article 970501 |
| Reading the Object: Freud's Dreams |
by Sara van den Berg |
When the dreams Freud describes in The Interpretation of Dreams are read as a sequence, images of language and books emerge as important materials that Freud left unanalyzed. A close examination of these materials suggests that these dreams link the writing of the book to a quest for the lost maternal object. This reading of Freud's dreams supplements his oedipal emphasis with an interpretation based on object relations theory.
|
| go >> |
keywords: Freud, Sigmund (biography); dreams; language; books; mother; oedipus complex |
url: http://www.clas.ufl.edu/ipsa/journal/1997_van_den_berg01.shtml
|
Citations of print publication: none
To cite this article, use this bibliographical entry: van den Berg, Sara. "Reading the Object: Freud's Dreams." PSYART: A Hyperlink Journal for the Psychological Study of the Arts, article 970501. August 22, 1997. Available http://www.clas.ufl.edu/ipsa/journal/articles/psyart/1997_van_den_berg01.shtml. Dec. 31, 1997 [or whatever date you accessed the article].
|
| Received: May 1, 1997 || Published: August 18, 1997 || Copyright © 1997 Sara van den Berg |
author info: |
article 970502 |
| The Circulation of Sado-Masochistic Desire in the Lolita Texts |
by Krin Gabbard |
After working with Robert De Niro on several films, director Martin Scorsese saw De Niro in Michael Cimino's The Deer Hunter and subsequently remarked, "It was like watching someone who was extremely close to me having an affair with someone else." The Scorsese/De Niro collaboration is one of many in film history that invites a psychoanalytic account of an underlying sexual tension. Stanley Kubrick's Lolita (1961) provides a revealing example of how several participants in the making of a film engaged in a series of sado-masochistic relationships. The interactions of Kubrick with novelist/screenwriter Vladimir Nabokov and with actor Peter Sellers have many similarities with situations in Nabokov's novel. Kubrick struggled with both Sellers and Nabokov for mastery over the film text just as Humbert and Quilty struggle for possession of Lolita. Gaylyn Studlar's model of a masochistic aesthetic provides a starting point for interpreting the Lolita texts, but the linkage of masochism and sadism as theorized in conventional psychoanalysis helps explain the dynamics of sadistic mastery that Kubrick asserted over Nabokov as well as the masochistically submissive posture the director adopted with Peter Sellers.
|
| go >> |
keywords: Lolita, Kubrick, Nabokov, masochism, sadism, acting, directing, Gaylyn Studlar |
url: http://www.clas.ufl.edu/ipsa/journal/1997_gabbard01.shtml
|
Citations of print publication: none.
To cite this article, use this a bibliographical entry: Gabbard, Krin. "The Circulation of Sado-Masochistic Desire in the Lolita Texts."PSYART: A Hyperlink Journal for the Psychological Study of the Arts, article 970502. August 25, 1997. Available http://www.clas.ufl.edu/ipsa/journal/articles/psyart/1997_gabbard01.shtml. Dec. 31, 1997 [or whatever date you accessed the article].
|
| Received: April 6, 1997 || Published: August 18, 1997 || Copyright © 1997 Krin Gabbard |
author info: |
article 970503 |
| Trouble in River City, or Lacan's "The agency of the letter in the unconscious" |
by Andrew M. Gordon |
This article offers a reader's response to Lacan's essay "The agency of the letter in the unconscious" and a psychoanalytic critique of Lacan as he represents himself in his writings. Rather than interpret or evaluate his theories, I interpret the man behind the theories by analyzing his characteristic style of argument and try to account for his influence, given his sadistic stance toward his readers.
A close analysis of his language reveals that Lacan presents himself in his essay in various guises: the Literary Critic, the Sadist, the Scientist, the Genius, the Prophet, the Master, the Seeker after Truth, the Liberator, the Rebel, the Snob, the Warrior, and the image that may help to explain all the rest, the Pisser.
Lacan is usually on the attack. His stance toward existence is aggressive and adversarial. A number of images of urination and fire in the essay suggest that Lacan may be what is called a "projective" or "urethral" character. The urethral character is impulsive, perhaps sadistic or self-assertive, ambitious and antisocial. He is concerned with mastery, personal power over self and world, and symbolizes primarily through abstractions. In a fundamental sense, Lacan is pissed off at the world.
It may be that his "burning ambition" allows us to give vent to our own desires to command intellectual territory. We are willing to enter the labyrinth of his prose and submit to his sadistic mastery for the promise of entry into a revolutionary elite.
|
| go >> |
keywords: Lacan, Jacques; "The agency of the letter"; reader-response; character; urethral character; style; sadism |
url: http://www.clas.ufl.edu/ipsa/journal/1997_gordon01.shtml
|
Citations of print publication: none
To cite this article, use this bibliographical entry: Gordon, Andrew M. "Trouble in River City, or Lacan's "The agency of the letter in the unconscious"." PSYART: A Hyperlink Journal for the Psychological Study of the Arts, article 970503. August 25, 1997. Available http://www.clas.ufl.edu/ipsa/journal/articles/psyart/1997_gordon01.shtml. Dec. 31, 1997 [or whatever date you accessed the article].
|
| Received: April 23, 1997 || Published: August 22, 1997 || Copyright © 1997 Andrew M. Gordon |
author info: |
article 970601 |
| Picture Poems: Some Cognitive and Aesthetic Principles |
by Reuven Tsur |
This paper treats language as of a hierarchy of signs: the graphemic string signifies a phonological string which signifies units of meaning which signify referents in extralinguistic reality. Our linguistic competence urges us to reach the final referents as fast as possible. Poetic language draws attention to itself, that is, to the hierarchy of signifiers. In manneristic styles there is a greater awareness of the separateness of signifiers than in non-manneristic styles, hence their witty or disorienting effect. While rhyme, metre, and alliteration impose additional patterning upon the phonological signifiers, picture poems, acrostich, and some other manneristic devices impose additional patterning upon the graphemic signifiers. When alliterations are turned into puns, they become manneristic patterning of the phonological signifier. It is argued, by analogy with synaesthesia, that stable characteristic visual shapes obstruct smooth perceptual fusion. It is also argued that, based on speech perception speech sounds are special in our cognitive economy, and visual patterning cannot achieve the naturalness of their patterning. That is why visual patterning is not admitted in non-manneristic styles. Cognitive poetics suggests that in the response to poetry, adaptive devices are turned to an aesthetic end. In a universe in which "the centre cannot hold," readers of poetry find pleasure not so much in the emotional disorientation caused by mannerist devices, but rather in the reassertion that their adaptive devices, when disrupted, function properly. This is one reason for mannerist styles to recur in cultural and social periods in which more than one scale of values prevail.
|
| go >> |
keywords: picture poems; concrete poetry; typographic patterning; literary history; mannerism; metaphysical poetry; signifier-signified; cognitive poetics; calligrams; phonetic patterning. |
url: http://www.clas.ufl.edu/ipsa/journal/1997_tsur01.shtml
|
Citations of print publication: none
To cite this article, use this bibliographical entry: Tsur, Reuven. "Picture Poems: Some Cognitive and Aesthetic Principles."PSYART: A Hyperlink Journal for the Psychological Study of the Arts, article 970601. August 25, 1997. Available http://www.clas.ufl.edu/ipsa/journal/articles/psyart/1997_tsur01.shtml. Dec. 31, 1997 [or whatever date you accessed the article].
|
| Received: June 11, 1997 || Published: August 25, 1997 || Copyright © 1997 Reuven Tsur |
author info: |
| Reuven Tsur |
tsurxx@post.tau.ac.il |
Hebrew Literature
Tel Aviv University |
Ramat Aviv 69978
Tel Aviv P.O.B. 39040 ISRAEL |
article 971001 |
| The Borderline Dilemma in Paris, Texas: Psychoanalytic Approaches to Sam Shepard |
by Donald L. Carveth |
The preoccupation with the personal and interpersonal dilemmas of the contemporary disordered self that typifies the work of the American playwright, Sam Shepard, is clearly reflected in the central themes of the film, Paris, Texas. Directed by Wim Wenders who collaborated with Shepard on the screenplay, the film was awarded the Palme d'Or for 1984 at Cannes. This essay in comparative psychoanalysis considers this work from the standpoint of each of two contrasting psychoanalytic approaches to the origins of pathological narcissism. One, employing a broadly oedipal perspective and following certain ideas of Marcuse and Lacan, locates its roots in the breakdown of paternal authority in society and the family. The other, utilizing various object-relational and self-psychological perspectives, traces it to a failure of the holding or containing function, not merely of the early (maternal and paternal) selfobjects, but of the wider culture as well.
|
| go >> |
keywords: Sam Shepard; Wim Wenders; Paris, Texas; Martin Buber; Jacques Lacan; Herbert Marcuse; absent father; anomie; borderline; critical theory (Frankfurt School); pathological narcissism; schizoid |
url: http://www.clas.ufl.edu/ipsa/journal/1997_carveth01.shtml
|
Citations of print publication:
"The Borderline Dilemma in Paris, Texas: Psychoanalytic Approaches to Sam Shepard," Mosaic 25.4 (Fall 1992): 99-120;
"The Borderline Dilemma in Paris, Texas: Psychoanalytic Approaches to Sam Shepard," Canadian Journal of Psychoanalysis/Revue Canadienne de Psychanalyse 1.2 (1993):19-46.
To cite this article, use this bibliographical entry:
Carveth, Donald L. "The Borderline Dilemma in Paris, Texas: Psychoanalytic Approaches to Sam Shepard." PSYART: A Hyperlink Journal for the Psychological Study of the Arts, article 971001. Published December 8, 1997. Available http://www.clas.ufl.edu/ipsa/journal/articles/psyart/1997_carveth01.shtml. Dec. 31, 1997 [or whatever date you accessed the article].
|
| Received: October 9, 1997 || Published: December 8, 1997 || Copyright © 1997 Donald L. Carveth |
author info: |
| Donald Carveth |
dcarveth@yorku.ca |
Glendon College
York University
|
Toronto, Ontario
M4N 3M6 CANADA |
|
