The Passengers Eleanor Limprecht
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Psychoanalysis: the Impossible Profession
Psychoanalysis: The Impossible Profession PSYCHOANALYSIS: THE IMPOSSIBLE PROFESSION by Janet Malcollll A JASON ARONSON BOOK ROWMAN & LITTLEFIELD PUBLISHERS, INC. Lanham • Boulder • New York • Toronto • Plymouth, UK A JASON ARONSON BOOK ROWMAN & LITILEFIELD PUBLISHERS, INC. Published in the United States of America by Rowman & Littlefield Publishers, Inc. A wholly owned subsidiary of The Rowman & Littlefield Publishing Group, Inc. 4501 Forbes Boulevard, Suite 200, Lanham, Maryland 20706 www.rowmanlittlefield.com Estover Road Plymouth PL6 7PY United Kingdom THE MASTER WORK SERIES CopyriJht o 1980, 1981 by Janet Malcolm Published by arranaement with Alfred A. Knopf, Inc. Most of this book was fust published in The New Yorker. All riahts reserved. Printed in the United States of America. No part of this book may be used or reproduced in any manner whatsoever without written permission from Jason Aronson Inc. except in the case of brief quotations in reviews for inclusion in a magazine, newspaper, or broadcast. ISBN: 1-56821-342-S ISBN 978-1-5682-1342-2 Library of CODJI'CSS Cataloa Card Number: 94-72518 Manufactured in the United States of America. Jason Aronson Inc. offers books and cassettes. For information and cataloa write to Jason Aronson Inc., 230 Livinpton Street, Northvale, New Jersey 07647. To my father It almost looks as if analysis were the third of those "im possible" professions in which one can be sure beforehand of achieving unsatisfying results. Tho other two, which have been known much longer, are education and government. -SIGMUND FREUD, "Analysis Terminable and Interminable" (1937) As psychoanalysts, we are only too aware that our profession is not only impossible but also extremely difllcult. -
In the Freud Archives Pdf, Epub, Ebook
IN THE FREUD ARCHIVES PDF, EPUB, EBOOK Janet Malcolm | 176 pages | 30 Nov 2002 | The New York Review of Books, Inc | 9781590170274 | English | New York, United States In The Freud Archives PDF Book Both of them are refreshingly free of ''Aaron Green's'' scientism, his righteous indignation that Freud's imaginative surmises are not ''taught and transmitted as accepted knowledge, the way the findings of physics and biology and chemistry are transmitted. At the same time, the formidable obstacles which confronted historians rendered a wholesale challenge of the legend impossible. Get immediate access to the current issue and over 20, articles from the archives, plus the NYR App. Sigma Delta Chi Foundation. Jul 08, Joe Rodeck rated it it was ok. Meine Mediathek Hilfe Erweiterte Buchsuche. Miss Malcolm remarks that we all belong to Freud's therapeutic community simply ''because Freud lived and wrote. New York: Alfred A. Jan 15, Wilde Sky rated it liked it. Like MacDonald with McGinniss, Masson thought Malcolm was "on his side" and would paint a largely sympathetic portrait of him rather than the kind of surgical vivisection she owns a virtual patent on. Aug 15, Kevin A. Lorrie Moore. Samuel Herschkowitz, M. Swales is the book's comic foil to Mr. With the visionary enthusiasm of Swift's ''projectors'' in ''A Tale of a Tub,'' Fliess alternately stuffed his patients' noses with cocaine or performed surgery upon their unfortunate sinuses. Kafka, M. It's really the most entertaining thing that I've read in awhile. Anyway: note that this book is incredibly short. An exhibition of parts of the collection was held at the Library of Congress last year and will be at the Jewish Museum this year. -
60 Literary Journalism Studies 61 by Any Other Name: the Case for Literary Journalism
60 Literary Journalism Studies 61 By Any Other Name: The Case for Literary Journalism Josh Roiland University of Maine, United States Keynote Response: Literary journalism has experienced a resurgence in recent years, and like all popular movements it has sustained a backlash from those who believe it fetishizes narrative at the expense of research and reporting. New Yorker writer Nicholas Lemann’s IALJS-10 keynote talk returned the spotlight to the social function of journalism: to provide “a running account of the world.” He argues that for literary journalism to complete that task, it must privilege research and reporting over artistic expression. This response essay expands on Lemann’s talk by clarifying mis- conceptions about what the “literary” in literary journalism means, and demonstrates that the debates about what to call this genre—debates that have been rekindled in recent years with the ascendance of such vague-but- vogue terms “long form” and “long reads”—are not new. This narrative history explores both the misbegotten trail of the term “literary journalism” and its attendant field of study, but it also argues that the label long form represents a neoliberalization of language that positions readers not to con- sider or question, but only to consume. ut however vague and slippery a term, the New Journalism has become “Ba convenient label for recent developments in nonfiction writing and for the sharp critical controversy this writing has stirred up.” So wrote Ronald Weber in his 1974 preface to the book he had compiled and edited, The Re- porter as Artist: A Look at the New Journalism Controversy.1 Some four decades later, standing before a confederation of several dozen literary journalism scholars who had gathered from across the globe in Minneapolis, Nicholas Lemann wasted little time getting to the question that has bedeviled not only his audience of academics but also practitioners and, increasingly, casual read- ers: “What is literary journalism anyway?”2 Nearly every book-length work of Literary Journalism Studies Vol. -
Bakalářská Práce
Jihočeská univerzita v Českých Budějovicích Pedagogická fakulta Katedra anglistiky BAKALÁŘSKÁ PRÁCE Images of Childhood in Books of J.D.Salinger and W.Saroyan Obraz dětství v díle J. D. Salingera a W. Saroyana Autor: Veronika Jeřábková Vedoucí bakalářské práce: Mgr. Alice Sukdolová, Ph.D. Rok odevzdání: 2013 Prohlášení Prohlašuji, že svoji bakalářskou práci jsem vypracovala samostatně pouze s použitím pramenů a literatury uvedených v seznamu citované literatury. Prohlašuji, že v souladu s § 47b zákona č. 111/1998 Sb. v platném znění souhlasím se zveřejněním své bakalářské práce, a to v nezkrácené podobě elektronickou cestou ve veřejně přístupné části databáze STAG provozované Jihočeskou univerzitou v Českých Budějovicích na jejích internetových stránkách, a to se zachováním mého autorského práva k odevzdanému textu této kvalifikační práce. Souhlasím dále s tím, aby toutéž elektronickou cestou byly v souladu s uvedeným ustanovením zákona č. 111/1998 Sb. zveřejněny posudky školitele a oponentů práce i záznam o průběhu a výsledku obhajoby kvalifikační práce. Rovněž souhlasím s porovnáním textu mé kvalifikační práce s databází kvalifikačních prací Theses.cz provozovanou Národním registrem vysokoškolských kvalifikačních prací a systémem na odhalování plagiátů. V Českých Velenicích, dne 13. 4. 2013 ________________ Veronika Jeřábková Poděkování Tímto bych ráda poděkovala vedoucí své bakalářské práce Mgr. Alici Sukdolové, Ph.D. za odbornou pomoc a cenné připomínky v průběhu vedení mé bakalářské práce. Dále bych ráda poděkovala oběma svým rodičům za podporu během celého mého studia, speciálně děkuji svému otci za následnou jazykovou korekci mé práce. Anotace Cílem práce je srovnání povídkové tvorby W. Saroyana s románem J. D. Salingera Kdo chytá v žitě a také s několika Salingerovými povídkami. -
LJS Cortland, New York 13045-0900 U.S.A
LiteraryStudies Journalism Vol. 1, No. 1, Spring 2009 Return address: Literary Journalism Studies State University of New York at Cortland Department of Communication Studies P.O. Box 2000 LJS Cortland, New York 13045-0900 U.S.A. Literary Journalism Studies Inaugural Issue The Problem and the Promise of Literary Journalism Studies by Norman Sims An exclusive excerpt from the soon-to-be-released narrative nonfiction account, published by Farrar, Straus, and Giroux Tears in the Darkness: The Story of the Bataan Death March and Its Aftermath by Michael and Elizabeth Norman Writing Narrative Portraiture by Michael Norman South: Where Travel Meets Literary Journalism by Isabel Soares Vol. 1, No. 1, Spring 2009 2009 Spring 1, No. 1, Vol. “My Story Is Always Escaping into Oher People” by Robert Alexander Differently Drawn Boundaries of the Permissible by Beate Josephi and Christine Müller Recovering the Peculiar Life and Times of Tom Hedley and of Canadian New Journalism by Bill Reynolds Published at the Medill School of Journalism, Northwestern University 1845 Sheridan Road, Evanston, IL 60208, U.S.A. The Journal of the International Association for Literary Journalism Studies On the Cover he ghost image in the background of our cover is based on this iconic photo Tof American prisoners-of-war, hands bound behind their backs, who took part in the 1942 Bataan Death March. The Death March is the subject of Michael and Elizabeth M. Norman’s forthcoming Tears in the Darkness, pub- lished by Farrar, Straus, and Giroux. Excerpts begin on page 33, followed by an essay by Michael Norman on the challenges of writing the book, which required ten years of research, travel, and interviewing American and Filipino surivivors of the march, as well as Japanese participants. -
Masson V. New Yorker Magazine, Inc.: a "Material Alteration" Nathalie L
University of Miami Law School Institutional Repository University of Miami Entertainment & Sports Law Review 5-1-1993 Masson v. New Yorker Magazine, Inc.: A "Material Alteration" Nathalie L. Hiemstra Follow this and additional works at: http://repository.law.miami.edu/umeslr Part of the Entertainment and Sports Law Commons Recommended Citation Nathalie L. Hiemstra, Masson v. New Yorker Magazine, Inc.: A "Material Alteration", 10 U. Miami Ent. & Sports L. Rev. 283 (1993) Available at: http://repository.law.miami.edu/umeslr/vol10/iss1/11 This Note is brought to you for free and open access by Institutional Repository. It has been accepted for inclusion in University of Miami Entertainment & Sports Law Review by an authorized administrator of Institutional Repository. For more information, please contact [email protected]. Hiemstra: <em>Masson v. New Yorker Magazine, Inc.</em>: A "Material Alterat MASSON v. NEW YORKER MAGAZINE, INC.: A "MATERIAL ALTERATION" I. INTRODUCTION .......................................................... 283 II. H ISTORY OF LIBEL LAW ................................................. 284 III. MASSON v. NEW YORKER MAGAZINE, INC ................................... 288 IV. EFFECT OF THE MASsON DECISION ON LIBEL LAW ........................... 295 V . C ONCLUSION ....................................................... .... 300 I. INTRODUCTION To the average reader, a statement surrounded by quotation marks represents a statement directly asserted by the speaker. A reader will give far more weight to such a statement than to an author's rendition or paraphrase. A direct quotation makes an even greater impression when it is found in a book about the speaker himself and his relationship with others. Quotes attributed to the speaker in such a book, which are not actually what the speaker said, may send a different message than what the speaker meant to convey. -
Abdul-Jabbar Talks MLK, Social Justice and Self-Satisfi Ed of Tribes, and Janet Had the Nerve to Question What We Do Sometimes,” Remnick Told the Associated Press
ARAB TIMES, SUNDAY, JUNE 20, 2021 NEWS/FEATURES 13 People & Places Obit Inquisitive author Malcolm, provocative journalist, dies at 86 NEW YORK, June 19, (AP): Janet Malcolm, the inquisitive and boldly subjective author and reporter known for her challenging critiques of everything from murder cases and art to journalism itself, has died. She was 86. Malcolm died Wednesday at New York Presbyte- rian Hospital, according to her daughter, Anne Mal- colm. The cause was lung cancer. A longtime New Yorker staff writer and the au- thor of several books, the Prague native practiced a kind of post-modern style in which she often called attention to her own role in the narrative, question- ing whether even the most conscientious observer could be trusted. “Every journalist who is not too stupid or too full of himself to notice what is going on knows that what he does is morally indefensible” was how she began “The Journalist and the Murderer.” The 1990 book assailed Joe McGinniss’ true crime classic “Fatal Vision” as a prime case of the author tricking his subject, convicted killer Jeffrey MacDonald, who had asked McGinniss to write a book about him only to have Malcolm the author conclude he was a sociopath. It was one of many works by Malcolm that set off debates about her pro- fession and compelled even those who disliked her to keep reading. Reviewing a 2013 anthology of her work, “Forty- One False Starts,” for The New York Times, Adam Susan Sarandon, (left), and Geena Davis, stars of ‘Thelma & Louise,’ pose in a 1966 Ford Thunderbird similar to the one featured in the film, at the 30th anniversary Kirsch praised Malcolm for “a powerfully distinctive screening of the film at the Greek Theatre on Friday, June 18, in Los Angeles. -
In the Funhouse Mirror: How News Subjects Respond to Their Media Reflections
In the Funhouse Mirror: How News Subjects Respond to Their Media Reflections Ruth A. Palmer Submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy under the Executive Committee of the Graduate School of Arts and Sciences COLUMBIA UNIVERSITY 2013 © 2013 Ruth A. Palmer All rights reserved Abstract In the Funhouse Mirror: How News Subjects Respond to Their Media Reflections Ruth A. Palmer Based on in-depth interviews with eighty-three people who were named in newspapers in the New York City-area and a southwestern city, this dissertation explores the phenomenon of being featured, quoted, or mentioned in a news story, from the subject’s point of view. Discussions of news subjects usually begin when the journalist comes on the scene and end with subjects’ assessments of accuracy in the articles in which they appear. But I find that news subjects perceive the phenomenon of “making the news” as a broader saga that begins with their involvement in an event or issue, often only later deemed newsworthy by journalists, and extends to the repercussions of the coverage in their lives, including feedback they receive from others and effects on their digital reputations. Subjects interpret their news coverage, including its accuracy, in light of the trigger events that brought them to journalists’ attention in the first place and the coverage’s ensuing effects. Individual chapters focus on subjects’ reasons for wanting or not wanting to speak to reporters; their interactions with reporters; their reactions to the news content in which they were named; and repercussions of news appearances. -
Dickinson As Found in Marta Wener's Emily Dickinson's Open Folios
Lori Bookstein Fine Art 138 TENTH AVENUE NEW YORK NY 10011 Tel 212-750-0949 FOR IMMEDIATE RELEASE Janet Malcolm: The Emily Dickinson Series January 9 – February 8, 2014 Lori Bookstein Fine Art is pleased to announce an exhibition of new collages by Janet Malcolm. This is the artist’s fifth solo-show with the gallery. As the title suggests, The Emily Dickinson Series was inspired by the late writings of Emily Dickinson as found in Marta Wener’s Emily Dickinson’s Open Folios: Scenes of Reading, Surfaces of Writing. The publication brings together forty of Dickinson’s late drafts, also known as the “Lord Letters,” and is presented with facsimiles of the original writing alongside the typed transcriptions. In Malcolm’s collages, she reappropriates this text, juxtaposing it against seemingly unrelated visual ephemera. Everything from highway mileage charts to antiquated photographs can be found in this latest series. Most predominately, however, Malcolm combines Dickinson’s writings with astronomical images. The following correspondence between Marta Werner and Janet Malcolm first appeared in issue 126 of Granta under the heading “The Emily Dickinson Series: A Correspondence.” A version of this text has been reprinted on the following pages with permission. Janet Malcolm (b. 1934, Prague) is the author of twelve books and a frequent contributor to The New Yorker and The New York Review of Books. In addition to her extensive practice of collage making, Malcolm has produced a series of photographs of Burdock leaves. A catalog of these prints, entitled Burdock, is available from Yale University Press. The artist lives and works in New York City. -
The Master Writer of the City by Janet Malcolm | the New York Review of Books 4/18/15 6:57 PM
The Master Writer of the City by Janet Malcolm | The New York Review of Books 4/18/15 6:57 PM The Master Writer of the City Janet Malcolm APRIL 23, 2015 ISSUE Man in Profile: Joseph Mitchell of The New Yorker by Thomas Kunkel Random House, 384 pp., $30.00 In 1942 The New Yorker published Joseph Mitchell’s profile of a homeless man in Greenwich Village named Joe Gould, whose claim to notice—the thing that separated him from other sad misfits—was “a formless, rather mysterious book” he was known to be writing called “An Oral History of Our Time,” begun twenty-six years earlier and already, at nine million words, “eleven times as long as the Bible.” Twenty-two years later, in 1964, the magazine published another piece by Mitchell called “Joe Gould’s Secret” that ran in two parts, and that drew a rather less sympathetic and a good deal more interesting portrait of Gould. Mitchell revealed what he had kept back in the profile—that Gould was a tiresome bore and cadger who attached himself to Mitchell like a leech, and finally forced upon him the realization that the “Oral History” did not exist. After confronting Gould with this knowledge, the famously kindhearted Mitchell regretted having done so: I have always deeply disliked seeing anyone shown up or found out or caught in a lie or caught red-handed doing anything, and now, with time to think things over, I Therese Mitchell/Estate of Joseph Mitchell began to feel ashamed of myself for the way I had lost my temper and pounced on Joseph Mitchell in Lower Manhattan, near the old Fulton Fish Market; photograph by his Gould. -
Cold War Freud Psychoanalysis in an Age of Catastrophes
iii Cold War Freud Psychoanalysis in an Age of Catastrophes Dagmar Herzog Graduate Center, City University of New York /36768:DDAC, 534697 957 27CD817C330437CA3D,,C475DDD:7.34697 .7D7C8C7333473D:DDAC, 534697 957D7C :DDAC,6 9 iv University Printing House, Cambridge !" # $ "% , United Kingdom Cambridge University Press is part of the University of Cambridge. It furthers the University’s mission by disseminating knowledge in the pursuit of education, learning, and research at the highest international levels of excellence. www.cambridge.org Information on this title: www.cambridge.org/ '($))*(*(#+'$ © Dagmar Herzog #*)( This publication is in copyright. Subject to statutory exception and to the provisions of relevant collective licensing agreements, no reproduction of any part may take place without the written permission of Cambridge University Press. First published #*)( Printed in the United Kingdom by TJ International Ltd. Padstow Cornwall A catalogue record for this publication is available from the British Library. ,%"- '($- )- )*(- *(#+'- $ Hardback Cambridge University Press has no responsibility for the persistence or accuracy of ./0 s for external or third- party Internet Web sites referred to in this publication and does not guarantee that any content on such Web sites is, or will remain, accurate or appropriate. /36768:DDAC, 534697 957 27CD817C330437CA3D,,C475DDD:7.34697 .7D7C8C7333473D:DDAC, 534697 957D7C :DDAC,6 9 v CONTENTS List of Figures page vii Introduction 1 Part I Leaving the World Outside 19 1 The Libido Wars 21 Homophobia’s Durability and the Reinvention 2 of Psychoanalysis 56 Part II Nazism’s Legacies 87 3 Post- Holocaust Antisemitism and the Ascent of PTSD 89 4 The Struggle between Eros and Death 123 Part III Radical Freud 151 5 Exploding Oedipus 153 Downloaded from https://www.cambridge.org/core.