1,720,984 research outputs found
Under Her Skin: on woman without body and body without Woman
Full text linkThis chapter explores the construction of femininity in two films starring Scarlett Johansson, through Jacques Lacan’s concept of “La femme” and theories of sexual difference. I will focus on the very different ways in which Johansson featured on screen in 2013: as disembodied voice in Spike Jonze’s Her, and as fleshy, material presence in Jonathan Glazer’s Under the Skin. Both roles clearly draw upon Johansson’s now well-established star image – predicated upon a return to “old Hollywood glamour” and notions of the “sex symbol” – subverting it by doing away, in a sense, with the body that has made her an international icon: one by removing her physical presence from the image-track (while maintaining her “image” at the level of the soundtrack), the other by removing the idealized image-layer in order to make her own body abundantly present in the film. Such approaches, I will argue, can be related to the theories of sexual difference delineated by Lacan, and particularly the difference between his account of the phallus in the 1950s and his logic of sexuation in Seminar XX: Encore (particularly in light of Alenka Zupančič’s recent, ground-breaking work, What Is Sex?). This, I suggest, can be understood in terms of the passage from object to subject, and the difference between the Woman without body and body without Woman
Trauma without a subject: On Malabou, psychoanalysis and Amour
Full text linkThis chapter explores the relationship between the unthinkable and the un-representable in Michael Haneke’s Amour (2012), through an engagement with Catherine Malabou’s dialogue with psychoanalysis in The New Wounded. There, Malabou identifies what she sees as new forms of post-traumatic subjectivity that necessitate “the complete theoretical reinvention of psychopathology”. My approach will come from an avowedly Lacanian orientation, but I will be considering what sort of questions Malabou’s concept of “destructive plasticity” poses for psychoanalysis – and for psychoanalytic approaches to trauma – and wondering whether Žižek’s riposte to Malabou – for example – in Living in the End Times is sufficient to meet her challenge. My approach will also be that of a film theorist, and in this chapter I will be seeking to ask what contribution the cinema can make to this dialogue on “cerebrality” and “plasticity”, and – equally – how this dialogue might help us to approach the depiction of trauma in Haneke’s film. Could Amour constitute a fictionalised, cinematic version of what Malabou (after Luria) refers to as a “neurological novel”, where “Anne is no longer Anne”? After all, Malabou herself refers to literature and theatre in her work, so – I will suggest – why not the cinema? As she says, “narrative work is a clinical gesture”, and so this chapter will explore the possibility – through Amour – that the cinema could stage for the psyche knowledge of a trauma that the psyche itself cannot know. By focusing on Anne, I will attempt to explore the subjectivity of the new wounded and approach, from a Lacanian perspective, the post-traumatic subject’s experience of, for example, inhabiting the same body but in a radically different way
Introduction
No full textWe are proud to present this volume on Femininity and Psychoanalysis. It is an unruly collection, covering a vast area of thought. It is controversial no doubt because of the contributors’ choice of topics and the inevitably difficult decisions we had to make as editors in terms of whose voices we include in this volume, what is going to be discussed and put forward and what to leave for another occasion – simply at times for reasons of space. The book continues from the volume that Agnieszka edited in 2015 (Embodied Encounters) and Psychoanalysis and the Unrepresentable (2017), which we both edited, as we have done with this volume. It is interesting to observe how some debates continue and develop: one of them is the discussion about the importance of (or not) of sexual difference and its representations in culture and the clinic
Going Beyond Counting First Authors in Author Co-citation Analysis
Full text linkThe present study examines one of the fundamental aspects of author co-citation analysis (ACA) - the way co-citation
counts are defined. Co-citation counting provides the data on which all subsequent statistical analyses and mappings
are based, and we compare ACA results based on two different types of co-citation counting - the traditional type that
only counts the first one among a cited work's authors on the one hand and a non-traditional type that takes into
account the first 5 authors of a cited work on the other hand. Results indicate that the picture produced through this non-traditional author co-citation counting contains more coherent author groups and is therefore considerably clearer. However, this picture represents fewer specialties in the research field being studied than that produced through the traditional first-author co-citation counting when the same number of top-ranked authors is selected and analyzed. Reasons for these effects are discussed
Variations on the Author
Full text link“Variations on the Author” discusses two of Eduardo Coutinho’s recent films (Um Dia na Vida, from 2010, and Últimas Conversas, posthumously released in 2015) and their contribution to the general question of documentary authorship. The director’s filmography is characterized by a consistent yet self-effacing form of authorial self-inscription: Coutinho often features as an interviewer that rather than express opinions propels discourses; an interviewer that is good at listening. This mode of self-inscription characterizes him as an author who is not expressive but who is nonetheless markedly present on the screen. In Um Dia na Vida, however, Coutinho is completely absent form the image, while Últimas Conversas, on the contrary, includes a confessional prologue that moves the director from the margins to the center of his films. This article examines the ways in which these works stand out in the filmography of a director who offers new insights into the notion of cinematic authorship
Appropriate Similarity Measures for Author Cocitation Analysis
Full text linkWe provide a number of new insights into the methodological discussion about author cocitation analysis. We first argue that the use of the Pearson correlation for measuring the similarity between authors’ cocitation profiles is not very satisfactory. We then discuss what kind of similarity measures may be used as an alternative to the Pearson correlation. We consider three similarity measures in particular. One is the well-known cosine. The other two similarity measures have not been used before in the bibliometric literature. Finally, we show by means of an example that our findings have a high practical relevance.information science;Pearson correlation;cosine;similarity measure;author cocitation analysis
Dispelling the Myths Behind First-author Citation Counts
Full text linkWe conducted a full-scale evaluative citation analysis study of scholars in the XML research field to explore just how different from each other author rankings resulting from different citation counting methods actually are, and to demonstrate the capability of emerging data and tools on the Web in supporting more realistic citation counting methods. Our results contest some common arguments for the continued
use of first-author citation counts in the evaluation of scholars, such as high correlations between author rankings by first-author citation counts and other citation
counting methods, and high costs of using more realistic citation counting methods that are not well-supported by the ISI databases. It is argued that increasingly available digital full text research papers make it possible for citation analysis studies to go beyond what the ISI databases have directly supported and to employ more
sophisticated methods
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