"Kubla Khan": Genesis of an Archetype
(abstract)
Robert Silhol
Literary Parallels Stemming from a resemblance in the Authors’ Creative Development: The Extraordinary Similarities between Amos Oz’s The Same Sea and James Joyce's Finnegans Wake
(abstract)
Sagit Blumrosen-Sela
Suicidal Risk in Lives of Virginia Woolf and Sylvia Plath
(abstract)
Ida Kodrlová
Getting the ‘h’ out of Jo(h)nson
(abstract)
William Donoghue
R. D. Laing's Language of Experience
(abstract)
Gavin Miller
Jokes and Their Relation to the Uncanny:
The Comic, the Horrific, and Pleasure in Audition and Romero’s Dead films
(abstract)
Stephen LeDrew
"The Truth of My Being in Gesture and Movement": The Ego and the Body in Modernist Writing on Dance in Isadora Duncan’s My Life
(abstract)
Esther Sanchez-Pardo
"Style, Identity, Free Association, and the Brain"
(abstract)
Norman N. Holland
Narratives of Disorder—Disorders of Narrative
(abstract)
Bent Soerensen
Perspectivism—A Powerful Cognitive Metaphor
(abstract)
David J. Gordon
Literary Morphology: Nine Propositions in a Naturalist Theory of Form
(abstract)
William L. Benzon
Dr. C. G. Jung Visits The House of Mirth
(abstract)
Ali H. Abureesh
Integritas and the aesthetic appreciation of incomplete artworks
(abstract)
Daniel B. Gallagher
The Silence of Madness in "Signs and Symbols" by Vladimir Nabokov
(abstract)
Jacqueline Hamrit
"Mourning at the Mother’s Breast: on Death and Weaning in Tennyson’s In Memoriam"
(abstract)
Kurt Harris
"Jesus and Object-Use: A Winnicottian Account of the Resurrection Myth"
(abstract)
Brooke Hopkins
article 060512 |
| "Kubla Khan": genesis of an archetype |
by Robert Silhol |
At least partly dictated by a dream, "Kubla Khan," whose structure, in spite of appearances, is very coherent, constitutes a superb metaphor of language and heralds the advent of psychoanalysis. Its dramatic development--fusion, loss and hallucinated recovery--expresses the very essence of Freud's discovery; Coleridge's poem amounts to a representation of representation. An Urpoem, an archetype, it also tells us that language and literature have the structure of the dream. |
| go >> |
keywords: Coleridge, Kubla Khan, Xanadu, psychoanalysis, dream, language |
url: http://www.clas.ufl.edu/ipsa/journal/2006_silhol01.shtml
|
Citations of print publication: None
To cite this article, use this bibliographical entry: Silhol, Robert. "Kubla Khan": genesis of an archetype PSYART: A Hyperlink Journal for the Psychological Study of the Arts, article 060512. Available http://www.clas.ufl.edu/ipsa/journal/articles/psyart/2006_silhol01.shtml. Jan. 17, 2007 [or whatever date you accessed the article].
|
| Received: 2006 || Published: 2007 || Copyright © 2007 Robert Silholá |
author info: |
article 063011 |
| Literary Parallels Stemming from a resemblance in the Authors’ Creative Development: The Extraordinary Similarities between Amos Oz’s The Same Sea and James Joyce's Finnegans Wake |
by Sagit Blumrosen-Sela, Ph.D. |
This paper presents outstanding parallels between the books The Same Sea by Amos Oz, the well-known Israeli writer, and James Joyce's masterpiece Finnegans Wake. The parallels between the works - in terms of plot, structure, ideas, language, style and more - are explained mainly in light of the fact that both were written at an equivalent stage in the writers' lives and creative development, after a very similar literary itinerary, which led them to regard human lives and to create in an amazingly similar way. This extraordinary resemblance helps us understand both works and sheds new light on both authors' creative development. |
| go >> |
keywords: Amos Oz, James Joyce, The Same Sea, Finnegans Wake, Creative Development, writers' psychology |
url: http://www.clas.ufl.edu/ipsa/journal/2006_blumrosen01.shtml
|
Citations of print publication: None
To cite this article, use this bibliographical entry: Blumrosen-Sela, Sagit. Literary Parallels Stemming from a resemblance in the Authors’ Creative Development: The Extraordinary Similarities between Amos Oz’s The Same Sea and James Joyce's Finnegans Wake PSYART: A Hyperlink Journal for the Psychological Study of the Arts, article 063011. Available http://www.clas.ufl.edu/ipsa/journal/articles/psyart/2006_blumrosen01.shtml. Jan. 17, 2007 [or whatever date you accessed the article].
|
| Received: 2006 || Published: 2007 || Copyright © 2007 Sagit Blumrosen-Sela |
author info: |
| Sagit Blumrosen-Sela |
sagitsela@hotmail.com |
Dept. of General and Comparative Literature
Hebrew University
|
Pinchas Rosen 7/42
Jerusalem, Israel |
article 062511 |
| Suicidal Risk Factors in Lives of Virginia Woolf and Sylvia Plath |
by Ida Kodrlová |
Both Woolf and Plath experienced depression during their life
and were hospitalized in mental institutions, but still there is
a lot of similar as well as different risk and protective
factors in their lives forming the individual course of a
suicidal process that led them both to the same final choice of
the voluntary death at the age of 30 in case of Plath and at the
age of 59 in case of Woolf. Literary works of these authors are
not taken into consideration in this paper; the attempt is to
look into the biographical data and to track and compare risk
and protective factors for suicide in lives of these two
creative women. |
| go >> |
keywords: biopsychosocial, environmental and sociocultural factors for
suicide, creative process |
url: http://www.clas.ufl.edu/ipsa/journal/2006_kodrlova01.shtml
|
Citations of print publication: None
To cite this article, use this bibliographical entry: Kodrlová, Ida. Suicidal Risk Factors in Lives of Virginia Woolf and Sylvia Plath PSYART: A Hyperlink Journal for the Psychological Study of the Arts, article 062511. Available http://www.clas.ufl.edu/ipsa/journal/articles/psyart/2006_kodrlova01.shtml. Jan. 17, 2007 [or whatever date you accessed the article].
|
| Received: 2006 || Published: 2007 || Copyright © 2007 Ida Kodrlová |
author info: |
| Ida Kodrlová |
idusche@gmail.com |
Academy of Sciences, Brno,
Czech Republic
|
Veveří 97
Brno
602 00
|
article 062011 |
| Getting the ‘h’ out of Jo(h)nson |
by William Donoghue |
The essay looks at characterization in the plays of Ben Jonson as phobic projective behaviors that can best be understood using theories of narcissism and Kleinian object-relations theory. Jonson exhibited what are today clear symptoms of narcissistic personality disorder. The essay argues that Klein’s ideas on projective behavior in which the subject attempts to cast out bad partial objects (selfobjects) is more helpful in explaining self-fashioning in Jonson than Greenblatt’s theory. Object-relations theory makes sense of the action and characters in several of the plays, explains Jonson’s attitude to his son (another Ben), and even tells us something about his need to drop letters from his name (Johnstone). |
| go >> |
keywords: Klein, Freud, self-fashioning, object-relations, narcissism, DSM IV, depressive, paranoid-schizoid, introjective, projective selfobject, partial objects, Heidegger, Derrida, exomologesis, publicatio sui, Every Man out of His Humour, Volpone, Bartholmew Fair, Sejanus |
url: http://www.clas.ufl.edu/ipsa/journal/2006_donoghue01.shtml
|
Citations of print publication: None
To cite this article, use this bibliographical entry: Donoghue, William. Getting the ‘h’ out of Jo(h)nson PSYART: A Hyperlink Journal for the Psychological Study of the Arts, article 062011. Available http://www.clas.ufl.edu/ipsa/journal/articles/psyart/2006_donoghue01.shtml. Jan. 17, 2007 [or whatever date you accessed the article].
|
| Received: 2006 || Published: 2007 || Copyright © 2007 William Donoghue |
author info: |
| William Donoghue |
William_Donoghue@emerson.edu |
Department of Writing, Publishing, and Literature
Emerson College
|
120 Boylston Street
Boston, MA 02116-4624 |
article 061015 |
|
R.D. Laing’s Language of Experience
|
by Gavin Miller
|
The radical psychiatrist R.D. Laing (1927-1989) was an accomplished author with an extensive philosophical knowledge that informed his ideas on reading, writing, and interpretation. Laing argues that psychiatry should be modeled on skilful textual exegesis rather than scientific explanation. The exegesis of a psychotic’s words and actions is difficult, he infers, because the impoverishment of our experience cuts us off from the sense that lies within seeming madness. Like philosophers such as Edmund Husserl, Laing therefore criticizes the way in which the natural sciences have invalidated subjective experience. He consequently employs a rhetoric designed to disclose with renewed vigor its complexity, variety and reality. Laing fails, however, to find an alternative to scientific reason: "experience", in his weakest work, is an irrational realm of mystical and self-validating certainty that closely parallels Heidegger’s later accounts of "Being".
|
| go >> |
keywords: R.D. Laing, Edmund Husserl, Martin Heidegger, rhetoric, experience, phenomenology, understanding |
url: http://www.clas.ufl.edu/ipsa/journal/2006_miller01.shtml
|
To cite this article, use this bibliographical entry: Miller, Gavin. "R. D. Laing's Language of Experience" PsyArt: A Hyperlink Journal for the Psychological Study of the Arts, article 021122. Available HTTP: http://www.clas.ufl.edu/ipsa/journal/2006_miller01.shtml, Dec. 3, 2006 [or whatever date you accessed the article].
|
| Received: October 15, 2006 || Published: Dec 3, 2006 || Copyright © 2006 Gavin Miller |
author info: |
| Gavin Miller |
Gavin.Miller@ed.ac.uk |
Department of English Literature
University of Edinburgh |
David Hume Tower
George Square
Edinburgh
EH8 9JX
United Kingdom |
article 060711 |
| Jokes and Their Relation to the Uncanny:
The comic, the horrific, and pleasure in Audition and Romero’s Dead films |
by Stephen LeDrew |
This paper explores the relationship between Freud's theories of the comic
and the horrific, as presented in Jokes and their Relation to the Unconscious and The Uncanny. Freudian interpretation of horror films and literature generally involves the notion of the uncanny and the return of the repressed.
However, there are striking similarities in the processes that lie behind the production of pleasure in the comic and the horrific as Freud described them, and so we must consider this close relationship in a theory of the effects of
horror. Melanie Klein's work on sadism and masochism is used to present a potential explanation of why horror is pleasurable: just as the form of the joke gives us pleasure by overcoming resistance and thus liberating psychic energy, the
horror film also produces pleasure by tapping into sadism and masochism, liberating psychic energy that was used for inhibition of instincts. |
| go >> |
keywords: Freud, jokes, uncanny, horror, Romero, Miike, Klein |
url: http://www.clas.ufl.edu/ipsa/journal/2006_ledrew01.shtml
|
Citations of print publication: None
To cite this article, use this bibliographical entry: LeDrew, Stephen. Jokes and Their Relation to the Uncanny:
The comic, the horrific, and pleasure in Audition and Romero’s Dead films PSYART: A Hyperlink Journal for the Psychological Study of the Arts, article 060711. Available http://www.clas.ufl.edu/ipsa/journal/articles/psyart/2006_ledrew01.shtml. Dec. 1, 2006 [or whatever date you accessed the article].
|
| Received: Nov 11, 2006 || Published: Dec 1, 2006 || Copyright © 2006 Stephen LeDrew |
author info: |
| Stephen LeDrew |
ledrew@yorku.ca |
Sociology Department
York University
2075 Vari Hall
4700 Keele Street
Toronto, Ontario
Canada M3J 1P3 |
|
article 060920 |
"The Truth of My Being in Gesture and Movement":
The Ego and the Body in Modernist Writing on Dance in Isadora Duncan’s My Life
|
by Esther Sanchez-Pardo |
The paper examines Isadora Duncan's revolutionary dance style in
the context of modernism's backlash against the machine age. Duncan reached
back to the Greek chorus and Greek mythology for a way of harmonizing the
individual and society. Her autobiography, My Life, explores the
narcissistic origin of her aesthetic and her struggle to reconcile identity
and fusion with the maternal sources of identity and sexuality. |
| go >> |
keywords: Isadora Duncan, dance, body ego, narcissism, modernism, identity |
url: http://www.clas.ufl.edu/ipsa/journal/2006_sanchez-pardo01.shtml
|
To cite this article, use this bibliographical entry: Sanchez-Pardo, Esther. "The Truth of My Being in Gesture and Movement": The Ego and the Body in Modernist Writing on Dance in Isadora Duncan’s My Life. PSYART: An Online Journal for the Psychological Study of the Arts, Article 060920. Available HTTP: http://www.clas.ufl.edu/ipsa/journal/2006_sanchez-pardo01.shtml, October 5, 2006 [or whatever date you accessed the article].
|
| Received: September 1, 2006. || Published: October 3, 2006 || Copyright © 2006 by Esther Sanchez-Pardo |
author info: |
| Esther Sanchez-Pardo |
esanchez_pardo@filol.ucm.es |
Department of Filologia Inglesia II
Universidad Complutense de Madrid
Ciudad Universaria, s/n
28040 Madrid, Spain |
|
article 060821 |
| Style, Identity, Free Association, and the Brain
|
by Norman N. Holland |
Artists and readers demonstrate persistent styles. Previously, I have explained this phenomenon by a general model of humans' functioning. A theme-and-variations identity unique to an individual sets standards for physiological and cultural feedback loops common to many or all biologically normal humans. Identity governing feedbacks would explain how an organism maintains its unchanging inner nature while negotiating a constantly changing world. Recent brain research suggests a brain basis for such an identity in "task-induced deactivation." Some midline regions of the brain become less active when subjects perform tasks. Researchers explain the decrease as the interruption of a central, continually active brain system. To perform tasks, its energy goes to peripheral systems for particular actions. Such a central brain system fits the model of a persistent identity theme. The diversion of energy fits the activation of lower-level feedback loops directed by an identity theme. |
| go >> |
keywords: Identity, style, character, task-induced deactivation, default mode, resting state, Lichtenstein |
url: http://www.clas.ufl.edu/ipsa/journal/2006_holland01.shtml
|
To cite this article, use this bibliographical entry: Holland, Norman N. Style, Identity, Free Association, and the Brain. PSYART: An Online Journal for the Psychological Study of the Arts, Article 060821. Available HTTP: http://www.clas.ufl.edu/ipsa/journal/2006_holland01.shtml, August 30, 2006 [or whatever date you accessed the article].
|
| Received: August 21, 2006. || Published: August 27, 2006 || Copyright © 2006 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 060718 |
| Narratives of Disorder - Disorders of Narrative
|
by Bent Soerensen |
What is order, what is disorder? Consecution of temporal events and causality are normally regarded as prerequisites for understanding narratives. What happens when narratives become disorderly by violating the principles of consecution? One approach might be to look at narratives about disorder, or narratives where protagonists or narrators suffer from disorders. Amnesia, attention deficiencies, involuntary tics and compulsions (such as Tourette Syndrome symptoms), and other perception and communication related disorders, such as autism/Asperger's syndrome or certain forms of schizophrenia all pose challenges to narratives: interruptions, lacunae, disruptions, inversions, surpluses can all become narrative manifestations of these disorders. A proposition would be that by reading both fictional and non-fictional disorder narratives, we might gain insights into both the orders and disorders of brains and psyches and the workings of narratives as a medium of carrying meaning. |
| go >> |
keywords: Disorder, narrative, narratology, syndromes, Palahniuk, DeLillo,
Haddon, Lethem, Goldberg, Lightman |
url: http://www.clas.ufl.edu/ipsa/journal/2006_soerensen01.shtml
|
To cite this article, use this bibliographical entry: Soerensen, Bent. Narratives of Disorder - Disorders of Narrative. PSYART: An Online Journal for the Psychological Study of the Arts, Article 060718. Available HTTP: http://www.clas.ufl.edu/ipsa/journal/2006_soerensen01.shtml, August 30, 2006 [or whatever date you accessed the article].
|
| Received: July 18, 2006. || Published: August 27, 2006 || Copyright © 2006 by Bent Soerensen |
author info: |
| Bent Soerensen |
i12bent@hum.aau.dk |
Dept. of Languages, Culture and Aesthetics
Aalborg University
Rosenfeldtparken 82
DK-9400 Nørresundby
Denmark |
|
article 060715 |
| Perspectivism—A Powerful Cognitive Metaphor |
by David J. Gordon |
Perspectivism, a version of what Solms and Turnbull call "dual-aspect monism," denotes here the ability of individual persons to shuttle between objective and subjective points of view, positions represented by science on the one hand and by religion, morality and the arts on the other. Enthusiasts of science and religion in particular tend to insist on a unified point of view, but one viewpoint alone cannot do justice to the concerns of the other. The joining of partial views or "perspectivism" proves to be a metaphor of complexity and reach: it highlights the tension between opposed commitments and it offers fresh insight into such venerable topics of humanistic dispute as atheism versus theism and free will versus determinism. Psychoanalysis and literature emerge from the analysis as intellectual enterprises better able than most to encourage a shuttling between viewpoints.
This essay considers finally what contemporary neuroscience has to say about the importance of feeling and consciousness. At issue is the appreciation of value, often neglected in scientific approaches to culture.
|
| go >> |
keywords: Perspectivism, objectivity, subjectivity, neuroscience, religion, literature |
url: http://www.clas.ufl.edu/ipsa/journal/2006_gordon01.shtml
|
Citations of print publication: none
To cite this article, use this bibliographical entry: Gordon, David J.. "Perspectivism—A Powerful Cognitive Metaphor" PSYART: A Hyperlink Journal for the Psychological Study of the Arts, article 060715. August 10, 2006. Available http://www.clas.ufl.edu/ipsa/journal/articles/psyart/2006_gordon01.shtml. August 10, 2006 [or whatever date you accessed the article].
|
| Received: July 15, 2006 || Published: August 10, 2006 || Copyright © 2006 David J. Gordon |
author info: |
| David J. Gordon |
Gordondj@aol.com |
Department of English
Hunter College and CUNY Graduate Center |
Room 1212W
695 Park Avenue
New York, NY 10021 |
article 060608 |
| Literary Morphology: Nine Propositions in a Naturalist Theory of Form
|
by William L. Benzon |
Naturalist literary theory conceives of literature as an adaptive behavioral realm grounded in the capacities of the human brain. In the course of human history literature itself has undergone an evolution that has produced many kinds of literary work. In this article I propose nine propositions to characterize a treatment of literary form. These propositions concern neural and mental mechanisms, and literary evolution in history. Textual meaning is elastic—through not infinitely so—and constrained by form. Form indicates the computational structure of the act of reading and is the same for all readers. Over the long term, literary forms become more complex and sophisticated. |
| go >> |
keywords: form, cognition, neuropsychology, evolutionary psychology, evolution, literary theory, cultural evolution, computation |
url: http://www.clas.ufl.edu/ipsa/journal/2006_benzon01.shtml
|
To cite this article, use this bibliographical entry: Benzon, William L. Literary Morphology: Nine Propositions in a Naturalist Theory of Form. PSYART: An Online Journal for the Psychological Study of the Arts, Article 060608. Available HTTP: http://www.clas.ufl.edu/ipsa/journal/2006_benzon01.shtml, July 15, 2006 [or whatever date you accessed the article].
|
| Received: June 8, 2006. || Published: August 10, 2006 || Copyright © 2006 by William L. Benzon |
author info: |
article 060510 |
| Dr. C. G. Jung Visits The House of Mirth
|
by Ali H. Abureesh |
Edith Wharton’s The House of Mirth (1905) presents psychological disintegration in the characterization of the novel’s beautiful heroine Miss Lily Bart. This paper applies a Jungian analysis to study the causes and effects of Lily Bart’s psychological disintegration. It divides these causes and effects according to Jungian archetypes and motifs. Through such divisions, the paper reveals Lily’s inability to achieve self-realization; and how this inability gradually brings her fatal end. To demonstrate this, Lily’s use of her persona/shadow, the mother archetype and its effect on Lily, and the child motif and its connection with past are scrutinized in depth. |
| go >> |
keywords: Wharton, House of Mirth, Jung |
url: http://www.clas.ufl.edu/ipsa/journal/2006_abureesh01.shtml
|
To cite this article, use this bibliographical entry: Abureesh, Ali H. Dr. C. G. Jung Visits The House of Mirth. PSYART: An Online Journal for the Psychological Study of the Arts, Article 060510. Available HTTP: http://www.clas.ufl.edu/ipsa/journal/2006_abureesh01.shtml, July 15, 2006 [or whatever date you accessed the article].
|
| Received: May 10, 2006. || Published: August 1, 2006 || Copyright © 2006 by Ali H. Abureesh |
author info: |
| Dr. Ali H. Abureesh |
abureesh@uqu.edu.sa |
Umm Al-Qura University - Makkah
Department of English
College of Social Sciences |
|
article 060311 |
| Integritas and the aesthetic appreciation of incomplete artworks |
by Daniel B. Gallagher |
This paper examines how the notion of integritas, central to a Thomistic philosophy of art and aesthetics, applies to works of art which are corrupt or incomplete due to missing parts. Using the Laocoön as a primary example, the author argues that the concept of unitas in Thomistic philosophy is essential to understanding how a work such as the Laocoön can retain its integritas even when a portion of the father’s right arm is missing. Although the epistemological foundation that undergirds the aesthetic perception of the "incomplete" Laocoön differs from that of the "complete" Laocoön, the author concludes that the Thomistic concept of integritas allows a work of art to be "imperfect" in one sense, though still "perfect" in another. |
| go >> |
keywords: Integritas (integrity), incompletion, perfection, Thomas Aquinas, Aristotle, Laocoön,
proportion, clarity, unity, form |
url: http://www.clas.ufl.edu/ipsa/journal/2006_gallagher01.shtml
|
To cite this article, use this bibliographical entry: Gallagher, Daniel B. "INTEGRITAS AND THE AESTHETIC APPRECIATION OF INCOMPLETE ARTWORKS" PsyArt: A Hyperlink Journal for the Psychological Study of the Arts, article 060311.
Available http://www.clas.ufl.edu/ipsa/journal/2006_gallagher01.shtml, March 19, 2006 [or whatever date you accessed the article].
|
| Received: March 11, 2006 || Published: March 19, 2006 || Copyright © 2006 by Daniel B. Gallagher |
author info: |
| Daniel B. Gallagher |
frdbg70@yahoo.com |
Sacred Heart Major Seminary
|
2701 Chicago Blvd.
Detroit, MI, 48206
|
article 060303 |
| The Silence of Madness in "Signs and Symbols" by Vladimir Nabokov |
by Jacqueline Hamrit |
In this paper, I try to wonder about the way madness and literature can be linked and/or separated, through the analysis of a short story by the Russian American writer Vladimir Nabokov entitled "Signs and Symbols" as both literature and madness are linked to the issue of reference as well as meaning.. The short story narrates the case of a deranged young man for whom "everything is a cipher and of everything he is the theme" and shows how madness, unlike literature, fails in the quest of meaning and is therefore associated to silence, as Michel Foucault and Jacques Derrida suggested, whereas literature, although sometimes verging on madness, is characterized by the desire to live and to move away from the silence of death. |
| go >> |
keywords:Literature, madness, silence, reference, meaning |
url: http://www.clas.ufl.edu/ipsa/journal/2006_hamrit01.shtml
|
To cite this article, use this bibliographical entry: Hamrit, Jacqueline. "The Silence of Madness in "Signs and Symbols" by Vladimir Nabokov" PsyArt: A Hyperlink Journal for the Psychological Study of the Arts, article 060303.
Available http://www.clas.ufl.edu/ipsa/journal/2006_hamrit01.shtml, March 19, 2006 [or whatever date you accessed the article].
|
| Received: March 3, 2006 || Published: March 19, 2006 || Copyright © 2006 by Jacqeuline Hamrit |
author info: |
article 051120 |
| Mourning at the Mother’s Breast: on Death and Weaning in Tennyson’s In Memoriam |
by Kurt Harris |
In Section 44 of Tennyson’s In Memoriam, the poem’s speaker evokes the image of an infant at the mother’s breast, an image that is the key to an understanding of the link the poem makes between language and touch. The speaker’s recognition of the inadequacy of language to fill the void of the lost loved object (Arthur) leads him to question the nature of the subject/object split. Employing the theories of Winnicott, Klein, Kristeva, and Abraham and Torok, this essay argues that the text produced by the speaker, who calls forth the universal foundational lost object (the mother) in semiotic (maternal and poetic) language, serves as a mediating object between the mourning, infantilized speaker and his empathetic, maternalized ideal reader. |
| go >> |
keywords:Tennyson, |
url: http://www.clas.ufl.edu/ipsa/journal/2006_harris01.shtml
|
To cite this article, use this bibliographical entry: Harris, Kurt. "Mourning at the Mother’s Breast: on Death and Weaning in Tennyson’s In Memoriam" PsyArt: A Hyperlink Journal for the Psychological Study of the Arts, article 051120.
Available http://www.clas.ufl.edu/ipsa/journal/2006_harris01.shtml, March 17, 2006 [or whatever date you accessed the article].
|
| Received: November 20, 2005 || Published: March 19, 2006 || Copyright © 2006 by Kurt Harris |
author info: |
| Kurt Harris |
HarrisK@suu.edu |
Deptartment of English
Southern Utah University |
351 W University Blvd.
Cedar City, Utah 84720
|
article 051209 |
| Jesus And Object-Use: A Winnicottian Account Of The Resurrection Myth
|
by Brooke Hopkins |
This paper accounts for the power of the resurrection myth in terms of Winnicott's theories of early development, particularly the "development of the capacity for concern" and the idea of "object-use" that grew out of it. The myth of the resurrection allows those who participate in it to reenact basic developmental processes, beginning with the infant's relation to its mother and extending to transference relationships of other sorts, which can lead to the capacity to "use" objects (persons or things). For the believer, Jesus represents the object of destructive attacks who has, somehow, miraculously survived those attacks and has in the process become the symbol of "object-constancy." He can be "used...can feed back other-than-me substance into" those who have attained the capacity to "use" him. The myth enables believers to acknowledge their own destructiveness while at the same time enabling them to live life more fully in "a world of objects...a world of shared reality." The sacrament of the Eucharist is seen as partly reenacting this process. |
| go >> |
keywords: Winnicott, resurrection, Jesus, object relations, Eucharist |
url: http://www.clas.ufl.edu/ipsa/journal/2006_hopkins01.shtml
|
To cite this article, use this bibliographical entry: Hopkins, Brooke. Jesus And Object-Use: A Winnicottian Account Of The Resurrection Myth. PSYART: An Online Journal for the Psychological Study of the Arts, Article 051209. Available HTTP: http://www.clas.ufl.edu/ipsa/journal/2006_hopkins01.shtml, March 15, 2006 [or whatever date you accessed the article].
|
| Received: December 1, 2005. || Published: March 15, 2006 || Copyright © 2006 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 |
|
