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. |
| go >> |
keywords: Édouard Manet, crucifixion |
url: http://www.clas.ufl.edu/ipsa/journal/2005_paradis01.shtml |
To cite this article, use this bibliographical entry: Paradis, Holly. "Le Suicidé:" Édouard Manet’s Modern Crucifixion. PSYART: An Online Journal for the Psychological Study of the Arts, Article 051115. Available HTTP: http://www.clas.ufl.edu/ipsa/journal/2005_paradis01.shtml, Nov. 15, 2005 [or whatever date you accessed the article].
|
| Received:2005 || Published: November 15, 2005 || Copyright © 2005 by Holly Paradis |
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. |
| go >> |
keywords: cyclothymia, Woolf Dalloway, Bond Street, manic depressive, Peter Daly |
url: http://www.clas.ufl.edu/ipsa/journal/2005_dyer01.shtml |
To cite this article, use this bibliographical entry: Dyer, Tina. Beyond the Mortal Stain: Cyclothymia, Mrs. Dalloway and "Mrs. Dalloway in Bond Street". PSYART: An Online Journal for the Psychological Study of the Arts, Article 050920. Available HTTP: http://www.clas.ufl.edu/ipsa/journal/2005_dyer01.shtml, Sep. 20, 2005 [or whatever date you accessed the article].
|
| Received: 2005 || Published: September 20, 2005 || Copyright © 2005 by Tina Dyer |
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. |
| go >> |
keywords: Shakespeare, Literary Character, Ontology, Play/Game Theory
|
url: http://www.clas.ufl.edu/ipsa/journal/2005_godshalk01.shtml |
To cite this article, use this bibliographical entry: Godshalk, W. L.. Shakespeare and the Problem of Literary Character. PSYART: An Online Journal for the Psychological Study of the Arts, Article 050812. Available HTTP: http://www.clas.ufl.edu/ipsa/journal/2005_godshalk01.shtml, Aug. 25, 2005 [or whatever date you accessed the article].
|
| Received: 2005 || Published: August 25, 2005 || Copyright © 2005 by W.L. Godshalk |
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. |
| go >> |
keywords: style; diction; Antony and Cleopatra; Shakespeare; Plutarch; primal scene |
url: http://www.clas.ufl.edu/ipsa/journal/2005_holland09.shtml |
To cite this article, use this bibliographical entry: Holland, Norman N.. "The Barge She Sat In": Psychoanalysis and Diction . PSYART: An Online Journal for the Psychological Study of the Arts, Article 050813. Available HTTP: http://www.clas.ufl.edu/ipsa/journal/2005_holland09.shtml, Aug. 25, 2005 [or whatever date you accessed the article].
|
| Received: 2005 || Published: August 25, 2005 || Copyright © 2004 by Norman N. Holland |
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. |
| go >> |
keywords: Shakespeare, King John, despair, madness, depression, mourning |
url: http://www.clas.ufl.edu/ipsa/journal/2005_thoret01.shtml |
To cite this article, use this bibliographical entry: Yves Thoret. Princess Constance in Shakespeare’s King John: From Distress to Despair. PSYART: An Online Journal for the Psychological Study of the Arts, Article 050814. Available HTTP: http://www.clas.ufl.edu/ipsa/journal/2005_thoret01.shtml, Aug. 25, 2005 [or whatever date you accessed the article].
|
| Received: 2005 || Published: August 25, 2005 || Copyright © 2005 by Yves Thoret |
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. |
| go >> |
keywords: Shakespeare, inhibition, psychoanalysis, sexual inhibition, sexuality and aggression, love and death |
url: http://www.clas.ufl.edu/ipsa/journal/2005_krims06.shtml |
To cite this article, use this bibliographical entry: Krims, Marvin. Love’s Lost Labor in Love's Labour's Lost. PSYART: An Online Journal for the Psychological Study of the Arts, Article 050815. Available HTTP: http://www.clas.ufl.edu/ipsa/journal/2005_krims06.shtml, Aug. 25, 2005 [or whatever date you accessed the article].
|
| Received: 2005 || Published: August 25, 2005 || Copyright © 2005 by Marvin Krims |
author info: |
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. |
| go >> |
keywords: Hamlet, psychoanalysis, superego, tragedy, eros, aggression, revenge |
url: http://www.clas.ufl.edu/ipsa/journal/2005_byles02.shtml |
To cite this article, use this bibliographical entry: Byles, Joanna Montgomery. Tragic Alternatives: Eros and Superego Revenge in Hamlet. PSYART: An Online Journal for the Psychological Study of the Arts, Article 050816. Available HTTP: http://www.clas.ufl.edu/ipsa/journal/2005_byles02.shtml, Aug. 25, 2005 [or whatever date you accessed the article].
|
| Received: 2005 || Published: August 25, 2005 || Copyright © 2005 by Joanna Montgomery Byles |
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. |
| go >> |
keywords: Shakespeare, Hamlet, death, madness, deceit, mourning, guilt |
url: http://www.clas.ufl.edu/ipsa/journal/2005_silhol04.shtml |
To cite this article, use this bibliographical entry: Silhol, Robert. On Hamlet’s « To be or not to be » Soliloquy. PSYART: An Online Journal for the Psychological Study of the Arts, Article 050817. Available HTTP: http://www.clas.ufl.edu/ipsa/journal/2005_silhol04.shtml, Aug. 25, 2005 [or whatever date you accessed the article].
|
| Received: 2005 || Published: August 25, 2005 || Copyright © 2005 by Robert Silhol |
author info: |
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. |
| go >> |
keywords: Shakespeare, character analysis, envy, idealization, Iago |
url: http://www.clas.ufl.edu/ipsa/journal/2005_segan01.shtml |
To cite this article, use this bibliographical entry: Segan, Saundra. The Pressure to Do Great Things and the Impulse to Resist It: The Case of Iago in Othello. PSYART: An Online Journal for the Psychological Study of the Arts, Article 050818. Available HTTP: http://www.clas.ufl.edu/ipsa/journal/2005_segan01.shtml, Aug. 25, 2005 [or whatever date you accessed the article].
|
| Received: 2005 || Published: August 25, 2005 || Copyright © 2005 by Saundra Segan |
author info: |
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.
|
| go >> |
keywords: spousal abuse, battery, jealousy, misogyny, Othello, Iago, Emilia |
url: http://www.clas.ufl.edu/ipsa/journal/2005_schwab01.shtml |
To cite this article, use this bibliographical entry: Schwab, Roxanne Y.. ‘Filth, thou liest’: The Spousal Abuse of Emilia in Othello. PSYART: An Online Journal for the Psychological Study of the Arts, Article 050819. Available HTTP: http://www.clas.ufl.edu/ipsa/journal/2005_schwab01.shtml, Aug. 25, 2005 [or whatever date you accessed the article].
|
| Received: 2005 || Published: August 25, 2005 || Copyright © 2005 by Roxanne Y. Schwab |
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. |
| go >> |
keywords: continuity, fertility, genealogy, heritage, legacy, Lot complex, incest, romance, survival |
url: http://www.clas.ufl.edu/ipsa/journal/2005_hunter03.shtml |
To cite this article, use this bibliographical entry: Hunter, Dianne. Miraculous Daughters in Shakespeare Late Romances . PSYART: An Online Journal for the Psychological Study of the Arts, Article 050820. Available HTTP: http://www.clas.ufl.edu/ipsa/journal/2005_hunter03.shtml, Aug. 25, 2005 [or whatever date you accessed the article].
|
| Received: 2005 || Published: August 25, 2005 || Copyright © 2005 by Dianne Hunter |
author info: |
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.”. |
| go >> |
keywords: Shakespeare, The Winter’s Tale, D.W. Winnicott, object use, destructiveness, survival |
url: http://www.clas.ufl.edu/ipsa/journal/2005_hopkins03.shtml |
To cite this article, use this bibliographical entry: Hopkins, Brooke. “Every Man Kills the Thing He Loves”: Object Use and Potential Space in The Winter's Tale. PSYART: An Online Journal for the Psychological Study of the Arts, Article 050821. Available HTTP: http://www.clas.ufl.edu/ipsa/journal/2005_hopkins03.shtml, Aug. 25, 2005 [or whatever date you accessed the article].
|
| Received: 2005 || Published: August 25, 2005 || Copyright © 2005 by Brooke Hopkins |
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). |
| go >> |
keywords: Shakespearean romance, psychoanalysis, idealization, violence, the family, fantasy, imagination. |
url: http://www.clas.ufl.edu/ipsa/journal/2005_schwartz02.shtml |
To cite this article, use this bibliographical entry: Schwartz, Murray M.. “Between Fantasy and Imagination A Psychological Exploration of Cymbeline”. PSYART: An Online Journal for the Psychological Study of the Arts, Article 050822. Available HTTP: http://www.clas.ufl.edu/ipsa/journal/2005_schwatz02.shtml, Aug. 25, 2005 [or whatever date you accessed the article].
|
| Received: 2005 || Published: August 25, 2005 || Copyright © 2005 by Murray M. Schwartz |
author info: |
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.” |
| go >> |
keywords: Shakespeare, The Winter’s Tale, Leontes, jealousy, paranoia, idealization, spider symbolism |
url: http://www.clas.ufl.edu/ipsa/journal/2005_schwartz03a.shtml |
To cite this article, use this bibliographical entry: Schwartz, Murray M.. Loss and Transformation in The Winter’s Tale - Part I - Leontes’ Jealousy. PSYART: An Online Journal for the Psychological Study of the Arts, Article 050823. Available HTTP: http://www.clas.ufl.edu/ipsa/journal/2005_schwartz03a.shtml, Aug. 25, 2005 [or whatever date you accessed the article].
|
| Received: 2005 || Published: August 25, 2005 || Copyright © 2005 by Murray M. Schwartz |
author info: |
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.
|
| go >> |
keywords: Shakespeare, The Winter’s Tale, psychoanalysis, loss, transformation, theatricality. |
url: http://www.clas.ufl.edu/ipsa/journal/2005_schwartz03b.shtml |
To cite this article, use this bibliographical entry: Schwartz, Murray M.. Loss and Transformation in The Winter’s Tale - Part II - Transformations. PSYART: An Online Journal for the Psychological Study of the Arts, Article 050824. Available HTTP: http://www.clas.ufl.edu/ipsa/journal/2005_schwartz03b.shtml, Aug. 25, 2005 [or whatever date you accessed the article].
|
| Received: 2005 || Published: August 25, 2005 || Copyright © 2005 by Murray M. Schwartz |
author info: |
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.
|
| go >> |
keywords: superheroes, psychoanalysis, degradation, film, Freud, oedipal, unconscious, morality |
url: http://www.clas.ufl.edu/ipsa/journal/2005_peaslee01.shtml |
To cite this article, use this bibliographical entry: Peaslee, Robert M.. “With great power comes great responsibility”: Central psychoanalytic motifs in Spider-Man and Spider-Man 2. PSYART: An Online Journal for the Psychological Study of the Arts, Article 050720. Available HTTP: http://www.clas.ufl.edu/ipsa/journal/2005_peaslee01.shtml, Jul. 20, 2005 [or whatever date you accessed the article].
|
| Received: May 12, 2005 || Published: July 20, 2005 || Copyright © 2005 by Robert M. Peaslee |
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. |
| go >> |
keywords: Casablanca, Character Analysis, Rick Blaine, Ilsa Lund, Victor Laszlo |
url: http://www.clas.ufl.edu/ipsa/journal/2005_paris02.shtml |
To cite this article, use this bibliographical entry: Paris, Bernard J.. Rick, Ilsa, and Laszlo: A Closer Look at Characterization in Casablanca. PSYART: An Online Journal for the Psychological Study of the Arts, Article 050719. Available HTTP: http://www.clas.ufl.edu/ipsa/journal/2005_paris02.shtml, Jul. 19, 2005 [or whatever date you accessed the article].
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| Received: 2005 || Published: July 19, 2005 || Copyright © 2005 by Bernard J. Paris |
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 |
To cite this article, use this bibliographical entry: Hogan, Patrick Colm. Imagining What You Can Do: The Brain, Free Will, and Art. PSYART: An Online Journal for the Psychological Study of the Arts, Article 050718. Available HTTP: http://www.clas.ufl.edu/ipsa/journal/2005_hogan01.shtml, Jul. 18, 2005 [or whatever date you accessed the article].
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| Received: 2005 || Published: July 18, 2005 || Copyright © 2005 by Patrick Colm Hogan |
author info: |
| Patrick Colm Hogan |
hogan@uconnvm.uconn.edu |
Department of English
Program in Cognitive Science
University of Connecticut
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Storrs CT 06269
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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. |
| go >> |
keywords: degeneracy, Freud, Hardy, heredity, psychoanalysis, Tess |
url: http://www.clas.ufl.edu/ipsa/journal/2005_martin01.shtml |
To cite this article, use this bibliographical entry: Martin, Shirley A.. "He Knew Psychoanalysis": Thomas Hardy and the Paradox of Degeneracy in Tess of the d'Urbervilles. PSYART: An Online Journal for the Psychological Study of the Arts, Article 050624. Available HTTP: http://www.clas.ufl.edu/ipsa/journal/2005_martin01.shtml, Jun. 24, 2005 [or whatever date you accessed the article].
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| Received: Nov 11, 2005 || Published: June 24, 2005 || Copyright © 2005 by Shirley A. Martin |
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. |
| go >> |
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 |
To cite this article, use this bibliographical entry: Howard, Robert. "Out of sound – Out of sight": Emily Dickinson and the Poetics of Trauma. PSYART: An Online Journal for the Psychological Study of the Arts, Article 050621. Available HTTP: http://www.clas.ufl.edu/ipsa/journal/2005_howard01.shtml, Jun. 21, 2005 [or whatever date you accessed the article].
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| Received:2005 || Published: June 21, 2005 || Copyright © 2005 by Robert Howard |
author info: |
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. |
| go >> |
keywords: sibling loss, unresolved mourning, creativity, "Little Tobrah". |
url: http://www.clas.ufl.edu/ipsa/journal/2005_diaz_de_chumaceiro03.shtml |
To cite this article, use this bibliographical entry: Díaz de Chumaceiro, Cora L. A Note on Rudyard Kipling’s Loss of Brother John: "Little Tobrah". PSYART: An Online Journal for the Psychological Study of the Arts, Article 050609. Available HTTP: http://www.clas.ufl.edu/ipsa/journal/2005_diaz_de_chumaceiro03.shtml, Jun. 09, 2005 [or whatever date you accessed the article].
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| Received:2005 || Published: June 9, 2005 || Copyright © 2005 by Cora L. Díaz de Chumaceiro |
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
|
Citations of print publication: None
To cite this article, use this bibliographical entry: Dasgupta, Subrata "Cognitive Style in Creative Work: The Case of the Painter George Rodrique" PSYART: An Online Journal for the Psychological Study of the Arts, article 050315. Available http://www.clas.ufl.edu/ipsa/journal/articles/psyart/2005_dasgupta01.shtml. Jan. 31, 2005 [or whatever date you accessed the article].
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| Received: 2005 || Published: 2005 || Copyright © 2005 Dasgupta Subrata |
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. |
| go >> |
keywords: narcissism, transformation, self objects, Lear, Paradise Lost, Winnicott, Kohut |
url: http://www.clas.ufl.edu/ipsa/journal/2005_shaw01.shtml
|
Citations of print publication: None
To cite this article, use this bibliographical entry: Guernsey-Shaw, Julia C. "The Royal We The Divine I: Narcissitic Imbalance in the Worlds of King Lear and Paradise Lost" PSYART: An Online Journal for the Psychological Study of the Arts, article 050515. Available http://www.clas.ufl.edu/ipsa/journal/articles/psyart/2005_shaw01.shtml. Dec. 31, 2005 [or whatever date you accessed the article].
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| Received: 2005 || Published: 2005 || Copyright © 2005 Julia C. Guernsey-Shaw |
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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