The Besieged Ego critically appraises the representation, or mediation, of identity in film and television through a thorough analysis of doppelgangers and split or fragmentary characters. The prevalence of non-autonomous characters in a wide variety of film and television examples calls into question the very concept of a unified, 'knowable' identity. The form of the double, and cinematic modes and rhetorics used to denote fragmentary identity, is addressed in the book through a detailed analysis of texts drawn from a range of industrial, historical and cultural contexts. The doppelganger or double carries significant cultural meanings about what it means to be 'human' and the experience of identity as a gendered individual. The double also expresses in fictional form our problematic experience of the world as a social, and supposedly whole and autonomous, subject. The Besieged Ego therefore raises important questions about the representation of identity onscreen and concomitant issues regarding autonomy and what it means to be 'human', yet it also charts a generic account of the double onscreen. Case studies include horror, fantasy, and comedy.
On the one hand, Creation and Discovery, Lacan and Klein: An Essay of Reintroduction seeks to disclose the often suppressed or unacknowledged proximity, even intimacy, between Lacan and Klein, and thereby to facilitate a re-introduction between Lacan and Klein such that their works can read anew, both independently and together. On the other hand, by reconstructing the highly divergent metapsychological theories and clinical orientations of Jacques Lacan and Melanie Klein from their discussions of the same case material, the text seeks to demonstrate the irreducible plurality of psychoanalysis and the ethico-political significance of this plurality. Siding with neither Lacan nor Klein's perspective, Adam Rosen-Carole argues that within and between these exaggerated positions, a dialectic of creation and discovery emerges that affords the reader unique insights into the nature and status of psychoanalytic knowing and its particular objects. Special attention is paid to the indelible exaggerations and distortions, the guiding sensitivities and urgencies, and the concomitant structures of blindness and insight organizing various psychoanalytic perspectives. Written for clinicians as well as for students and scholars interested in psychoanalysis and philosophy, this book serves not only as a comprehensive introduction to Lacan, but also a reassessment of psychoanalytic method.
The relationship of myth to literature has largely been overshadowed in contemporary theory by perspectives of a linguistic or sociological orientation and by relativist, sometimes negatory, stances on all searches for meaning. This book attempts to show that myth criticism and critical theories of more recent provenance are not irreconcilable. While taking into consideration some of the more influential tenets of structuralist, post-structuralist, Marxist and feminist theory, it applies a post-Jungian ('archetypal') approach to illustrating the perennial nature of a particular myth (the Fall of Man) in two main traditions (Mesopotamian and Christian) and in the contemporary novel in English. The discussions of five major novels by William Golding, Patrick White, Martin Amis, Salman Rushdie, and Wilson Harris not only serve to expand the mythological insights achieved in the first part of the book; they also suggest the incommensurability of imaginal, novelistic life with mythology's age-old intuitions about the human condition. Myth criticism emerges from this book as an irreplaceable vantage-point from which man's lapsarian predicament can be scrutinized synchronically as archaic wisdom, contemporary anxiety, and post-colonial commitment to the building of a new human city.
• Examines the Oldawan, the Ancient Soul of Africa, and its correlation with what modern psychologists have defined as the collective unconscious • Draws on archaeology, DNA research, history, and depth psychology to reveal how the biological and spiritual roots of religion and science came out of Africa • Explores the reflections of our African unconscious in the present confrontation in the Americas, in the work of the Founding Fathers, and in modern psychospirituality The fossil record confirms that humanity originated in Africa. Yet somehow we have overlooked that Africa is also at the root of all that makes us human--our spirituality, civilization, arts, sciences, philosophy, and our conscious and unconscious minds. In this extensive look at the unfolding of human history and culture, Edward Bruce Bynum reveals how our collective unconscious is African. Drawing on archaeology, DNA research, depth psychology, and the biological and spiritual roots of religion and science, he demonstrates how all modern human beings, regardless of ethnic or racial categorizations, share a common deeper identity, both psychically and genetically--a primordial African unconscious. Exploring the beginning of early religions and mysticism in Africa, the author looks at the Egyptian Nubian role in the rise of civilization, the emergence of Kemetic Egypt, and the Oldawan, the Ancient Soul, and its correlation with what modern psychologists have defined as the collective unconscious. Revealing the spiritual and psychological ramifications of our shared African ancestry, the author examines its reflections in the present confrontation in the Americas, in the work of the Founding Fathers, and in modern Black spirituality, which arose from African diaspora religion and philosophy. By recognizing our shared African unconscious--the matrix that forms the deepest luminous core of human identity--we learn that the differences between one person and another are merely superficial and ultimately there is no real separation between the material and the spiritual.
Liminal Fictions in Postmodern Culture examines distinctive literary, musical, and cinematic narratives that seek to inspire critical thought and conduct through provocation. From Gogol's Dead Souls to Salinger's Franny and Zooey , Phillips argues liminal narratives offer an antidote to the modern commodification of the self.
This highly original book examines the relationship between analytical psychology and meaning, interpreting human suffering as arising from meaning disorders. Using clinical examples - whether people trapped in patterns of dependence, suffering from psychosomatic diseases, or with personality problems - it shows how, by treating clients' issues as failures of the meaning-making process, one can help them change their own own personal meaning. An Introduction to Meaning and Purpose in Analytical Psychology will make provocative reading for all those in helping professions, including counsellors, psychotherapists, and psychiatrists.
In 1940 and 1941 a group of ruthless gangsters from Brooklyn’s Brownsville neighborhood became the focus of media frenzy when they—dubbed “Murder Inc.,” by New York World-Telegram reporter Harry Feeney—were tried for murder. It is estimated that collectively they killed hundreds of people during a reign of terror that lasted from 1931 to 1940. As the trial played out to a packed courtroom, shocked spectators gasped at the outrageous revelations made by gang leader Abe “Kid Twist” Reles and his pack of criminal accomplices. News of the trial proliferated throughout the country; at times it received more newspaper coverage than the unabated war being waged overseas. The heinous crimes attributed to Murder, Inc., included not only murder and torture but also auto theft, burglary, assaults, robberies, fencing stolen goods, distribution of illegal drugs, and just about any “illegal activity from which a revenue could be derived.” When the trial finally came to a stunning unresolved conclusion in November 1941, newspapers generated record headlines. Once the trial was over, tales of the Murder, Inc., gang became legendary, spawning countless books and memoirs and providing inspiration for the Hollywood gangster-movie genre. These men were fearsome brutes with an astonishing ability to wield power. People were fascinated by the “gangster” figure, which had become a symbol for moral evil and contempt and whose popularity showed no signs of abating. As both a study in criminal behavior and a cultural fascination that continues to permeate modern society, the reverberations of “Murder, Inc.” are profound, including references in contemporary mass media. The Murder, Inc., story is as much a tale of morality as it is a gangster history, and Murder, Inc., and the Moral Life by Robert Whalen meshes both topics clearly and meticulously, relating the gangster phenomenon to modern moral theory. Each chapter covers an aspect of the Murder, Inc., case and reflects on its ethical elements and consequences. Whalen delves into the background of the criminals involved, their motives, and the violent death that surrounded them; New York City’s immigrant gang culture and its role as “Gangster City”; fiery politicians Fiorello La Guardia and Thomas E. Dewey and the choices they made to clean up the city; and the role of the gangster in popular culture and how it relates to “real life.” Whalen puts a fresh spin on the two topics, providing a vivid narrative with both historical and moral perspective.
This book presents essays that consider the status and significance of the 'pictures of the mind', in Freud, and also in the work of the major psychoanalytic thinkers. It offers an unparalleled chance to compare and contrast the fundamental ideas and assumptions of key figures in psychoanalysis.
Japanese Horror and the Transnational Cinema of Sensations undertakes a critical reassessment of Japanese horror cinema by attending to its intermediality and transnational hybridity in relation to world horror cinema. Neither a conventional film history nor a thematic survey of Japanese horror cinema, this study offers a transnational analysis of selected films from new angles that shed light on previously ignored aspects of the genre, including sound design, framing techniques, and lighting, as well as the slow attack and long release times of J-horror’s slow-burn style, which have contributed significantly to the development of its dread-filled cinema of sensations.
The Routledge Companion to Screen Music and Sound provides a detailed and comprehensive overview of screen music and sound studies, addressing the ways in which music and sound interact with forms of narrative media such as television, videogames, and film. The inclusive framework of "screen music and sound" allows readers to explore the intersections and connections between various types of media and music and sound, reflecting the current state of scholarship and the future of the field. A diverse range of international scholars have contributed an impressive set of forty-six chapters that move from foundational knowledge to cutting edge topics that highlight new key areas. The companion is thematically organized into five cohesive areas of study: Issues in the Study of Screen Music and Sound—discusses the essential topics of the discipline Historical Approaches—examines periods of historical change or transition Production and Process—focuses on issues of collaboration, institutional politics, and the impact of technology and industrial practices Cultural and Aesthetic Perspectives—contextualizes an aesthetic approach within a wider framework of cultural knowledge Analyses and Methodologies—explores potential methodologies for interrogating screen music and sound Covering a wide range of topic areas drawn from musicology, sound studies, and media studies, The Routledge Companion to Screen Music and Sound provides researchers and students with an effective overview of music’s role in narrative media, as well as new methodological and aesthetic insights.
