting forces of child-philosophies, the intersection of Romantic childhood innocence with Freudian depth models. These models tacitly point to a child that “is” rather than “is,made”, a child that belies contemporary parental attempts to make it be otherwise. Moreover, the idea that the child is somehow immune to parental influence – that it is self-possessed rather than possessed by another – extends to the current notion of,the “inner child”, that “self” who is the seat of identity and coherence. Because of this, the gothic as often fantasizes the killing of the “child within” as it revels in killing the child without.
Not only did Sigmund Freud know literature intimately, and quote liberally from literatures of several languages, he has also inspired twentieth-century writers and philosophers, and created several schools of criticism, in literary and cultural studies. Freud was not just practising psychotherapy on his patients, helping them in difficult situations, but helping them by studying the unconscious as the basis of their problems. This book deals with Freud and psychoanalysis, and begins by analysing the 'Copernican revolution' which meant that psychoanalysis decentres the conscious mind, the ego. It shows how Freud illuminates literature, as Freud needs attention for what he says about literature. The book presents one of Freud's 'case-histories', where he discussed particular examples of analysis by examining obsessional neurosis, as distinct from hysteria. It analyses Freud on memory, in relation to consciousness, repression and the unconscious. Guilt was one of his central topics of his work, and the book explores it through several critical texts, 'Criminals from a Sense of Guilt', and 'The Ego and the Id'. The book discusses Melanie Klein, a follower of Freud, and object-relations theory, while also making a reference to Julia Kristeva. One of the main strands of thought of Jacques Lacan was the categories of the Imaginary, the Symbolic, and the Real, as well as paranoia and madness, which are linked to literature here. The book finally returns to Freud on hysteria, and examines him on paranoia in Daniel Paul Schreber, and the psychosis of the 'Wolf Man'.
Some of the most compelling and enduring creative work of the late Victorian and Edwardian Era came from committed imperialists and conservatives. This book explores the relationship of the artists with conservatism and imperialism, movements that defy easy generalisations in 1899. It does so by examining the work of writers Rudyard Kipling, Joseph Conrad, Rider Haggard and John Buchan along with the composer Edward Elgar and the architect Herbert Baker. The book presents an analysis of their mutual infatuation with T. E. Lawrence, or Lawrence of Arabia, who represented all their dreams for the future British Empire. It also explores the reasons why Lawrence did not, could not, perform the role in which his elder admirers cast him, as creative artist and master statesman of British Empire. Haggard's intrusion into Sigmund Freud's dream world at a critical point in the development of psychoanalytic theory suggests a divergent approach to the novels of imperial adventure. Writing imaginative literature about India as an imperialist enabled Kipling to explore a whole universe of perverse and forbidden pleasures without blowing the top off the volcano. Elgar occupies a higher position in the world of classical music than anyone imagined even at the zenith of his popularity in the Edwardian era. John Buchan mixed art and politics to a greater extent than any British writer, especially with his 'The Loathly Opposite'. The real-life political counterparts of the imperial romance were Britain's experiments with indirect rule from Fiji and Zululand to Nigeria and Tanganyika.
Professional Integrity in Peril at the Fin de Siècle
This essay positions the drug-using doctor at the intersection between traditional Gothic horror and a new fin-de-siècle medical realism, embedding the cultural anxieties at the fin de siècle in relation to the ethical and theological boundaries of scientific knowledge. The objective is to provide a framework for reading and interpreting the medico-gothic narrative of addiction. The essay examines the writings of three pioneering physician-scientists: one historical – Sigmund Freud – and two fictional – Dr Jekyll, in Robert Louis Stevenson‘s Strange Case of DrJekyll and Mr Hyde (1886), and Dr Seward in Bram Stoker‘s Dracula (1897).
sovereignty. But it is more likely that the world system will go
through a prolonged period of turbulence and wars provoked by sudden changes and increasingly
unstable alliances, precisely because it is reproducing the history of the formation of the
European state system on a planetary scale.
Translated from Portugese by Juliano Fiori.
In the psychological and psychoanalytical theories of SigmundFreud and Carl Jung, as in the
structural anthropology of Claude Lévi-Strauss, mythology occupies a
Exploring the status of the oneiric beyond psychoanalysis, Dreams and atrocity synthesises interdisciplinary perspectives from literary criticism, medical humanities, memory and cultural studies, history and art practice. The volume sheds new light on the relevance of dreams as modes of psychic resistance and historical witness as well as symptoms of trauma in modern and contemporary representations of atrocity. Central to the book is the articulation of the oneiric’s potential to awaken us to the pervasive violence of our contemporary world – providing us with the means not only of diagnosing but also of responding to historical episodes of atrocity, from twentieth-century genocide to contemporary racism and transphobia. The contributors develop new ways of reading the dreamlike in cultural works, foregrounding its power as an aesthetic mode and political tool. Organised into three parts – ‘Dream images’, ‘Dreams as sites of resistance’, and ‘Violent states’ – the book conducts a timely enquiry into the role played by the unconscious in processing and illustrating atrocity in an increasingly violent world. In so doing, it attends to the significance of dreams in dark times, illuminating the triangulated relationship between dream life, memory and trauma.
collectively referred to as
creative artists. Both psychiatric discourse and the more conservative
strand of psychoanalytic discourse provided a powerful new lens through
which to interpret b
iographies of exceptional human beings. Artist
pathographies, or psychiatric case studies of creative artists, expanded
the case study genre towards biography and presented readers with new
insights into the private lives of particular creative artists.
SigmundFreud and his pupil Otto Rank brought contrasting approaches to enquiring into aspects of artistic personality, creativity and
migrants are identical to those that wall him in linguistically. Nothing strange to him is allowed entry. 3
Imagine Freud’s tweets, gathered up from his vast oeuvre, from all the letters as well as essays. Among them might be: ‘An author’s words are deeds.’ 4 Can we expect to see The Selected Tweets of SigmundFreud anytime soon? Probably not.
Trump tweets, Freud treats. I am treated to a letter, treated by a letter from Freud. I now see, as never before, how the thought of the dream as a treat, as a kind of gift, as something ‘given without expense