_From Illiteracy to Literature_ presents innovative material based on research with ‘non-reading’ children and re-examines the complex relationship between psychoanalysis and literature, through the lens of the psychical significance of reading: the forgotten adventure of our coming to reading. Anne-Marie Picard draws on two specific fields of interest: firstly the wish to understand the nature of literariness or the "literary effect", i.e. the pleasures we derive from reading; secondly research on reading pathologies carried out at St Anne’s Hospital, (...) Paris. The author uses clinical observations of non-reading children to answer literary questions about the reading experience, using psychoanalytic theory as a conceptual framework. The notion that reading difficulties or phobias should be seen as a symptom in the psychoanalytic sense, allows Picard to shed light on both clinical vignettes taken from children’s case histories and reading scenes from literary texts. Children experiencing difficulties in learning to read highlight the imaginary stakes of the confrontation with the arbitrary nature of the letter and the "price to pay" for one’s entrance into the Symbolic. Picard applies the lesson "taught" by these children to a series of key literary texts featuring, at their very core, this confrontation with the signifier, with the written code itself.. This book argues that there is something in literature that drives us back, again and again, to the loss we have suffered as human beings, to what we had to undergo to become human: our subjection to the common place of language. Picard shows complex Lacanian concepts "at work" in the field of reading pathologies, emphasizing close reading and a clinical attention to the "letter" of the texts, far from the "psychobiographical" attempts at psychologizing literary authors. _From Illiteracy to Literature_ presents a novel psychodynamic approach that will be of great interest to psychotherapists and language pathologists, appealing to literary scholars and those interested in the process of reading and "literariness.". (shrink)

Dear Professor Heller . . . Your paper had started out superbly. It was a great aesthetic and cognitive pleasure to follow you as you guided us through the intellectual history of the main idea of Kleist's essay, from Plato through the biblical Fall of Man, to Schiller, and Kierkegaard, and Kafka. Indeed the perceptive listener's experience was so satisfying that his disappointment was doubled when he came to realize that all this erudition and beauty had been displayed only (...) in order to serve as a contrast-providing background for the sharp delineation of a reductionistic explanation which you consider to be characteristic of psychoanalysis: the interpretation of the disturbance of man's naive, unselfconscious pre-Fall state as nothing more than a portrayal of sexual impotence—the reduction of a deep existential preoccupation to a case of phimosis. I am certain that the relief I felt when you then took up Freud's demonological-neurosis paper was not an idiosyncratic response on my part but an experience shared by many open-minded listeners in your psychoanalytic audience. Let us, therefore, disregard the "text" of your sermon and consider the substantial questions that you raised after you turned to Freud; these are to my mind the most central ones that you undertook to examine in your—despite its disappointing aspects—splendid address to us. Put into my own words, your most important question was this: What is the purpose of the psychoanalyst's efforts outside the clinical setting, in particular when his contributions take the form of a pathography? That is, To what end do analysts study the psychopathology of the creators of great works? I, too, have asked myself this question, and since you read my old essay "Beyond the Bounds of the Basic Rule" , you know some of my answers. But important basic questions are hardly ever answered once and for all; and I will, therefore, under the impact of your lecture, respond as if I had heard the question for the first time. Heinz Kohut, M.D., is Professorial Lecturer in Psychiatry at the University of Chicago and a teacher and training analyst at the Chicago Institute for Psychoanalysis. His works include The Restoration of the Self, The Analysis of the Self: A Systematic Approach to the Psychoanalytic Treatment of Narcissistic Personality Disorders—which has appeared in German, French, and Italian translations—, The Restoration of the Self and collection of his essays, Scientific Empathy and Empathic Science. His "A Reply to Margret Schaefer"" was published in the Spring 1978 issue of Critical Inquiry. See also: "Psychoanalysis and the Marionette Theater: Interpretation is Not Depreciation" by Margret Schaefer in Vol. 5, No. 1. (shrink)

With studies like Discourse Networks 1800/1900 and Gramophone, Film, Typewriter, Friedrich A. Kittler contributed significantly to transforming the history of media into a vital field of inquiry. This essay undertakes to more precisely characterize Kittler’s historiographical approach. When we look back on his early contributions to studies of the relationship between literature, madness and truth – among others, his doctoral dissertation on the Swiss poet and writer Conrad Ferdinand Meyer – what strikes us is the significance that Jacques (...) Lacan’s structuralist psychoanalysis had in shaping the orientation of Kittler’s later studies. His intensive engagement with Lacan galvanized Kittler’s concern with the question of sex and/or gender in the evolution of the humanities as well as his concern with the media history of the university. At the same time, Kittler’s reliance on Lacan led him to a kind of history that is interested above all in the internal logic of discourse. As we see, for instance, in Kittler’s anecdotic treatment of 19th-century physiologist Hermann von Helmholtz, this historiography does not involve any original research in archives and/or museums. Rather, it builds upon existing historical accounts and focuses its analyses on the issue of symbolic structures. Instead of investigating the history of the material culture of science and technology, what is thereby ultimately reinforced is a philosophical idealism in which knowledge and paranoia become superimposed in and by means of an ‘original syntax’ (Lacan). (shrink)

At the end of his attack on my use of the psychoanalytic model for the interpretation of literature, Heller raises the question concerning what the task of the literary critic is or ought to be. His own "sketch of the Kleistean theme's historical ancestry and its later development," he says, seeks to deepen and enrich the reader's appreciation of Kleist's literary art, the artistry of his phrasing, the persuasiveness of his incidents, the conclusiveness of his examples." By implication he (...) suggests that my method does not have this end—that is, appreciation—for its goal. In this he is partially right. "Appreciation" in Heller's sense is not as directly a goal for me. But does Heller's method of intellectual history and literary relation meet his own criteria of deepening and enriching the reader's appreciation of Kleist? In his capsule treatment of Great Thinkers of the Western World from Plato to Marx, we learn that many writers besides Kleist treated Kleist's theme of man's fall from unconscious grace. What exactly does this tell us about Kleist's treatment of it? How does it deepen the reader's appreciation of Kleist's literary art, the artistry of his phrasing, the persuasiveness of his incidents? It doesn't. It isn't even about Kleist. Although Heller tells us that it is the "thought" and "imagery" which "make for the great distinction of the essay" , his evidence for this consists, in the case of the former, in his tracing the history of the essay's thought and, in the case of the latter, in his statements that Kleist's use of the puppet as the exemplar of the unselfconscious graceful being is "unusual" and "novel" and that his bear story, though it may lack "in immediate plausibility," "gains in making Kleist's point" and is "a memorable exemplar" of the "art of grotesque inventions that are capable of floating for quite a while above and between the comic and the serious before landing with scintillating effect in one domain or the other" . Margret Schaefer is a lecturer in the department of psychiatry at Northwestern University Medical School. She responds here to Erich Heller's "The Dismantling of a Marionette Theater; or, Psychology and the Misinterpretation of Literature" , in which he discussed her article, "Kleist's 'About the Puppet Theater,". (shrink)

This article aims to locate the connections between Hegel’s philosophy and psychoanalytic theory, with a particular focus on the model of intersubjectivity, as drawn from hisPhenomenology of Spirit. The roots of the encounter between the philosophy of Hegel and psychoanalytic theory can be traced back to Jacques Lacan and the less well‐considered figure of Jean Hyppolite. Lacan, as a psychoanalyst, used Hegel’s thought in his own theory, as is well known, while Hyppolite was arguably one of the first to write (...) from a philosophical angle about the links between the two seemingly opposed systems of thinking. I will give a broad overview of the use of Hegelian philosophy in psychoanalytic theory from the Hyppolite–Lacan relationship through to contemporary thinkers in the fields of philosophy and psychoanalysis. Although recently the figure of Slavoj Žižek has popularised the Hegel‐psychoanalysis connection, there remains much more to be explored in this branch of Hegel studies that widens the scope beyond the Lacanian‐Marxist version he employs. This article will survey existing literature (in the English language) and thus illuminate the key texts in the history of Hegel’s impact on psychoanalytic theory and the concept of intersubjectivity and gesture towards the future potential of this line of inquiry. (shrink)

Applying ideas drawn from contemporary critical theory, this book historicizes psychoanalysis through a new and significant theorization of the Gothic. The central premise is that the nineteenth-century Gothic produced a radical critique of accounts of sublimity and Freudian psychoanalysis. This book makes a major contribution to an understanding of both the nineteenth century and the Gothic discourse which challenged the dominant ideas of that period. Writers explored include Mary Shelley, Edgar Allan Poe, Robert Louis Stevenson, and Bram Stoker.

In what ways can psychoanalysis, as both a theoretical body and a clinical practice contribute to an understanding of the salient social and political problems of our time? This engaged and generous collection of essays with contributions from internationally renowned academics, writers, filmmakers and psychoanalysts, explores the historical, social and emotional factors underpinning the development of extreme forms of hatred and distrust of the other. In the process of a sustained interdisciplinary interrogation, psychoanalysis's strength emerges not in its (...) capacity to provide any lasting solution to socio-political uncertainties, but rather in its capacity to tolerate ambivalence. This collection will be of value to scholars, postgraduate and undergraduate students in the field of the history of ideas, literature, postcolonial studies, psychology and psychoanalysis. It can also be enjoyed by the general reader interested in the psychology of extreme belief. (shrink)

The ideas of psychoanalyst Otto Gross have had a seminal influence on the development of psychoanalytic theory and clinical practice and yet his work has been largely overlooked. For Freud, he was one of only two analysts ‘capable of making an original contribution', and Jung called Gross 'my twin brother' in the course of their mutual analysis. This is a major interdisciplinary enquiry into the history, nature and plausibility of the idea of a 'sexual revolution', drawing also on the (...) related fields of history, law, criminology, literature, sociology and philosophy. Divided into four parts and offering an interdisciplinary and international range of contributors, areas of discussion include: a contemporary perspective on sexual revolutions the broad influence of Otto Gross the father/son conflict a Jungian perspective on history. _Sexual Revolutions_ introduces Gross’ work to the academic and clinical fields of psychoanalysis and Jungian analysis. Although most people associate the term with the 1960s, its foundations lie in the long-neglected but sensational work of the early psychoanalyst Otto Gross. This book will be essential reading for all psychoanalysts and Jungian analysts with an interest in learning more about his work. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Reviewed by:Myth, Truth and Literature: Towards a True Post-ModernismJames SeatonMyth, Truth and Literature: Towards a True Post-Modernism, by Colin Falck; xix & 208 pp. Cambridge: Cambridge University Press, 2nd edition, 1994, $59.95 cloth, $16.95 paper.Colin Falck has written a book that seeks to bind a critique of postmodernism to a plan for salvaging what is best about it. He wants to devise “a true post-modernism,” because until (...) now the movement’s goal has been “the Abolition of Reality.”The critique is the stronger part of the book. Falck offers several reasons why the currently fashionable versions of postmodernism are unsatisfactory. Identifying it with “post-Saussurian theory” (p. xiii), Falck traces the fundamental mistake of postmodernism back to Saussure’s rejection of one linguistic theory in favor of another, sliding from the view that language is based on “the baptismal labeling of some kind of already-differentiated and pre-baptismally identifiable item of the world’s contents” (p. 22) to seeing it “as a disembodied and contextless process” (p. 11). To Falck, though, the notion that a rejection of the first requires an acceptance of the second seems “entirely fallacious.” And yet “the whole internally interdependent substructure of post-Saussurian literary theory” depends upon the unexamined assumption that the two are inextricable.Falck finds other instances in which poststructuralists leap from true but trivial premises to otherwise unsupported conclusions. Jacques Derrida, for example, moves from an uncontroversial rejection of theories about “fully-experienced ‘presence’” (p. 21) to the very different issue of the priority of speech over writing. The goal of such non sequiturs is “in effect the Abolition of Reality” (p. 31).Such abolitions are always subject to the refutation Samuel Johnson made to Berkeley’s idealism. Kicking a stone, he vindicated the materiality of the external world. Now any textbook will point out that Johnson’s gesture was not an argument, but Falck argues that gestures do indeed possess philosophical significance. Speech is prior to writing because it is in speech and the gestures that accompany it that the location of language within “our necessary embodiedness” (p. 115) is most evident. Exploring the implications of the thesis that “all knowledge must be based in bodily awareness” (p. 119) along lines suggested by Merleau-Ponty among others, Falck argues that any satisfying account of language and, especially, literature must take account of dimensions of experience that contemporary theory peremptorily dismisses with the slogan “Nothing outside the text!”Although Falck’s refutation of postmodernism is telling and effective, it parallels the critique offered by other critics, such as John Ellis in Against Deconstruction. The true originality of his book lies in its admirably straightforward call to take up again the project of English and German Romanticism. For [End Page 264] Falck “the essential function of the literary text is one of revelation or disclosure” (p. 90). Myth, Truth and Literature argues that literature can reveal truths otherwise inexpressible through the use of myth. The romantic revival that he calls for will, however, also be a true postmodernism, because it will share the postmodernist rejection of transcendence in favor of “the essentially Romantic, but philosophically profound, recognition of the necessarily embodied and located nature of all human experiencing” (p. 84). Considering Romanticism “the third great advent of spirituality to the Western world” (p. 140) after Hellenic paganism and Christianity, Falck looks forward to a postmodernist literature that will reaffirm the truths of paganism while avoiding the “imaginative exclusiveness” of Christianity.One may share Falck’s refusal to accept postmodernism’s Abolition of Reality and yet have serious doubts about his proposed alternative. A reconsideration of the theories of Friedrich Schlegel and Samuel Taylor Coleridge offers more hope for literary criticism than an acceptance of the dominance of postmodernism and cultural studies, but it is not clear that Falck’s version of romanticism avoids the pitfalls of the contemporary approaches he rightly criticizes.He may not attempt to abolish reality, but Falck does seem to neglect the lessons of contemporary history. He opens his book by asserting that “romanticism looks forward to Marxism, psychoanalysis, and to every significant modern attempt to persuade men to take... (shrink)

The interactions between literature and science and between literature and psychoanalysis have been among the most thriving areas for interdisciplinary study in recent years. Work in these 'open fields' has taught us to recognize the interdependence of different cultures of knowledge and experience, revealing the multiple ways in which science, literature, and psychoanalysis have been mutually enabling and defining, as well as corrective and contestatory of each other. Inspired by Gillian Beer's path-breaking work on (...) class='Hi'>literature and science, this volume presents fourteen new essays by leading American and British writers. They focus on the evolutionary sciences in the nineteeth-century; the early years of psychoanalysis, from Freud to Ella Freeman Sharpe; and the modern development of the physical sciences. Drawing on recent debates within the history of science, psychoanalytic literary criticism, intellectual history, and gender studies, the volume makes a major contribution to our understanding of the formation of knowledge. Among its recurrent themes are: curiosity and epistemology; 'growth', 'maturity', and 'coming of age' as structuring metaphors ; taxonomy; sleep and dreaming and elusive knowledge; the physiology of truth; and the gender politics of scientific theory and practice. The essays also reflect Beer's extensive influence as a literary critic, with close readings of works by Charlotte Brontë, Alfred Lord Tennyson, George Eliot, Thomas Hardy, Henry James, Oscar Wilde, H. G. Wells, Edith Ayrton Zangwill, Charlotte Haldane, Virginia Woolf, George Orwell, and Karin Boye. (shrink)

ArgumentIn calling psychoanalysis a “school of suspicion”, Ricoeur marks at once its use in a disposition characteristic of modernity: the disposition of suspicion. Modernity gives rise to various forms of suspicion, to modern forms of ressentiment and practices of disciplining oneself as well as to an epistemology of suspicion. In this essay, I shall analyze the epistemological function of suspicion – which as the “paradigm of clues” becomes the leading paradigm of the human sciences in the last third of (...) the nineteenth century – and its close interrelationship with the techniques of power. As I shall demonstrate through a comparative reading of psychoanalytical, literary, and criminological texts, the modern production of knowledge in the human sciences cannot be separated from the modern “micro-physics of power,” which for Foucault was established in the eighteenth century, and the technologies of the self. I shall situate the paradigm of clues within the framework of the modern disposition of suspicion in order to combine the epistemological reflections with an analysis of cultural history. Thus I will first examine the paradigm of clues from the perspectives of cultural theory and semiotics, in order to illuminate the structural unreliability of the episteme as well as the way it is closely linked to the techniques of power. In what follows, I will apply this view to Bertillon's photographic identification system, the psychoanalytical concept of the trace, and Kafka's short story The Burrow. (shrink)

Evil remains a primary source of inquiry in contemporary literature of French expression, even among its most secular writers. In considering French-speaking authors from France, Belgium, the United States, the Maghreb, and Sub-Saharan Africa, this collection delineates a rich international perspective on some of the most disturbing events of our time. Each essay testifies to the urgency expressed in works of fiction to give an account of human catastrophes, from the Shoah and the Rwandan genocide to the terrorist attacks (...) of September 11, and the ongoing oppression of women in Islamic nations. Themes underlying this volume include an investigation into the origins of evil, its representations in writing, and the ethical responsibilities of authors who write on human suffering. Contemporary fiction on evil confronts us with fundamental questions: Can evil be attributed to intentionality, is evil "subconscious," or is it the result of impersonal forces? Which styles of writing are ethically appropriate or effective for depicting evil? Can we speak of a veritable "poetics of evil" shared by contemporary authors? When does a literary text on evil become "evil"? In providing informed and nuanced answers to these important questions, the scholars engage in crucial theories of psychoanalysis, post-structuralism, and post-modernism, address a number of issues raised by trauma and genocide studies, and draw from critical frameworks in literary theory on testimony, the limits of representing the extreme, and "transgressive" writing. (shrink)

Addressing such issues as the claims of critics that the application of psychoanalysis to literature, philosophy, the arts, and history results in interpretations that are speculative, externally imposed, reductionistic, and subjective, Hanly (philosophy, U. of Toronto; training analyst, Toronto Psychoanalytic Institute) searches for objectivity in the epistemological foundations and methods of applied psychoanalysis. Annotation copyrighted by Book News, Inc., Portland, OR.

Disgust (Ekel, dégoût) is a state of high alert. It acutely says "no" to a variety of phenomena that seemingly threaten the integrity of the self, if not its very existence. A counterpart to the feelings of appetite, desire, and love, it allows at the same time for an acting out of hidden impulses and libidinal drives. In Disgust, Winfried Menninghaus provides a comprehensive account of the significance of this forceful emotion in philosophy, aesthetics, literature, the arts, psychoanalysis, (...) and theory of culture from the eighteenth century to the present. Topics addressed include the role of disgust as both a cognitive and moral organon in Kant and Nietzsche; the history of the imagination of the rotting corpse; the counter-cathexis of the disgusting in Romantic poetics and its modernist appeal ever since; the affinities of disgust and laughter and the analogies of vomiting and writing; the foundation of Freudian psychoanalysis in a theory of disgusting pleasures and practices; the association of disgusting "otherness" with truth and the trans-symbolic "real" in Bataille, Sartre, and Kristeva; Kafka's self-representation as an "Angel" of disgusting smells and acts, concealed in a writerly stance of uncompromising "purity"; and recent debates on "Abject Art.". (shrink)

Over the post-war decades, Italy's 'extroverted' cultural identity was mostly oriented towards social and political questions: the inward turn of psychoanalysis was regarded with suspicion, as a fin-de-siècle cure for middle-class neuroses. The consulting room was, for militant intellectuals, antithetic to class-consciousness and the collective struggle. But despite this resistance from leftist, or Communist, intellectual discourse, psychoanalysis became steadily more influential. In the period up to the late 1970s, the triad of politics-ideology-commitment acted as a threefold track through (...) which psychoanalysis could spread, and the resistance to it transformed Italy into a unique cultural laboratory for experimental negotiation between analysis and Marxism. Many of these encounters occurred in post-war literature, and Diazzi maps out a distinctively Italian, ideological repurposing of psychoanalysis, turning its inward view into an outward tool of political agency. (shrink)

All disciplines have their histories in addition to their theories. In general, the history of a set of problems is treated separately from the nature of the problems themselves. The axioms of a given discipline may be the object of external inquiry but are not usually subject to historical examination. In this way, psychoanalysis has been investigated, even challenged, by a variety of other disciplines: biology, linguistics, history, philosophy, literature, and so forth. One may ask whether (...) psychoanalysis can also become its own object, effectively distancing itself from itself. Will historical scrutiny provide criticism from within and thereby alter the nature of psychoanalysis?It has been our observation that the history of the creation of psychoanalysis and of the psychoanalytic movement suggests deficiencies and omissions within psychoanalytic theory. This implies something far beyond the simple idea that no serious examination of theoretical problems can occur without an understanding of their history. Not only the past but the future of psychoanalysis, both as a theory and as a clinical practice, may well depend on the conscious assessment and assimilation of its own history. “The Secret of Psychoanalysis: History Reads Theory” is intended in part as an introduction to Nicolas Abraham’s “Notes on the Phantom” which will, in turn, illuminate the theoretical and practical scope of this essay.A history of Freudian psychoanalysis could be written based on the voices of dissenting insiders, without including schismatics such as Carl Jung, Alfred Adler, Wilhelm Stekel, and others who eventually developed independent systems of thought. The detailed interpretation of such firsts is already a consecrated approach to psychoanalytic history. But much remains to be learned from the internal criticism of those who have participated in Freud’s movement or have sought sympathetically to understand the birth and progress of Freudian psychoanalysis. Most of the disagreements concern theoretical and clinical issues or the clocked access to documents that are essential to the history assessment of psychoanalysis. This is Ludwig Marcuse’s case as he writes to Ernest Jones on 10 October 1957.1 1. Ludwig Marcuse is the author of Freud und sein Bild vom Menschen [Freud and his image of man] . Nicholas Rand, assistant professor of French at the University of Wisconsin—Madison, is completing a book on the notion of hiding in literature, philosophy, and psychoanalysis. Maria Torok is the author of The Wolf Man’s Magic Word , recently published in translation. “The Secret of Psychoanalysis” is part of a book-length study Rand and Torok are writing on Freud and psychoanalytic theory. (shrink)

This volume explores a central paradox in the evolution of psychoanalytic thought and practice and the ways in which they were used.

In Literature, Art and the Pursuit of Decay, Timothy Mathews examines work by a range of writers and painters working in France in the twentieth century. The well-illustrated book engages with canonical figures - Guillaume Apollinaire, Marguerite Duras and Jean Genet, Roland Barthes, Pablo Picasso and René Magritte - as well as more neglected individuals including Robert Desnos and Jean Fautrier. Mathews draws on psychoanalysis, existentialism and poststructuralism to show how both literature and fine art promote the (...) value of generosity in a culture of anxiety and intolerance. Decay emerges as a surprising ally in this quest because of its ability to undermine intellectual complacency and egoism. Integrating theoretical and material approaches to reading and viewing, Mathews engages with the distinctive features of different literary genres and different types of painting to develop an original history of artistic ambition in twentieth-century France. (shrink)

Untying Things Together helps to clarify the stakes of the last fifty years of literary and cultural theory by proposing the idea of a sexuality of theory. In 1905, Freud published his Three Essays on the Theory of Sexuality, the book that established the core psychoanalytic thesis that sexuality is central to formations of the unconscious. With this book, Eric L. Santner inverts Freud’s title to take up the sexuality of theory—or, more exactly, the modes of enjoyment to be found (...) in the kinds of critical thinking that, since the 1960s, have laid claim to that ancient word, “theory.” Santner unfolds his argument by tracking his own relationship with this tradition and the ways his intellectual and spiritual development has been informed by it. Untying Things Together is both an intellectual history of major theoretical paradigms and a call for their reexamination and renewal. Revisiting many of the topics he has addressed in previous work, Santner proposes a new way of conceptualizing the eros of thinking, attuned to how our minds and bodies individually and collectively incorporate or “encyst” on a void at the heart of things. Rather than proposing a “return to theory,” Santner’s book simply employs theory as a way of further “tying together” the resources of philosophy, art and literature, theology, psychoanalysis, political thought, and more. (shrink)

Nourishing the Inner Life of Clinicians and Humanitarians: The Ethical Turn in Psychoanalysis, demonstrates the demanding, clinical and humanitarian work that psychotherapists often undertake with fragile and devastated people, those degraded by violence and discrimination. In spite of this, Donna M. Orange argues that there is more to human nature than a relentlessly negative view. Drawing on psychoanalytic and philosophical resources, as well as stories from history and literature, she explores ethical narratives that ground hope in human (...) goodness and shows how these voices, personal to each analyst, can become sources of courage, warning and support, of prophetic challenge and humility which can inform and guide their work. Over the course of a lifetime, the sources change, with new ones emerging into importance, others receding into the background. Donna Orange uses examples from ancient Rome, from twentieth century Europe, from South Africa, and from nineteenth century Russia. She shows how not only can their words and examples, like those of our personal mentors, inspire and warn us; but they also show us the daily discipline of spiritual self-care, although these examples rely heavily on the discipline of spiritual reading, other practitioners will find inspiration in music, visual arts, or elsewhere and replenish the resources regularly. Nourishing the Inner Life of Clinicians and Humanitarians will help psychoanalysts to develop a language with which to converse about ethics and the responsibility of the therapist/analyst. This is an exceptional contribution highly suitable for practitioners and students of psychoanalysis and psychotherapy. Donna M. Orange teaches, consults, and offers study groups for psychoanalysts and gestalt therapists. She seeks to integrate contemporary psychoanalysis with radically relational ethics. Recent books are _Thinking for Clinicians: Philosophical Resources for Contemporary Psychoanalysis and the Humanistic Psychotherapies _, and _The Suffering Stranger: Hermeneutics for Everyday Clinical Practice_, both from Routledge. (shrink)

Volume 26/27 begins with publication of _The Annual's_ first prize essay, Samuel Abrams's "How Child and Adult Analysis Inform and Misinform One Another." This is followed by a series of papers originally prepared for a symposium honoring John E. Gedo. These papers span the clinical topics of obsessiveness, sublimation, dreams and self-analysis, and analyzability, and also delve into applied psychoanalysis and art history, with two studies of Vincent van Gogh and another of Alberto Giacometti. These papers not only (...) convey the impressive range of Gedo's own interests, but embody the high scholarly and clinical standards that Gedo has long held, both for himself and for the field in general. Section III offers original contributions to clinical analysis in the form of the consideration of the role of affective engagement in the analyst's "usability"; thoughtful assessment of the perils of parental projection in child analytic work; and comparison of a failed and successful supervision in the same psychoanalytic case. Section IV examines psychoanalysis and the arts, with two further studies of van Gogh, an analytic reading of Nabokov's _Lolita_, and more general examinations of psychoanalysis in relation to dramatic art and film analysis. The volume closes with two provocative scholarly essays bearing on the roots of psychoanalysis: the correspondence between Mabel Dodge and her analysts Smith Ely Jelliffe and A. A. Brill as a vehicle for reviewing the issue of extra- and postanalytic contact between analyst and patient; and an examination of Freud, Lacan, and the uneasy relationships among literature, psychoanalysis, and the female subject. Volume 26/27 offers readers a rich harvest of contemporary insights about psychoanalysis, including its history and evolution, its continuing clinical refinement, and its scholarly applications outside the consulting room. (shrink)

This book explores the different ways in which psychoanalysis has been connected to various fields of Italian culture, such as literary criticism, philosophy ...

The force of [Heinrich von] Kleist's story "On the Marionette Theatre" . . . derives from roots deeply sunk into the soil of the past. It is a novel variation on a theme the first author of which may well be Plato. For according to Plato the human mind has been in the dark ever since it lost its place in the community of Truth, in the realm, that is, of the Ideas, the eternal and eternally perfect forms, those now (...) unattainable models which man in his exile is able to see and recognize only as shadows or imperfect copies. And this Platonic parable of the damage suffered by man's soul and consciousness is not unlike the Fall as it is narrated in Genesis. The Fall was the consequence and punishment of man's free will that for the first time had asserted itself against the universal God and rejoiced in a consciousness and pleasure entirely its own—tragically its own; for man had to forsake the indwelling in the supreme Intelligence and thus the harmony between himself and Being as such. The reward for this betrayal was the embarrassment and shame of self-consciousness, the hard labor of maintaining himself in his state of separation, and, soon to follow, the murderous misdeeds of the self-will named Cain. Better to have no mind than a mind thus deprived and impoverished and cruel. Erich Heller, Avalon Foundation Professor in the Humanities at Northwestern University, is the author of The Disinherited Mind: Essays in Modern German Literature and Thought; The Ironic Gentleman: Thomas Mann; The Artist's Journey into the Interior; and Franz Kafka. These books have also appeared in Germany in the author's own translations, and his Dir Wiederkehr der Unschuld [The return of innocence] was recently published there. See also: "Fiction, History, and Empirical Reality" by Murray Krieger in Vol. 1, No. 2; "Psychoanalysis and the Marionette Theater: Interpretation is Not Depreciation" by Margret Schaefer in Vol. 5, No. 1. (shrink)

Volume 23 of _The Annual of Psychoanalysis _departs from its predecessors in offering three lengthy studies of unususal interest. Fred Levin's three-part examination of psychoanalysis and knowledge is a simulating, timely effort to relate "a psychoanalyst's thinking about knowledge" to both the clinical situation and what is now known about learning, memory, and knowledge formation in the neurosciences. The late Roy R. Grinker, Sr.'s history of analysis in Chicago was solicited by _The Annual_ in 1975 but declined (...) for publication at the time as too abrasive in tone and too critical in content. It is published here in unexpurgated form, and emerges as both a provocative historical document and a valuable commentary on the state of psychoanalytic education 20 years ago. Finally, in a fascinating contribution to applied analysis, Carol M. Ravenal reexamines Matisse's artwork in the context of the painter's arrested development and subsequent adult conflicts in "Henri Matisse: Love as Art - A Psychobiographical Study." These major contributions are supplemented by clinical and theoretical papers of characteristic excellence. John Gedo's probing evaluation of the "pragmatics of empathy" highlights how empathic responsiveness obliges analysts "to tailor our manner of discourse to the specific requirements of the analysand's current state." Michael Hoit argues that the hermeneutic point of view is an important addition to clinical theory, allowing analysts to understand phenomena outside the boundaries of specific schools and theories. Otto Kernberg examines the psychoanalytic psychotherapy of eating-disorder patients with borderline personality organization. Alice Rosen Soref proffers a revised understanding of the etiology and treatment of narcissistic pathology on the basis of three decades of infant research. And Samuel Weiss discusses the resistance to child analysis of parents who know their children need help but balk at the actual recommendation for treatment. In all, Volume 23 is a worthy response to the ferment of the present time. Encompassing a key period in psychoanalytic history, a scholarly investigation in applied analysis, and a thoughtful assessment of psychoanalysis and brain research, it offers a fine overview of the major tributaries of contemporary analytic scholarship. Supplement these monographic efforts with a careful selection of clinical and theoretical studies and you have an exemplary contribution to the literature. (shrink)

In the beginning was the night. All light, shapes, language, and subjective consciousness, as well as the world and art depicting them, emerged from this formless chaos. In fantasy, we seek to return to this original darkness. Particularly in literature, visual representations, and film, the night resiliently resurfaces from the margins of the knowable, acting as a stage and state of mind in which exceptional perceptions, discoveries, and decisions play out. Elisabeth Bronfen investigates the nocturnal spaces in which extraordinary (...) events unfold, and casts a critical eye into the darkness that enables the irrational exploration of desire, transformation, ecstasy, transgression, spiritual illumination, and moral choice. She begins with an analysis of classical myths depicting the creation of the world and then moves through night scenes in Shakespeare and Milton, Gothic novels and novellas, Hegel's romantic philosophy, and Freud's psychoanalysis. Bronfen also demonstrates how modern works of literature and film, particularly film noir, can convey that piece of night the modern subject carries within. From Mozart's "Queen of the Night" to Virginia Woolf 's oscillation between day and night, life and death, and chaos and aesthetic form, Bronfen renders something visible, conceivable, and comprehensible from the dark realms of the unknown. (shrink)

In the beginning was the night. All light, shapes, language, and subjective consciousness, as well as the world and art depicting them, emerged from this formless chaos. In fantasy, we seek to return to this original darkness. Particularly in literature, visual representations, and film, the night resiliently resurfaces from the margins of the knowable, acting as a stage and state of mind in which exceptional perceptions, discoveries, and decisions play out. Elisabeth Bronfen investigates the nocturnal spaces in which extraordinary (...) events unfold, and casts a critical eye into the darkness that enables the irrational exploration of desire, transformation, ecstasy, transgression, spiritual illumination, and moral choice. She begins with an analysis of classical myths depicting the creation of the world and then moves through night scenes in Shakespeare and Milton, Gothic novels and novellas, Hegel's romantic philosophy, and Freud's psychoanalysis. Bronfen also demonstrates how modern works of literature and film, particularly film noir, can convey that piece of night the modern subject carries within. From Mozart's "Queen of the Night" to Virginia Woolf 's oscillation between day and night, life and death, and chaos and aesthetic form, Bronfen renders something visible, conceivable, and comprehensible from the dark realms of the unknown. (shrink)

In Culture, Genre, and Literary Vocation, Michael Davitt Bell charts the important and often overlooked connection between literary culture and authors' careers. Bell's influential essays on nineteenth-century American writers—originally written for such landmark projects as The Columbia Literary History of the United States and The Cambridge History of American Literature—are gathered here with a major new essay on Richard Wright. Throughout, Bell revisits issues of genre with an eye toward the unexpected details of authors' lives, and invites (...) us to reconsider the hidden functions that terms such as "romanticism" and "realism" served for authors and their critics. Whether tracing the demands of the market or the expectations of readers, Bell examines the intimate relationship between literary production and culture; each essay closely links the milieu in which American writers worked with the trajectory of their storied careers. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Bombs and Roses: The Writing of Anxiety in Henry Green’s CaughtLyndsey Stonebridge (bio)(The firemen saw each other’s faces. They saw the water below a dirty yellow towards the fire; the wharves on that far side low and black, those on the bank they were leaving a pretty rose.... They sat very still, beneath the immensity. For, against it, warehouses, small towers, puny steeples seemed alive with sparks from the (...) mile high pandemonium of flame reflected in the quaking sky. This fan, a roaring red gold, pulsed rose at the outside edge, the perimeter round which the heavens, set with stars before fading into utter blackness, were for a space a trembling green.)—Henry Green, CaughtWar, she thought, is sex.—Henry Green, CaughtRoses are not generally thought to be objects of anxiety. They are objects of desire, or better, objects that arrest desire by their invitation to aesthetic contemplation, but only for the phobic could a rose be said to be an occasion for dread. Writing during World War II, the British writer Henry Green (“a trembling green”) suggests otherwise. In this description of the London Blitz from his 1943 novel, Caught, everything comes up roses. 1 First among literary clichés, roses lend themselves to this kind of figurative estrangement (by virtue of which, in literature, a rose is in fact only very rarely a rose), and Green is by no means the only British writer in World War II to note that the fire and the rose are one. 2 In Caught, however, Green’s roses wreath desire and dread together so tightly that the psychoanalytic cliché—war is sex—snaps back into the tautology that Freud perhaps always intended.The idea that war could be sex was, of course, the scandal of Freud’s theory of the traumatic neurosis during World War I. As is well known, only a desexualized version of psychoanalysis was admitted into the field hospitals and the officer’s convalescent homes that sprang up in upper-class houses all over Britain. One of these was Green’s childhood home, which, he later said, like many of the overprivileged, opened up its doors to the wounded and traumatized in a calculated act of class preservation. 3 One does not have to [End Page 25] think too hard to appreciate why, for some at least, it was preferable to see these torn and shocked bodies as seized by a dreadful—but after all perfectly understandable—fear in the face of war, rather than gripped with a less comprehensible anxiety that carried with it a dangerous and potentially lethal sexual charge.The temptation to unsex trauma theory is still with us today. It is not quite that something has been occluded in contemporary debate and that this something is sexuality. It is more accurate to say that, from a psychoanalytic perspective, the agon of sexuality—and particularly of the drives—is right at the heart of trauma, and that this, especially in the recent alliance of psychoanalysis and history, causes a certain awkwardness. One of the strengths of contemporary trauma theory lies in its articulation of a nuanced and subtle historicity, read through both psychoanalysis and literature, which allows the humanities to reconnect with historical violence, without (supposedly) falling into the pitfalls of a naive historicism [see Caruth]. The awkwardness comes because sexual antagonism is both clearly historical (the violence is well documented) and structurally necessary to psychoanalytic theories of trauma. The two, the historical and the psychic, are clearly not analogues, but they remain stubbornly and infuriatingly intertwined. 4Faced with this theoretical tangle, two options present themselves. The first is to privilege historical trauma over sexual trauma. Psychoanalysis, hence, provides an account of the multiple difficulties of historical representation while escaping the age-old accusation of sexual determination. War, thus, is not (only) sex. For all its hermeneutic power, this new historiography runs the risk of producing a trauma theory without, paradoxically, a psychoanalysis (an Orphics without Eurydice). The second is to insist on the structural necessity of sexuality and, in particular, of sexual difference, not as the ahistorical referent that lurks beyond representation but, as Slavoj Zizek has... (shrink)

... he writes of the destruction of Mnemosyne's city and of the severing of the locks of the goddess herself: From her also, when God put off his cloak, ...

Study on feminism and psychoanalysis and women's writings in Tamil.

This edited volume brings together authors from a wide variety of disciplines in the social sciences and humanities. A historian first investigates understudied samizdat literature, a film critic then analyzes Balkan cinema via psychoanalysis, a psychologist examines contemporary European border policies, and a political scientist analyzes the Confederate-memorial debate. Philosophers consider the space of those memorials, ethno-national narratives in India, the Anthropocene and the mind’s historical imaginary, and the notion of home. Literary critics examine recent developments in modes (...) of storytelling and images of Orientalism. What emerges is a new understanding of history, memory, and time. (shrink)

Using exemplary historical scenarios, the present cultural history traces the transdisciplinary development of a psychosomatic discourse between the 18th and 20th centuries, thus closing a gap in research.

_On the Lyricism of the Mind: Psychoanalysis and Literature_ explores the lyrical dimension of the psychic space. It is not presented as an artistic disposition, but rather as a universal psychic quality which enables the recovery and recuperation of the self. The specific nature of human lyricism is defined as the interaction as well as the integration of two psychic modes of experience originally defined by the psychoanalyst Wilfred Bion: The emergent and the continuous principles of the self. Dana (...) Amir elaborates Bion's general notion of an interaction between the emergent and the continuous principles of the self, offering a discussion of the specific function of each principle and of the significance of the various types of interaction between them as the basis for mental health or pathology. The author applies these theoretical notions in her analytic work by means of literary illustrations showing how the lyrical dimension may be used to teach psychoanalytic readings of literature and explore the connection between psychoanalytic and literary languages._ _ On the Lyricism of the Mind presents a new psychoanalytic understanding of the capacity to heal, to grieve, to love and to know, using literary illustrations but also literary language in order to extract a new formulation out of the classic psychoanalytic language of Winnicott and Bion. This book will appear to a wide audience to include psychoanalysts, psychotherapists and art therapists. It is also extremely relevant to literary scholars, including students of literary criticism, philosophers of language and philosophers of mind, novelists, poets, and to the wide educated readership in general._ _. (shrink)

This review article critically surveys the following literature by placing it under the historiographical banner of ‘the history of the brain and mind sciences’: Fernando Vidal and Francisco Ortega, Being Brains: Making the Cerebral Subject (New York: Fordham University Press, 2017); Katja Guenther, Localization and its Discontents: A Genealogy of Psychoanalysis & the Neuro Disciplines (Chicago: University of Chicago Press, 2015); Stephen Casper and Delia Gavrus (eds), The History of the Brain and Mind Sciences: Technique, Technology, (...) Therapy (Rochester: University of Rochester Press, 2017); Jonna Brenninkmeijer, Neurotechnologies of the Self: Mind, Brain and Subjectivity (London: Palgrave Macmillan, 2016). This framework highlights contemporary attempts to historicize the integrative project of neuroscience and set the correct limits to interdisciplinary collaboration. While attempts to critically engage with the ‘neuro’ rhetoric of contemporary neuroscientists can seem at odds with historians seeking to write the history of neuroscience from the margins, it is argued that together these two projects represent a positive historiographical direction for the history of the neurosciences after the decade of the brain. (shrink)

Philosophy After Lacan: Politics, Science and Art brings together reflections on contemporary philosophy inspired by and in dialogue with Lacanian theory. Rather than focus on the thinkers who came before Lacan, the editors maintain attention on innovations in contemporary philosophy that owe their emergence to complimentary, critical, direct, or tangential engagement with Lacan. This collection makes one of the first concerted efforts to expand discussions between psychoanalysis and more recent philosophical thinkers while gathering chapters by some of the leading (...) philosophical voices of the present moment. With contributors from around the world, this book has international appeal and is unique in its emphasis on contemporary philosophies inspired or influenced by Lacan. Philosophy After Lacan will not only appeal to psychotherapists and psychoanalysts, but also to students and professors of philosophy, critical theory, psychology, politics, history, and literature. (shrink)

Although Freud makes only occasional, brief references to China and Chinese culture in his works, for almost a hundred years many leading Chinese intellectuals have studied and appropriated various Freudian theories. However, whilst some features of Freud’s views have been warmly embraced from the start and appreciated for their various explanatory and therapeutic values, other aspects have been vigorously criticized as implausible or inapplicable to the Chinese context. This book explores the history, reception, and use of Freud and his (...) theories in China, and makes an original and substantial contribution to our understanding of the Chinese people and their culture as well as to our appreciation of western attempts to understand the people and culture of China. The essays are organised around three key areas of research. First, it examines the historical background concerning the China-Freud connection in the 20thcentury, before going on to use reconstructed Freudian theories in order to provide a modernist critique of Chinese culture. Finally, the book deploys traditional Chinese thought in order to challenge various aspects of the Freudian project. Both Freudianism’s universal appeal and its cultural particularity are in full display throughout the book. At the same time, the allure of Chinese cultural and literary expressions, both in terms of their commonality with other cultures and their distinctive characteristics, are also scrutinized. This collection of essays will be welcomed by those interested in early modern and contemporary China, as well as the work and influence of Freud. It will also be of great interest to students and scholars of psychology, psychoanalysis, literature, philosophy, religion, and cultural studies more generally. (shrink)

For over two and a half millennia human beings have attempted to invent strategies to “discover” the truth of time, to determine whether time is infinite, whether eternity is the infinite duration of a continuous present, or whether it too rises and falls with the cycles of universal creation and destruction. _Time-Fetishes_ recounts the history of a tradition that runs counter to the dominant tradition in Western metaphysics, which has sought to purify eternity of its temporal character. From the (...) pre-Socratics to Ovid and Plotinus, and from Shakespeare to Hegel, Schelling, Nietzsche, Heidegger, and Derrida, _Time-Fetishes_ traces the secret tradition of the idea of eternal recurrence and situates it as the grounding thought of Western philosophy and literature. The thinkers in this counter-history of the eternal return lingered long enough on the question of time to learn how to resist separating eternity from time, and how to reflect on the possible identity of time and eternity as a way of resisting all prior metaphysical determinations. Drawing out the implications of Nietzsche’s reinvention of the doctrine of return, Lukacher ranges across a broad spectrum of ancient and modern thinkers. Shakespeare’s role in this history as the “poet of time” is particularly significant, for not only does Shakespeare reactivate the pre-Christian arguments of eternal return, he regards them, and all arguments and images concerning the essence of time and Being, from an inimitably ironic perspective. As he makes transitions from literature to philosophy and psychoanalysis, Lukacher displays a theoretical imagination and historical vision that bring to the forefront a host of pre- and post-Christian texts in order to decipher in them an encounter with the thought of eternal recurrence that has been too long buried under layers of rigid metaphysical interpretation. (shrink)

The second volume of _Analytical Psychology and German Classical Aesthetics_ builds on the previous volume to show how German classicism, specifically the classical aesthetics associated with Goethe and Schiller known as Weimar classicism, was a major influence on psychoanalysis and analytical psychology alike. This volume examines such significant parallels between analytical psychology and Weimar classicism as the methodological similarities between Goethe’s morphological and Jung’s archetypal approaches, which both seek to use synthesis as well as analysis in their attempt to (...) understand the world. It also focuses on the project of the construction of the self, which, it is argued, is not only a personal but also a cultural activity. This book, like its previous volume, aims to clarify the intellectual continuity between Weimar classicism and analytical psychology. It will be of interest to both students and scholars in the fields of analytical psychology, comparative literature, and the history of ideas. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Journal of the History of Philosophy 41.2 (2003) 282-284 [Access article in PDF] Bruce Kuklick. A History of Philosophy in America, 1720-2000. New York: Oxford University Press, 2001. Pp. xiii + 326. Cloth, $30.00. Scott L. Pratt. Native Pragmatism: Rethinking the Roots of American Philosophy. Bloomington: Indiana University Press, 2002. Pp. xviii + 316. Cloth, $49.95. Paper, $21.95. In his earlier works Bruce Kuklick has studied major (...) figures and episodes in the evolution of American thought, most famously the Golden Age of Harvard. In the present book he proposes to tell the whole story. Beginning, as it must, with Jonathan Edwards, Part I traces the long and difficult process by which philosophy gradually distinguishes itself from theology. Part II deals magisterially with the age of pragmatism, from Darwin to Dewey, and Part III with professional philosophy in the twentieth century. Kuklick's account of this latest development, briefly adumbrated in his previous books, is the freshest and (to this retired professional) most engaging part of the narrative. Once philosophy had loosened the bonds that tied it to theology, once sciences like psychology, originally parts of philosophy, had declared independence and set out on their own, and once philosophy's role as counselor to private morals and public policy had been taken over by psychoanalysis, economics, sociology, and political science, philosophers had to discover a new identity for themselves. Inspired by logical positivism and the linguistic ruminations of the late Wittgenstein, professional philosophy came to mean, very largely, a preoccupation with problems of logic, philosophy of language, philosophy of science, and epistemology. The result was that, apart from undergraduate lectures and occasional ventures into the popular media, what philosophers said and wrote, intelligible only to other philosophers, became irrelevant to just about everything of personal and public interest, and even to the traditional concerns of philosophy itself with the nature of reality and the conduct of life.The eventual arrival in the American academy of phenomenology, existentialism, and deconstruction, in spite of their apparent engagement with "real life" and their appeal to undergraduates, only bred another species of professionals and precipitated the familiar antagonism between analytic and continental philosophy. Late in the last century Richard Rorty, a preeminent analytic philosopher, broke ranks, discovered first Heidegger and Derrida, then William James and John Dewey, and declared himself a pragmatist. He characterized philosophy as a single voice in the conversation of the West, which also included literature, literary criticism, the arts, and all the sciences both natural and humane. But he remains a philosopher of language. The pragmatism of the nineteenth century was a low-mimetic [End Page 282] form of the high-mimetic idealism from which it emerged: from Royce to James. Rorty's pragmatism not only takes for granted the (often implicit) materialism and atheism of analytic philosophy, but is itself a new way of understanding and using language. It has been called, inverting James, an old name for a new way of thinking.But I need to correct this overly simple account. As Kuklick is aware, philosophy in America, though it did succeed in detaching itself from theology, has never wholly dissolved its ties to religion. Royce and James in the nineteenth century and Dewey in the twentieth continued to be preoccupied with religious questions, especially with the apparent conflict of religion and science suggested by Darwin's theory. Religious interests survive, barely, in "critical realism." And even though analytic philosophy would seem to be most comfortable with atheism, more than a few thinkers trained in analysis have combined analytic logic and religious faith. Witness the Society of Christian Philosophers. On the whole, however, professional philosophy has been devoid of religious, socio-political, or existential interest. This should not be surprising. All genuine professions serve an end beyond themselves—as medicine serves health, law justice, and theology salvation. But when philosophy becomes a "profession," it has no end but self-preservation, i.e., creating more philosophers and finding jobs for them.One slightly disconcerting feature of Kuklick's... (shrink)

The sublime and the abject -- Sade pro and contra Sade -- Dark enlightenment or barbaric science -- The Auschwitz confessions -- The perverse society.