6,730 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
Weisheit von Sirach
No full text"Ben Sira, wisdom of (also called Ecclesiasticus), a work of the Apocrypha, which, though usually known by this name, may have been called by its author, "The Words of Simeon b. Jeshua," the title found on the Hebrew fragments" (Encyc. Judaica, CD-Rom Ed., 1997)Erscheinungsjahr nach Vorlage: 279 [i.e. 1519]Ben Sira folgen noch eine Reihe anderer Abhandlungen cf. Steinschneider p. 203 No. 1363. Die wichtigsten NZ!Siehe auch Karl Heinz Burmeister, Sebastian Münster, in: Basler Beiträge zur Geschichtswissenschaft, Bd. 91, 1963, S. 8
Autoworker and acclaimed author Ben Hamper speaks at the Michigan Writers Series
No full textIn an appearance at the Michigan State University Main Library, autoworker and acclaimed author Ben Hamper talks about his career at the General Motors Truck and Bus Plant in Flint, Michigan and reads from various works, including his forward to the book "Working words: punching the clock and kicking out the jams" by M. L. Liebler and from his most famous work, "Rivethead", a cynical and humorous view of life in an auto plant. A question and answer session follows. Hamper is introduced by Michigan State University Professor John P. Beck for the Michigan State University Libraries' Michigan Writers Series
Martin Loughlin, Public Law and Political Theory
No full textIn this chapter, Ben Yong discusses Martin Loughlin’s Public Law and Political Theory. Drawing in part on conversation with the author, Yong explores the significance of a book that, despite interrogating the nature of public law as a discipline in a novel and methodologically important way, is often poorly understood
Idan Ben-Barak: Cook Prize 2024, Silver Medal Acceptance Speech.
No full textAuthor Idan Ben-Barak gives an acceptance speech for We Go Way Back (Roaring Brook Press)https://educate.bankstreet.edu/cook/1010/thumbnail.jp
Book review: Contemporary Scottish plays, edited by Trish Reid
Full text linkBook review: Contemporary Scottish plays, edited by Trish Reid. London:
Bloomsbury, 2014; ISBN: 9781472574435 (£17.99)Publisher PD
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