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On sitting down to read a letter from Freud
Nicholas Royle

registering the association of this table with somewhere in the region of Afghanistan – a beautifully carved, if rather battered and cracked little table you bought for five pounds at an auction in Cheam village with your mother one day in the 1970s – and seeing that you actually put the phone down on top of a small volume containing Wilhelm Jensen’s Gradiva and Freud’s ‘Delusion and Dream in Wilhelm Jensen’s Gradiva ’, 1 in such a way that it concealed the lower half of Freud’s face but left his piercing left eye still gazing out above it, his right eye in shadow, and

in Hélène Cixous
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Waiting for freedom and equality in Nwandu and Beckett
Graley Herren

structure oppressing Moses and Kitch and keeping them in bondage. Mister and Ossifer simultaneously stand in for American slave masters and the Pharaoh's army, but they also serve structural purposes comparable to Pozzo and the Boy in Waiting for Godot . Like his namesake, Nwandu's Moses aspires to escape captivity and pursue dreams of a Promised Land. Exodus generates the hopeful forward-moving propulsion towards freedom and equality in Pass Over , while Godot supplies counterforces of cyclical inertia, deadening habit and moral atrophy. Nwandu

in Beckett’s afterlives
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Transforming the domestic interior
Hollie Price

’ and instead for ‘elegance, civility and grandeur’. 2 As this chapter explores, the nascent consumer culture surrounding domestic, suburban modernity in the 1930s demonstrated a comparable tension – caught between promoting the home as an escapist spectacle and celebrating conservative ideals of historical tradition, stability and Englishness. By attending to the growing consumerism surrounding domestic life in this earlier period, I resituate postwar aspirational interiors – ‘dream palaces’ onscreen – as engaging with interwar structures of feeling that negotiated

in Picturing home
Emil Szittya’s Illustrated Collection of 82 Dreams
Magdolna Gucsa

With his ‘curious report’ on an ‘unknown chapter of war and resistance’, 1 as he described his own project, French-Hungarian writer and painter Emil Szittya aimed to investigate dreams as an unconscious form of Second World War experience ( 2019 : 17). Initially published in French in 1963, along with six black-and-white reproductions of his paintings, Szittya’s 82 Dreams During the War Years ( 82 Rêves pendant la

in Dreams and atrocity
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Nicholas Royle

What is this – dream in literature ? The phrase might be construed in at least three ways: the role and importance of dreams in literary works (in a short story, such as Edgar Allan Poe’s ‘Ligeia’; a poem, such as Percy Bysshe Shelley’s ‘The Question’; a play, such as Shakespeare’s A Midsummer Night’s Dream ; or a novel, such as Emily Brontë’s Wuthering Heights ); the impulse or compulsion to dream, to fall into reverie, to lose oneself in a dream or dreamlike state while reading a work of literature, the experience of

in Hélène Cixous
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Moving from trauma to witness in the nightmares of Bronx Gothic
Carolyn Chernoff
and
Kristen Shahverdian

‘My mother used to make me do these dream exercises. She wanted me to dream and know I was dreaming at the same time so I could control what happened to me in my dreams.’ ‘What does that do?’ ‘It gives you power, knowing you’re dreaming, when you dream, nothing can take over you. You take over. You bend the

in Dreams and atrocity
The night, the haunt, and the female vampire
Maria Giakaniki

death in their victims, an inevitable fate for those who gave in to the inappropriate nature and socially unacceptable experience of otherworldly nocturnal visits. Furthermore, the connection between sexuality and dreams caused by fiendish mythological entities has been insightfully explored in such classic psychoanalytic works as On the Nightmare by Ernest Jones ( White-Lewis 49–50 ). As with the parasitic demons of

in Gothic dreams and nightmares
The violence of doors that never close in Magritte, Kafka and Buñuel
Michiko Oki

In this chapter, I examine representations of the threshold in René Magritte’s series of door paintings (1933–62), Franz Kafka’s parable ‘Before the Law’ (1905) and Luis Buñuel’s film The Exterminating Angel ( 1962 ). With reference to the Surrealist approach to the dream as a means of subverting ‘normality’, I explore the allegorical engagement of these figures with the

in Dreams and atrocity
The Gothic and Enlightenment in Mary Wollstonecraft’s Mary, A Fiction
Liz Wan Yuen-Yuk

I am now beginning to awake out of a terrifying dream – for in that light does the transactions of these two or three last days appear. ( Wollstonecraft, Collected Letters 63 ) The years 1785 to 1787 were one of the most

in Gothic dreams and nightmares
The cinema of Yorgos Lanthimos
Christopher Kul-Want

) [P]‌sychoanalysis makes its most important discoveries through the analysis of dreams, and to this day, the cinema remains a dream factory, a form of public dreaming. (McGowan, 2018 : 1) Todd McGowan’s understanding of cinema as a form of ‘public dreaming’, together with Walter Benjamin’s observation about the threat to modern

in Dreams and atrocity