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"Le Suicidé:" Édouard Manet’s Modern Crucifixion
(abstract)
Holly Paradis

Beyond the Mortal Stain: Cyclothymia, Mrs. Dalloway and "Mrs. Dalloway in Bond Street" (abstract)
Tina Dyer


Shakespeare and Psychoanalysis


Introductory Note

Murray M. Schwartz

Shakespeare and the Problem of Literary Character
(abstract)
W. L. Godshalk

"The Barge She Sat In": Psychoanalysis and Diction (abstract)
Norman N. Holland

Princess Constance in Shakespeare’s King John: From Distress to Despair (abstract)
Yves Thoret

Love’s Lost Labor in Love's Labour's Lost (abstract)
Marvin Krims

Tragic Alternatives: Eros and Superego Revenge in Hamlet (abstract)
Joanna Montgomery Byles

On Hamlet’s « To be or not to be » Soliloquy (abstract)
Robert Silhol

The Pressure to Do Great Things and the Impulse to Resist It: The Case of Iago in Othello (abstract)
Saundra Segan

‘Filth, thou liest’: The Spousal Abuse of Emilia in Othello (abstract)
Roxanne Y. Schwab

Miraculous Daughters in Shakespeare's Late Romances (abstract)
Dianne Hunter

"Every Man Kills the Thing He Loves": Object Use and Potential Space in The Winter's Tale (abstract)
Brooke Hopkins

“Between Fantasy and Imagination A Psychological Exploration of Cymbeline” (abstract)
Murray M. Schwartz

Loss and Transformation in The Winter’s Tale - Part I - Leontes’ Jealousy (abstract)
Murray M. Schwartz

Loss and Transformation in The Winter’s Tale - Part II - Transformations (abstract)
Murray M. Schwartz


"With great power comes great responsibility": Central psychoanalytic motifs in Spider-Man and Spider-Man 2 (abstract)
Robert M. Peaslee

Rick, Ilsa, and Laszlo: A Closer Look at Characterization in Casablanca (abstract)
Bernard J. Paris

Imagining What You Can Do: The Brain, Free Will, and Art (abstract)
Patrick Colm Hogan

"He Knew Psychoanalysis": Thomas Hardy and the Paradox of Degeneracy in Tess of the d'Urbervilles (abstract)
Shirley A. Martin

"Out of sound – Out of sight": Emily Dickinson and the Poetics of Trauma (abstract)
Robert Howard

A Note on Rudyard Kipling’s Loss of Brother John: "Little Tobrah" (abstract)
Cora L. Díaz de Chumaceiro

Cognitive Style in Creative Work: The Case of the Painter George Rodrique (abstract)
Subrata Dasgupta

The Royal We The Divine I: Narcissitic Imbalance in the Worlds of King Lear and Paradise Lost (abstract)
Julia C. Guernsey-Shaw



article 051115
"Le Suicidé:" Édouard Manet’s Modern Crucifixion by Holly Paradis  

      During his last years, Édouard Manet painted a Parisian dandy’s suicide. A painting that was clearly personal and private (it was never entered into the annual Paris Salon), "Le Suicidé" may reveal the artist’s conscious or unconscious wishes and desires. Using the post-Freudian concept of narcissism, I consider "Le Suicidé" a disguised self-portrait of the artist in the guise of a modern crucifixion. The Baudelairean persona of the avant-garde artist as a persecuted, tragic martyr recurs in Manet’s oeuvre scholars have viewed works of this nature as disguised self-portraits. Life-long feelings of persecution and critical disparagement lead to Manet’s fantasy of himself as a wounded martyr. Stricken with the debilitating, terminal stages of tertiary syphilis, Manet may have identified his life’s burden—alienation, public persecution and physical and psychic suffering—with the burden of the Christian Messiah.
 
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keywords: Édouard Manet, crucifixion
url: http://www.clas.ufl.edu/ipsa/journal/2005_paradis01.shtml

author info:
Holly Paradis hollyparadis1@yahoo.com

History of Art and Architecture
University of Pittsburgh
Doctoral Candidate
Saint David's

Dept. of Fine Arts
Eastern University
St. David's, PA 19087




article 050920
Beyond the Mortal Stain: Cyclothymia, Mrs. Dalloway and "Mrs. Dalloway in Bond Street" by Tina Dyer  

      Mrs. Dalloway is perhaps Woolf’s best known work, and its seed was the short story “Mrs. Dalloway in Bond Street”. Less than seven months elapsed between the completion of the short story and the commencement of the novel at first glance, the first chapter of the novel appears to have been lifted whole-cloth from the short story. Yet upon comparison, it comes to light that many of the sexual motives integral to the meaning of the short story have been gutted, rendered impotent, or removed completely from the longer work. In this essay, I examine these changes in light of Peter Daly’s provocative analysis of Woolf’s manic depressive disorder, "The Marriage of Heaven and Hell." My goal is by no means to impugn Woolf’s genius instead, I model here a cross-disciplinary approach, interpreting literature through the lens of psychobiology.
 
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keywords: cyclothymia, Woolf Dalloway, Bond Street, manic depressive, Peter Daly
url: http://www.clas.ufl.edu/ipsa/journal/2005_dyer01.shtml

author info:
Tina Dyer tinamdyer@bellsouth.net

Graduate Student, English Department
University of West Florida
Pensacola, FL

4993 Canal Street
Milton, FL 32570



Shakespeare and Psychoanalysis Special Edition Introduction by Murray M. Schwartz  

 

Among the advantages of online scholarly publication is the freedom of journals like PsyArt to assemble “Special Issues” on topics of particular interest, without restrictions of time and space. These “Special Issues” can be published whenever appropriate material has been vetted by peer review, and electronic publication can accommodate materials of virtually any length. On occasion, PsyArt has grouped together essays on special topics, such as trauma, and in 2001, we published our first “e-book,” on “Metaphor and Psychoanalysis.” Papers on Shakespeare have appeared regularly in PsyArt. In late 2004, a number of new submissions on Shakespeare had arrived, and the editors decided to call for additional Shakespeare papers for a “Special Issue” in 2005.

In January, I sent a CFP to over 1000 subscribers to the Psyart discussion list and to several other online lists and received over two dozen submissions before the deadline of May 1st. All of the Shakespeare papers were sent to two peer reviewers who were asked to select those they felt most worthy of publication. In keeping with PsyArt’s publication policy, only those papers selected by both reviews were chosen for this “Special Issue.” The result is the collection presented here. As the collection’s editor, I am pleased to make these varied examples of the continuing vitality of psychoanalytic commentary on Shakespeare available to a world-wide audience.

 



article 050812
Shakespeare and the Problem of Literary Character by W. L. Godshalk  

      Shakespeare's characters, as well as literary characters in general, are merely words on a page, and yet we talk about them as if they were living creatures with volition, agency, and a full complement of human attributes. How do we account for this apparent double-think? A survey of comments about Shakespeare's characters made by Bertram Russell, L. C. Knights, Harry Berger, Maurice Morgann, A. D. Nuttall, Alan Sinfield, Gerald Graff, and James Phelan indicate a range of possible answers to this question. Kendall Walton's theory that interpreting literary characters is a game of make-believe and pretense is both economical and satisfying.
 
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keywords: Shakespeare, Literary Character, Ontology, Play/Game Theory
url: http://www.clas.ufl.edu/ipsa/journal/2005_godshalk01.shtml

author info:
W.L. Godshalk godshawl@email.uc.edu

Professor in the department of
English at the University of Cincinnati

Department of English
University of Cincinnati
Cincinnati OH 45221-0069




article 050813
"The Barge She Sat In": Psychoanalysis and Diction by Norman N. Holland  

      Modern linguistics and psychoanalysis both confirm that "The style is the man." Psychoanalysts also show how patients' choice of words, grammatical patterns, and figures of speech express personality. Using this technique in literary analysis, N. N. Holland and R. Ohmann have shown how verbal choices express personality for three Victorian essayists. Using the same technique, one can show how Falstaff's use of enthymemes resembles the pathology of a patient of Maria Lorenz's. Shakespeare's choices when he converted North's prose description of Cleopatra's barge likewise reveal personality. Shakespeare animated and sexualized the inanimate. He feminized his Roman speaker, identifying imagination with femininity. His choices may also show primal scene imaginings in a "Whiter" cluster. Although recent psychoanalysis tends to neglect them, verbal choices allow powerful insights for both psychoanalyst and literary critic.
 
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keywords: style; diction; Antony and Cleopatra; Shakespeare; Plutarch; primal scene
url: http://www.clas.ufl.edu/ipsa/journal/2005_holland09.shtml

author info:
Norman N. Holland nholland@ufl.edu

Deptartment of English
University of Florida

P. O. Box 117310
Gainesville FL 32611-7310 U.S.A.




article 050814
Princess Constance in Shakespeare’s King John: From Distress to Despair by Yves Thoret  

      This essay shows how Shakespeare’s King John represents with great psychological accuracy the stages of loss, distress, madness, despair and mourning. In the character of Constance, extreme pain gives way to the foreclosure of the symbolic order in distress and madness. Constance’s despair is a response to the “hole in the real” created by extreme loss. The idea of “dead loss” is invoked to account for the irreversibility of mourning in the absence of ritual enactment of meaning. Shakespeare’s Constance gives us a way to understand the progressive steps of depression.
 
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keywords: Shakespeare, King John, despair, madness, depression, mourning
url: http://www.clas.ufl.edu/ipsa/journal/2005_thoret01.shtml

author info:
Yves Thoret thoret.yves@wanadoo.fr

MD, PhD, Psychiatrist,
University of Paris

University of Paris-X-Nanterre
53, avenue Anatole
France, 78300 Poissy





article 050815
Love’s Lost Labor in Love's Labour's Lost by Marvin Krims  

      Shakespeare's Love's Labours Lost is a comedy with a most unconventional ending: the main characters part without consummating their love. On the surface, the text attributes this unhappy ending to the restrictions against carnal pleasure imposed first by the King of Navarre and later, when he relents, by the Queen of France. The very fact that Shakespeare has the main characters abide by such unnatural restrictions leads me to an examination of the subtext for Shakespeare’s representation of unconscious conflicts which would then reinforce --and thereby enforce-- the royal edicts against love. Accordingly, this essay examines the words of the men (the women seem more normal) when they speak of love and tries to identify unconscious conflicts which would then further impede realization of wishes for romantic fulfillment.
 
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keywords: Shakespeare, inhibition, psychoanalysis, sexual inhibition, sexuality and aggression, love and death
url: http://www.clas.ufl.edu/ipsa/journal/2005_krims06.shtml

author info:
Marvin Krims mkrims@hms.harvard.edu

Private Practice

184 Ward Street
Newton Center, MA 02459




article 050816
Tragic Alternatives: Eros and Superego Revenge in Hamlet by Joanna Montgomery Byles  

      This essay explores the psychological origins of revenge in Hamlet through the concept of the superego as both an individual and cultural agency of dynamic conflict. In Hamlet, Shakespeare subverts the logic of the revenge form by representing revenge as an inward tragedy that carries Hamlet toward death. The rejection of eros in the play results in the release of superego aggressions that consume both protagonist and the generational continuity motivated by love. As Hamlet’s efforts at displacement fail, he and the play move toward the final enactment of unintegrated aggression. Shakespeare holds a mirror up to our own potential for externalized aggression as revenge.
 
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keywords: Hamlet, psychoanalysis, superego, tragedy, eros, aggression, revenge
url: http://www.clas.ufl.edu/ipsa/journal/2005_byles02.shtml

author info:
Joanna Montgomery Byles joanna@ucy.ac.cy

English Dept.
University of Cyprus

P.O.Box 20537  Nicosia, Cyprus 1678, Eastern Mediterranean 




article 050817
On Hamlet’s « To be or not to be » Soliloquy by Robert Silhol  

      This paper questions the place in Act III of Hamlet’s “To be or not to be” soliloquy. After establishing the importance earlier in the play of the themes of the dead or murdered father, madness and deceit, the paper turns to the soliloquy itself, and in a close reading of its language find the expression of aggressions against the self that reveal the experience of a son in mourning, and the secret guilt of the playwright for having written Hamlet.
 
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keywords: Shakespeare, Hamlet, death, madness, deceit, mourning, guilt
url: http://www.clas.ufl.edu/ipsa/journal/2005_silhol04.shtml

author info:
Robert Silhol rsilhol@club-internet.fr

U.E.R. Institut d'Anglais Charles V


Université de Paris VII
75004 Paris FRANCE





article 050818
The Pressure to Do Great Things and the Impulse to Resist It: The Case of Iago in Othello by Saundra Segan  

      In Shakespeare's play, Othello has risen to high status in a short time and has brought his lieutenant Iago with him. Iago is brought into conflict by Othello's success and has an urge to interfere with Othello's passionate experience of leadership and love because he feels envy and jealousy of him. He sees Othello as a man of beauty in contrast to his sense of himself as ugly, and out of this sense of inadequacy, he also sees Othello's preferment as something that he ought to have. Iago's revenge comes out of both his idealization and devaluation of Othello. His own feelings of unworthiness make him envy Othello himself while his jealousy makes him want what Othello has. Iago does not have sufficient narcissistic supplies to sustain an integrated internalized object which would deepen his own emotional life. Only coldness and ruthlessness remain.
 
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keywords: Shakespeare, character analysis, envy, idealization, Iago
url: http://www.clas.ufl.edu/ipsa/journal/2005_segan01.shtml

author info:
Saundra Segan smsegan@earthlink.net

Psychoanalyst and Literary Critic in Private Practice
 

New York
 




article 050819
‘Filth, thou liest’: The Spousal Abuse of Emilia in Othello by Roxanne Y. Schwab  

      Much has been written about the torment many suffer at the hands of Iago in William Shakespeare’s Othello. But, perhaps, the ensign’s most underrated and constant victim is his wife, Emilia. Although she may not be fully cognizant of it, she has obviously been abused and manipulated by her villainous husband long before the evil machinations upon which the plot turns are set into motion.
      This article explores the role of “spousal abuse” in the relationship between Iago and Emilia, and how this treatment has shaped the latter’s mindset. Using various psychoanalytical and literary sources, I propose a definition for this domestic phenomenon and chart how this relationship displays all of the classic symptoms of psychological violence.
      Finally, I consider Shakespeare’s motives in creating this fictional relationship and, if Emilia is supposed to serve as a surrogate for the audience, as some critics claim, what the playwright is saying to us.
 
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keywords: spousal abuse, battery, jealousy, misogyny, Othello, Iago, Emilia
url: http://www.clas.ufl.edu/ipsa/journal/2005_schwab01.shtml

author info:
Roxanne Y. Schwab Schwabry@slu.edu

Ph.D. in English
Writer and Scholar at
Saint Louis University

Saint Louis University
St. Louis, MO 63103




article 050820
Miraculous Daughters in Shakespeare's Late Romances by Dianne Hunter  

      All's Well That Ends Well stages a pivot between the impasse of the oedipal genealogical conflict and daughterly division within patriarchy staged by Shakespeare's early histories and tragedies, and the father-daughter continuity of his late romances, which turn on daughterly fertility as inspiration reviving aging father-figures and bringing Shakespeare's work back from the nadir of despair marked by descents into psychoses in Macbeth and King Lear, in which life appears to signify nothing. Helena, heroine of All's Well, integrates motifs of medicinal power, music, eloquence, wit and daughterly sexuality and grace that are dispersed in earlier plays and which merge with explicit father-daughter incest and its transformations into mutually begetting as Marina cures her father's depression in Pericles.
 
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keywords: continuity, fertility, genealogy, heritage, legacy, Lot complex, incest, romance, survival
url: http://www.clas.ufl.edu/ipsa/journal/2005_hunter03.shtml

author info:
Dianne Hunter dianne.hunter@mail.trincoll.edu

English Department
Trinity College

Hartford, CT 06106




article 050821
“Every Man Kills the Thing He Loves”: Object Use and Potential Space in The Winter's Tale by Brooke Hopkins  

      This essay uses Winnicott's concepts of "object-use" and "potential space" to provide a "reading" of Shakespeare's The Winter's Tale. The Winter's Tale features fantasized destructiveness in a way that is almost unprecedented in Shakespeare's work. Leontes' attacks against his wife, Hermione, and his attempts to destroy her do not prevent her eventual survival of that destructiveness, as well as her lack of retaliation for her husband's destructive attacks. What Shakespeare presents his audience at the end of the play is a kind of "secular resurrection," a resurrection that stresses the central importance of Hermione's life, her aliveness, as manifested in her warmth and in her breathing. In Winnicott’s terminology, Hermione becomes an object that can be “used,” used to “feed back other-than-me-substance” into those around her, in a “world of shared reality.”.
 
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keywords: Shakespeare, The Winter’s Tale, D.W. Winnicott, object use, destructiveness, survival
url: http://www.clas.ufl.edu/ipsa/journal/2005_hopkins03.shtml

author info:
Brooke Hopkins, Ph.D. brooke.hopkins@mail.hum.utah.edu
University of Utah
Department of English

255 S Central Campus Dr.
Rm 3500
Salt Lake City, Utah 84112-0494




article 050822
“Between Fantasy and Imagination A Psychological Exploration of Cymbeline” by Murray M. Schwartz  

      This essay is a psychoanalytic reading of Cymbeline, and the first of a triptych of essays on Cymbeline and The Winter’s Tale. At the psychological core of the play is the idealized figure of Imogen, whose chastity is the guarantor of generational continuity in the patriarchal structure of the Shakespearean family. Imogen’s integrity is attacked by the phallic assault of Cloten and by the intrusions of Iachimo, figures who enact displaced aspects of Posthumus’ character. The breakdown of the family consequent to these violations and the disintegration of the parental couple, leads to the restoration of the body of the family and the reunion of the lovers under the supervision of the deus ex machina, Jupiter. Though Cymbeline re-members idealized relationships, Shakespeare has not yet achieved the depth of imaginative power that is realized in the portrayal of Leontes’ madness (Part II) and the transformations of loss in The Winter’s Tale (Part III).
 
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keywords: Shakespearean romance, psychoanalysis, idealization, violence, the family, fantasy, imagination.
url: http://www.clas.ufl.edu/ipsa/journal/2005_schwartz02.shtml

author info:
Murray M. Schwartz murray_schwartz@emerson.edu

Writing, Literature and Publishing
Emerson College

120 Boylston St.
Boston, MA 02116




article 050823
Loss and Transformation in The Winter’s Tale - Part I - Leontes’ Jealousy by Murray M. Schwartz  

      I argue that a close examination of the text and of relations between characters reveals a complex fabric of motives for Leontes' paranoid response to his fear of separation from idealized others. Leontes' madness can be explained as an attempt simultaneously to act out and to repudiate fears of sexual and social violence. Unlike his double (or 'brother'), Polixenes, who avoids his ambivalence by idealization, Leontes follows a regressive path toward the object of his ambivalent desires, Hermione, and he attempts to destroy her in order to re-unite himself with a fantasized ideal maternal figure. At the root of his paranoid jealousy is a fear of maternal engulfment, symbolized by the spider (II. i. 39-45).' What Freud said of Schreber applies to Leontes: “The delusional formation, which we take to be the pathological product, is in reality an attempt at recovery, a process of reconstruction.”
 
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keywords: Shakespeare, The Winter’s Tale, Leontes, jealousy, paranoia, idealization, spider symbolism
url: http://www.clas.ufl.edu/ipsa/journal/2005_schwartz03a.shtml

author info:
Murray M. Schwartz murray_schwartz@emerson.edu

Writing, Literature and Publishing
Emerson College

120 Boylston St.
Boston, MA 02116




article 050824
Loss and Transformation in The Winter’s Tale - Part II - Transformations by Murray M. Schwartz  

      In the following pages, I begin by examining the role of Paulina and the ironic reversals of the trial scene, in which Leontes' revenge is transformed into a promise of reparation. I then turn to the Bohemian scenes, in which Shakespeare enacts socially viable alternatives to Leontes' private magic, and, finally, I return with the play to Sicily, where Leontes, recovered from his jealousy, meets the embodiments of his wishes. My purpose is to show how Shakespeare transforms the fears and realities of loss into the theatrical revelation of fulfillment, and how we as audience are brought into collusion with his theatrical design.
 
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keywords: Shakespeare, The Winter’s Tale, psychoanalysis, loss, transformation, theatricality.
url: http://www.clas.ufl.edu/ipsa/journal/2005_schwartz03b.shtml

author info:
Murray M. Schwartz murray_schwartz@emerson.edu

Writing, Literature and Publishing
Emerson College

120 Boylston St.
Boston, MA 02116




article 050720
"With great power comes great responsibility":
Central psychoanalytic motifs in Spider-Man and Spider-Man 2
by Robert M. Peaslee  

      This study analyzes the many crucial psychoanalytic motifs present in Spider-Man and Spider-Man 2. The first section analyzes the many Oedipal triangles present in the narrative, with special emphasis on that which is set up between the alter ego, the female, and the superhero. The second section posits that the female, while a clearly maternal character in Oedipal terms, also fulfills other Freudian roles such as the madonna/whore and an Oedipal role of her own. Finally, this paper will also look at the overarching construct of the conscious/unconscious split as it is so plainly illustrated in many characters, both heroic and villainous. The paper concludes by making some observations on the importance of a psychoanalytic interpretation, primarily given its utility in exploring the changing nature of the superhero genre.
 
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keywords: superheroes, psychoanalysis, degradation, film, Freud, oedipal, unconscious, morality
url: http://www.clas.ufl.edu/ipsa/journal/2005_peaslee01.shtml

author info:
Robert M. Peaslee robert.peaslee@colorado.edu

School of Journalism and Mass Communication
University of Colorado, Boulder


UCB 478
Boulder, CO 80309





article 050719
Rick, Ilsa, and Laszlo: A Closer Look at Characterization in Casablanca by Bernard J. Paris  

      Umberto Eco feels the characters in Casablanca to be "psycholocally incredible," a serious charge. His reaction is understandable, for their behavior is sometimes puzzling and extreme. Despite this, and some apparent inconsistencies and slips, I find the major figures to be intelligibly motivated and unusually well drawn for a film. Among the many components of Casablanca's greatness, subtlety of characterization is one. The relations between Rick, Ilsa, and Laszlo have been much discussed, but I believe that they deserve a closer look than they have so far received. An important aspect of the film that has been largely overlooked is Rick's sense of rivalry with Laszlo, which is partly erotic but which also derives from the fact that Laszlo's nobility and eminence make Rick feel small. From rick's perspective, the ending is a wish-fulfillment fantasy in which he outdoes Laszlo in romantic chivalry and sacrifice and restores his injured pride.
 
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keywords: Casablanca, Character Analysis, Rick Blaine, Ilsa Lund, Victor Laszlo
url: http://www.clas.ufl.edu/ipsa/journal/2005_paris02.shtml

author info:
Bernard J. Paris bjparis@ufl.edu

Department of English
University of Florida


1430 N.W. 94th St.
Gainesville, FL 32606-5568





article 050718
Imagining What You Can Do: The Brain, Free Will, and Art by Patrick Colm Hogan  

      This essay treats imagination and freedom, arguing that they are inseparable from one another and from the creation and experience of art. It discusses the conditions in which we experience freedom, the relation of these conditions to the varieties of imagination, and the relation of both to our experience of nothingness. It illustrates this analysis by reference to Zhang Yimou’s Hero. Specifically, elaborative imagination, which develops long-term trajectories, involves prefrontal cortex. Generally, we experience unimpeded initiatives of prefrontal cortex as free. But these initiatives are circuits of neuronal activation, thus determined. A sort of free will enters at the limit of causal analysis, for the observer cannot be included in his or her account of those neuronal circuits. However, the fact of death suggests that the observer is always subservient to those circuits, even if, for a time, his or her imagination is precisely what allowed their recognition and articulation.
 
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keywords: Will, Imagination, Emotion, Reason, Self, Death, Zhang Yimou
url: http://www.clas.ufl.edu/ipsa/journal/2005_hogan01.shtml

author info:
Patrick Colm Hogan hogan@uconnvm.uconn.edu

Department of English
Program in Cognitive Science
University of Connecticut

Storrs CT 06269




article 050624
"He Knew Psychoanalysis": Thomas Hardy and the Paradox of Degeneracy in Tess of the d'Urbervilles by Shirley A. Martin  

      In Thomas Hardy's Tess of the d'Urbervilles, heredity plays a highly visible if debatable role in shaping character, plot, and, ultimately, narrative tragedy. Yet when Sigmund Freud read Tess in 1929, he credited Hardy with intuitive knowledge of psychoanalysis. Although no elaboration of it has been recorded, Freud's remark invites speculation, as Hardy's representation of heredity would seem to defy psychoanalytic construction. In this essay, I use psychoanalysis to question the received dichotomy in Tess between nature and society by showing how both Angel Clare's and Hardy's thinking about heredity is psychologically motivated. In particular, by refracting the rhetoric and imagery of heredity in Tess through a Freudian optic, I illuminate the disdain for "degenerate" old families professed by Angel, the putative degeneracy of Tess herself, and the dualistic view of nature Hardy associates with Tess and its relation to his creativity.
 
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keywords: degeneracy, Freud, Hardy, heredity, psychoanalysis, Tess
url: http://www.clas.ufl.edu/ipsa/journal/2005_martin01.shtml

author info:
Shirley A. Martin samartin@midway.uchicago.edu

Graduate Student in the department of
Conceptual and Historical Studies of Science
at the University of Chicago.

Morris Fishbein Center
University of Chicago
1126 E. 59th Street
Chicago, IL 60637




article 050621
"Out of sound – Out of sight": Emily Dickinson and the Poetics of Trauma by Robert Howard  

      This paper proposes a reading of Emily Dickinson as America’s "writer of trauma" par excellence. The author argues that in Dickinson’s poetry one finds, not a roadmap to her own personal traumas, but rather a fine-grained phenomenology of trauma — a psychologically acute description of trauma as a distinctive emotional and cognitive state. To make the case that Dickinson’s preoccupation with trauma profoundly shapes her poetic style, the author combines ideas from the "Yale School" of trauma theory and from recent Dickinson scholarship with a close reading of a few Dickinson poems. His conclusion: Dickinson’s poetry is simultaneously a powerful statement about the limits of language to testify to the distinctive truth of traumatic experience, and a stubborn commitment to language as the hard-won key to the imaginative transformation of experience.
 
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keywords: biographical fallacy, Celan, cognition, deconstruction, Dickinson, literary theory, Mallarmé, psychoanaysis, repression, trauma, trauma theory, poetry, working through.
url: http://www.clas.ufl.edu/ipsa/journal/2005_howard01.shtml

author info:
Robert Howard robertahoward@mac.com

Independent scholar and writer

22 Paul Street
Newton MA 02459




article 050609
A Note on Rudyard Kipling’s Loss of Brother John: "Little Tobrah" by Cora L. Díaz de Chumaceiro  

      A recent article in PsyArt addressed overlooked vicissitudes of the loss of Ayah for Rudyard Kipling in early childhood (Díaz de Chumaceiro, 2003). Attention to vicissitudes of sibling-loss expands understanding of Kipling’s mourning behavior in adulthood, though biographers have underscored that primary data on this subject apparently have not been found. This brief article calls attention to Kipling’s “Little Tobrah,” a short story that can be viewed from a psychoanalytic perspective as an attempt to master this traumatic event that impacted his early life.
 
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keywords: sibling loss, unresolved mourning, creativity, "Little Tobrah".
url: http://www.clas.ufl.edu/ipsa/journal/2005_diaz_de_chumaceiro03.shtml

author info:
Cora L. Díaz de Chumaceiro cldp@cantv.net

Clinical Psychologist

Apartado 88575 Módulo Cumbres de Curumo
Caracas 1081, Venezuela




article 050315
Cognitive Style in Creative Work: The Case of the Painter George Rodrique by Subrata Dasgupta 

     A creative person’s cognitive style consists of particular features or regularities that appear to underpin his or her cognitive processes of creation. In a previous paper we had studied the cognitive style of a multidisciplinary scientist, Herbert A. Simon (Dasgupta, 2003a).   In this paper we use the method of cognitive history combined with in vivo study to examine the cognitive style in the  creative work of a contemporary artist, George Rodrigue.  Such specific case studies are valuable in that they allow us to compare cognitive styles across the spectrum of creative work, and thereby find both similarities and differences between them.

     The main elements of Rodrigue’s cognitive style were found to be as follows : (a) the invention of several schemas; (b) a strategy of schemas interrupting and interacting with each other; (c) the use of forms, colors and particular pictorial entities as symbolic representations of feelings, emotions and expressions; (d) a knowledge system and worldview that encoded a strong sensibility toward local  history, geography and culture; (e)  a strategy for bisociative synthesis.

      Some of these elements are not unique to Rodrigue; but rather, it was the way these elements were combined that characterized the uniqueness of the artist’s cognitive style.  Furthermore, Rodrigue’s cognitive style had both a prehistory and a developmental history.

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keywords: cognitive style, creativity, schemas, George Rodrigue, Cajun art, blue dog, symbolic representation, emotion.
url: http://www.clas.ufl.edu/ipsa/journal/2005_dasgupta01.shtml

author info:
Subrata  Dasgupta subrata@louisiana.edu

Institute of Cognitive Science
University of Louisiana at Lafayette

Lafayette, Louisiana 70504-3772




article 050510
The Royal We The Divine I: Narcissitic Imbalance in the Worlds of King Lear and Paradise Lost by Julia C. Guernsey-Shaw 

     In King Lear and Paradise Lost the narcissistic excesses of those in power lead to narcissistic imbalance in other characters. Consistent with the theories of Kohut and Winnicott, narcissistic disorder rips through the boundaries between persons self-regard becomes a matter of exchange in an interpersonal economy just as money or property is. In both texts, we get a vivid sense of the importance of good enough mothering as grown children sacrifice themselves to become their fathers' mothers. But while Shakespeare's play shows the tragic effects of the king's narcissistic arrest, offers an interlude of hope for the transformation of his narcissism, and ends in the loss of the good-enough mother figure who could facilitate that transformation, Milton's epic dramatizes the successful transformation of narcissism at the top of the chain of being. The Son as good-enough mother mirrors the Father so as to open the path to object love.
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keywords: narcissism, transformation, self objects, Lear, Paradise Lost, Winnicott, Kohut
url: http://www.clas.ufl.edu/ipsa/journal/2005_shaw01.shtml

author info:
Julia C. Guernsey-Shaw shaw@ulm.edu

English Department
University of Louisiana at Monroe

700 University Ave
Monroe, LA
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