’Criminals from a sense
Is guilt – like the
‘Rat Man’s’ – the primary theme of literature?
In ‘Some Characters Met With in Psychoanalytic Work’ (1916),
Freud discusses some ‘surprising traits of character’
( SE 14.311) which he has detected in his patients: forms of
resistance to treatment, ways in
Diversity and ambivalence of transnational care trajectories within postsocialist migration experience
The chapter is based on our two different research projects with women with migration and refugee experience living in the Czech Republic. We are placing the data from these two research projects into conversation with each other while identifying three types of gender specific phenomena of transnational care. These are: a) guilt over ‘leaving behind’; b) a strategy of temporariness; and c) struggles to achieve a work–care combination with broader family structures in the transnational environment. We point to both commonalities and
Dolto, psychoanalysis and Catholicism from Occupation to Liberation
. The French psychoanalytic movement largely
dissolved, with many members forced into exile. Vichy promoted a strongly patriarchal vision
of the family and gender roles, further excluding women from the
professions. Its corporatist policies led to the formation of the Ordre des Médecins
and increased state oversight of doctors. The Catholic Church assumed greater public
prominence, promoting the themes of guilt, expiation and internal renewal.
The first fifteen years of Dolto’s career were thus transitional and
, as his suspicions mounted that the ‘Jewish’ Disraeli was conspiring with the Ottomans against Europe. While Freeman continued to represent the Islamic East as inferior to the Christian West, the deprecating tone of the Saracens is replaced by a rhetoric of fear and guilt in the Ottoman Power . Recounting the historic encroachment of the Ottomans into Europe, Freeman called for a reversal of British foreign policy – urging his country to join Russia in a ‘Holy War’ against ‘[t]he union of the Jew and the Turk’. 6
The Case of Mary Ashford and the Cultural Context of Late-Regency Melodrama
This paper examines the historical context of the publication and reception of three dramas related to the murder of a gardener‘s daughter, Mary Ashford in Sutton Coldfield in 1817. George Ludlam‘s The Mysterious Murder was countered by a play called The Murdered Maid whose anonymous author is likely to have been a local clergyman. Both plays were locally written and published. When the case reached a national arena, John Kerr‘s Presumptive Guilt provided a London-based comment on the case. The paper examines the relationship between these metropolitan and provincial print cultures and the way in which dramatic form was used as a mode of mediation between public and legal discourse.
was burning when they arrived there. And the team included expatriates who I’ve talked to. Their faces changed. They had no idea. They hadn’t been out of Khartoum, all of those guys. It added quite a bit of credibility. This was an eyewitness account.
VG: Nowadays, it’s interesting to note that virtual reality is considered as ‘the ultimate empathy machine’. But why do we always focus on positive emotions? Advocacy is about pointing the finger to what doesn’t work, so it involves negative emotions: guilt, shame, blame, or outrage – you mentioned it as
kind, yet this is
everyday reality for billions of people.
One function of the entire humanitarian enterprise might be to obscure root causes and allow
those who, en masse, might be able to bring pressure to bear to relieve suffering (mobilised
citizens in the West) to think that something is being done so they need not act nor feel
guilty. Donations are given instrumentally, to prevent migration, and as the wages of sin, a
palliative for guilt and shame. Humanitarian actions might help prevent armies of the
dispossessed from flooding the
collectivisation or individualisation of guilt.
Field observation, central Rwanda, 31 July 2007.
I provide such descriptions to clarify the nature of the interventions during trials. ‘Survivor’ refers to genocide survivors; ‘prisoners’ are individuals who were incarcerated at the time of the trial proceedings; ‘released prisoners’ had been in prison for alleged participation in the genocide but had been released before trial; those ‘accused in gacaca ’ are individuals accused of genocide crimes who had not been imprisoned at the time of the proceeding; and
Visual Advocacy in the Early Decades of Humanitarian Cinema
caring enough. Guilt was thus implied, suggesting that people felt remorseful if they did not help, as underlined in this cardboard from Famine in Russia : ‘Do not forget the emaciated faces of these children, their thin little arms! Let this be to you like a nightmare until you have done your duty towards those who are starving.’ As in humanitarian advertisements, movies used prescriptive requests that commanded people to act – hence the imperative tense and exclamation marks. Phrases included verbs of supplication and affective or emphatic words (e.g. ‘massacre
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'.