The Enigma of the Hour 100 Years of Psychoanalytic Thought
Total Page:16
File Type:pdf, Size:1020Kb
Load more
Recommended publications
-
Beckett's Victors: Quests Without Qualities Paul Shields
Florida State University Libraries Electronic Theses, Treatises and Dissertations The Graduate School 2005 Beckett's Victors: Quests without Qualities Paul Shields Follow this and additional works at the FSU Digital Library. For more information, please contact [email protected] THE FLORIDA STATE UNIVERSITY COLLEGE OF ARTS AND SCIENCES BECKETT’S VICTORS: QUESTS WITHOUT QUALITIES By PAUL SHIELDS A Dissertation submitted to the Department of English in partial fulfillment of the requirements for the degree of Doctor of Philosophy Degree Awarded: Spring 2005 The members of the Committee approve the dissertation of Paul Shields defended on January 4, 2005. ____________________________________ S. E. Gontarski Professor Directing Dissertation ____________________________________ Mary Karen Dahl Outside Committee Member ____________________________________ Karen Laughlin Committee Member ____________________________________ Fred L. Standley Committee Member Approved: ____________________________________ Bruce Boehrer, Director of Graduate Studies The Office of Graduate Studies has verified and approved the above named committee members. ii For my mother and father— and for my grandmother, Lucille iii ACKNOWLEDGEMENTS I would like to thank Stan Gontarski for his guidance and encouragement during the development of this study and over the course of my graduate career. His insights are evident on every page. I would also like to thank the members of my committee: Karen Laughlin for her support (and for buying coffee in Sydney); Fred L. Standley for his generosity; and Mary Karen Dahl for her willingness to be a part of this project. I must also thank Yu-Mi Yang for introducing me to Deleuze’s work and Chris Ackerley for reading parts of the manuscript. I am greatly indebted to Lori and Ben York, who have always cared about my pursuits and, more importantly, my well-being. -
AWAR of INDIVIDUALS: Bloomsbury Attitudes to the Great
2 Bloomsbury What were the anti-war feelings chiefly expressed outside ‘organised’ protest and not under political or religious banners – those attitudes which form the raison d’être for this study? As the Great War becomes more distant in time, certain actions and individuals become greyer and more obscure whilst others seem to become clearer and imbued with a dash of colour amid the sepia. One thinks particularly of the so-called Bloomsbury Group.1 Any overview of ‘alter- native’ attitudes to the war must consider the responses of Bloomsbury to the shadows of doubt and uncertainty thrown across page and canvas by the con- flict. Despite their notoriety, the reactions of the Bloomsbury individuals are important both in their own right and as a mirror to the similar reactions of obscurer individuals from differing circumstances and backgrounds. In the origins of Bloomsbury – well known as one of the foremost cultural groups of the late Victorian and Edwardian periods – is to be found the moral and aesthetic core for some of the most significant humanistic reactions to the war. The small circle of Cambridge undergraduates whose mutual appreciation of the thoughts and teachings of the academic and philosopher G.E. Moore led them to form lasting friendships, became the kernel of what would become labelled ‘the Bloomsbury Group’. It was, as one academic described, ‘a nucleus from which civilisation has spread outwards’.2 This rippling effect, though tem- porarily dammed by the keenly-felt constrictions of the war, would continue to flow outwards through the twentieth century, inspiring, as is well known, much analysis and interpretation along the way. -
Hot Tickets 2019 Food and the Gut Go on Show As Angolan ‘Sea Monsters’ Resurface and Alexander Von Humboldt Pops Into Focus
COMMENT BOOKS & ARTS A visitor examines some of Leonardo da Vinci’s writing at the Water as Microscope of Nature exhibition at the Uffizi Gallery in Florence, Italy. Hot tickets 2019 Food and the gut go on show as Angolan ‘sea monsters’ resurface and Alexander von Humboldt pops into focus. The year is also a feast of anniversaries, from the eclipse proving Albert Einstein right to Leonardo da Vinci’s death — and the first footfall on the Moon. Nicola Jones reports. Alexander von Humboldt Sea Monsters Unearthed: Life in Angola’s PaleoAngola unearthed a new dinosaur Museum Ludwig, Cologne, Germany. Ancient Seas species, the long-necked sauropod Until 27 January. National Museum of Natural History, Angolatitan adamastor; a host of sea turtles Prussian polymath and explorer Alexander Washington DC. (pictured); and giant marine reptilian von Humboldt’s 250th birthday rolls Until 2020. plesiosaurs and mosasaurs. Full-scale around this September. The ‘father Some 130 million years ago, the reconstructions and fossils will be on of environmentalism’ is credited with supercontinent Gondwana was being display at the US National Museum of envisioning geology, ecology and humanity ripped apart, forming Africa and South Natural History. Meanwhile, the museum’s as part of an interconnected web. Less well America. The South Atlantic Ocean David H. Koch Hall of Fossils will open known is his role in early photography. emerged between them. Today, Angola is a on 8 June with Deep Time, featuring INNOCENTI/UFFIZI GALLERIES M. DEGL’ In 1839, Humboldt was among the first hotspot for tracking the sea’s biological 700 specimens and the return of a established scientists to embrace the record: it is the only African nation with Tyrannosaurus rex fossil. -
Curating Queer British Art, 1861-1967 at Tate Britain and Being Human at Wellcome Collection, London
Rejecting Normal: Curating Queer British Art, 1861-1967 at Tate Britain and Being Human at Wellcome Collection, London Clare Barlow Independent curator This item has been published in Issue 01 ‘Transitory Parerga: Access and Inclusion in Contemporary Art,’ edited by Vlad Strukov. To cite this item: Barlow С (2020) Rejecting normal: Curating Queer British Art, 1861-1967 at Tate Britain and Being Human at Wellcome Collection, London. The Garage Journal: Studies in Art, Museums & Culture, 01: 264-280. DOI: 10.35074/GJ.2020.1.1.016 To link to this item: https://doi.org/10.35074/GJ.2020.1.1.016 Published: 30 November 2020 ISSN-2633-4534 thegaragejournal.org 18+ Full terms and conditions of access and use can be found at: https://thegaragejournal.org/en/about/faq#content Curatorial essay Rejecting Normal: Curating Queer British Art, 1861-1967 at Tate Britain and Being Human at Wellcome Collection, London Clare Barlow There has been a number of exhibi- tember 2017) and Being Human tions in the last five years that have (September 2019–present). Drawing explored queer themes and adopted on my experience of curating these queer approaches, yet the posi- projects, I consider their successes tion of queer in museums remains and limitations, particularly with precarious. This article explores regards to intersectionality, and the the challenges of this museological different ways in which queerness landscape and the transformative shaped their conceptual frameworks: potential of queer curating through from queer readings in Queer British two projects: Queer British Art, Art to the explicit rejection of ‘nor- 1861—1967 (Tate Britain, April–Sep- mal’ in Being Human. -
Collection Grants 2016-17 Contents
Collection Grants 2016-17 Contents Collection Grants 2016-17 Guildhall Art Gallery Alexandra Park and Palace Museum of the Royal Philatelic Society of London Museum of Army Music Museum of Wimbledon Charles Dickens Museum Society of Antiquaries of London Estorick Collection of Modern Italian Art Bethlem Museum of the Mind Kingston Museum Valence House Museum Keats House Museum of the Order of St John Freud Museum Guildhall Art Gallery 2 The Garden Museum Freud Museum 2 World Rugby Museum Museum of Richmond Burgh House Dorich House Collection Grants 2016-17 For the second year running this small grants scheme, managed by Yvette Shepherd, with expert input from Libby Finney, Regional Conservation Officer, was oversubscribed, with a total of 37 applications; 16 for the first, June tranche and a further 21 for the October tranche. In all 21 grants of approximately £500.00 were awarded over the two tranches to 19 different museums, with an additional 2 projects supported through the Regional Conservation Team programme as a direct result of their Collection Grant applications. A total of £10,162.12 was awarded through the 2016-17 Collection Grant programme. All the projects were completed to schedule and 9 of the 19 museums provided additional funds towards the final project. What the grants were used for: Projects to enhance collection care/housekeeping through purchase of equipment or materials. 10 Conservation or conservation assessment of objects 2 Projects to improve collection management through purchase of materials, digitisation, training etc 4 Projects to improve emergency preparedness 1 Projects to enhance environmental monitoring 4 Notable successes this year included a project to scan a portrait of Catherine Dickens, held in the Charles Dickens Museum collection, to determine its provenance. -
Italian Imago 02-01-310 455.Pdf
Autorizzazione del Tribunale di Reggio Calabria del 5 Settembre 2019 © 2020 SPG REGGIO CALABRIA Tutti i diritti riservati WILFRED RUPRECHT BION: VITA, PENSIERO, OPERE PASQUALE LUCA QUIETO – GABRIELE ROMEO WILFRED RUPRECHT BION: VITA, PENSIERO, OPERE LA GRUPPOANALISI MATHURA (UTTAR PRADESH, ALLORA REGNO UNITO, OGGI INDIA), 8 SETTEMBRE 1897 OXFORD (SOUTH EAST ENGLAND, REGNO UNITO), 8 NOVEMBRE 1979 TRADUZIONE IN INGLESE DI PASQUALE LUCA QUIETO – GABRIELE ROMEO WILFRED RUPRECH BION: LIFE, THINKING, WORKS THE GROUPE–ANALYSIS AUTORI E TRADUTTORI Pasquale Luca Quieto, Psicologo, Psicoanalista, Gruppoanalista, Membro della Società di Psicoanalisi e Gruppoanalisi Italiana. Gabriele Romeo, Medico, Psicologo, Psicoanalista, Presidente della Società Scientifica di Psicoanalisi e Gruppoanalisi Italiana, Caporedattore di Italian Imago, Docente, Analista Didatta e Supervisore, Coordinatore Didattico della Scuola di Specializzazione in Psicoterapia Psicoanalitica e Gruppoanalitica di Reggio Calabria. AUTHORS AND TRANSATORS Pasquale Luca Quieto, Psychoanalyst, Groupanalyst, member of the Società di Psicoanalisi e Gruppoanalisi Italiana. Gabriele Romeo, M.D., Ph.D., Psychoanalyst, President of the Società di Psicoanalisi e Gruppoanalisi Italiana, Chief Editor of Italian Imago, Teacher, Didactic and Supervisor Analyst, Didactic Coordinator of the Scuola di Specializzazione in Psicoterapia Psicoanalitica e Gruppoanalitica of Reggio Calabria. 310 PASQUALE LUCA QUIETO – GABRIELE ROMEO Wilfred Ruprecht Bion Mathura (Uttar Pradesh, allora Regno Unito, oggi India), -
On Ambivalence
PROBLEMI INTERNATIONAL, vol.On 1 no.Ambivalence 1, 2017 © Society for Theoretical Psychoanalysis On Ambivalence Tadej Troha The term “ambivalence” was coined a little over hundred years ago by Eugen Bleuler, the then director of Burghölzli, who despite sympathizing with psychoanalysis refrained from becoming a genuine part of the emerging Freudian collective body. In the end, his insistence on maintaining his individuality produced an ironic twist: while Freud (and Jung, for that matter) became popular authors, Bleuler was left with the impossible trophy of being the author of popular signifiers, the author of terms that seem to have appeared out of nowhere: in addition to ambivalence, he ought to be credited for inventing “autism” and “schizophrenia.” It is well known that Freud was not very enthusiastic about the latter terms and kept insisting on paraphrenia and narcissism, respectively. As for ambivalence, he accepted it immediately and without hesitation. When introduced in Freud’s essays, ambiva- lence is accompanied with a whole series of laudatory remarks: the term is glücklich, gut, passend, trefflich, “happily chosen” (Freud 2001 [1905], p. 199), “excellent” (Freud 2001 [1912], p. 106), “appropriate” (Freud 2001 [1909], p. 239n), “very apt” (Freud 2001 [1915], p. 131). Although he rarely fails to point out that he is not the author of the term, he never bothers to present the reader with the particular clinical framework within which the term has been invented. The praise of the author is here transformed into the praise of the term itself, the quotation does not add anything to Bleuler’s authority; it is rather an excuse to repeatedly point to the authority and breakthrough nature of the 217 Tadej Troha very conceptual background that made the invention possible. -
Freud's House
Freud’s House: The Double Mirror Dr Anneke Pettican | Brass Art Freud’s House: The Double Mirror Dr Anneke Pettican | Brass Art To explore the idea of the uncanny using strategies of visual and sonic repetition and simultaneous ‘doublings’, seeking Project a physical manifestation in the unsettling experience of the mirrored projection and its intimate binaural soundtrack Description as manifest in the final installation. Freud’s House: The Double Mirror (2015) is a video work with binaural soundtrack created at the Freud Museum, London that seeks to explore a fundamental instability akin to an expanded view of the uncanny. The work exists in two forms: a single screen work with binaural sound titled Freud’s House: The Double (2015); and a two screen, floating, suspended video installation with binaural sound transmitted to wireless headphones titled Freud’s House: The Double Mirror (2015). Project Duration: Research began in 2014. Brass Art began the project in 2015 and first installed the artefact at The International 3 from 17th September – 30th October 2015. Funder: Freud’s House: The Double Mirror has been widely exhibited and screened across Europe and Asia, and its themes have been further developed in journal articles, essays and conference symposia. Brass Art is the collaborative art practice of: Chara Lewis Manchester School of Art – MMU, Kristin Mojsiewicz Edinburgh College of Art – The University of Edinburgh, and Anneké Pettican School of Art, Design, Architecture – University of Huddersfield. Brass Art have collaborated since 1999 and exhibit nationally and internationally. Research Partners, consultants, collaborators: Freud Museum, London University of Salford - the Commission to Collect Programme Arts Council England - the Commission to Collect Programme Manchester Metropolitan University (MMU) Edinburgh College of Art (ECA) at University of Edinburgh (UoE) University of Huddersfield (UoH) Freud’s House: The Double Mirror (2015) Installation with binaural headphones, 4minutes 15s loop, International3 Gallery, Salford. -
'Abstract' Portraits
‘Abstract’ portraits A learning resource featuring works from the National Portrait Gallery Collection, one of a series focusing on particular artists or themes which has changed the way we think about the art of portraiture. Page 2 of 16 National Portrait Gallery ‘Abstract’ portraits Contents Introduction ⁄ 2 1: A conceptual portrait ⁄ 3 2: Dominant features ⁄ 6 3: Mixed media and text ⁄ 8 4: Pattern and form ⁄ 10 5: Mass and material ⁄ 12 General enquiry questions ⁄ 14 Further research ⁄ 15 Introduction This resource looks at the broad themes encapsulated in the idea of an ‘abstracted’ portrait and questions whether such a portrait is possible and viable. A variety of themes group different types of portraits that could be termed ‘abstract’. The portraits selected in this resource are all in the Collection of the National Portrait Gallery. The resource is aimed primarily at teachers of pupils studying GCSE and A level art. Those studying art history may also find the images, concepts and discussions of relevance to their study. The content aims to give teachers information on the significance and stories of the sitter and artist, the purpose of the image and its impact at the time, and to examine connections between those sitters, artists and their images. The general enquiry questions together with themes and ideas for further discussion between teachers and students are designed to encourage ways to research, develop and record ideas and personal responses. Finally, there are web links for additional research. This resource complements and supports the learning programmes developed by the National Portrait Gallery. ‘Abstract’ portraits in context Can men and women be represented in ‘abstract ways’? Is the essential function of a portrait that it communicates what the sitter looks like and that it can be used for identity purposes? If this factor is subverted and the portrait no longer has this function, can it be true to the genre? Recognisable features from distinctive and famous faces can help make an ‘abstract’ portrait look more realistic and believable. -
Psycho-Analysis
THE INTERNATIONAL JOURNAL OF PSYCHO-ANALYSIS VOLUME X II OCTOBER 1931 PART 4 ORIGINAL PAPERS THE THERAPEUTIC EFFECT OF INEXACT INTERPRETATION : A CONTRIBUTION TO THE THEORY OF SUGGESTION BY EDWARD GLOVER LONDON Psycho-analytic interest in theories of cure is naturally directed for the most part to the curative processes occurring in analytic treatment : the therapeutic effect of other methods is, nowadays at any rate, more a matter of general psychological interest. In earlier times, of course, it was necessary to pay special attention to the theoretical significance of non-analytic psychotherapy. Statements were frequently bandied about that psycho-analysis was nothing more than camouflaged suggestion : moreover, the fact that analytic method was based on experiences derived from situations of rapport between physician and patient, as for example, in hypnosis, made some theoretical differentia tion desirable. Most discussions of the ‘ resolution of transference ’ can be regarded as contributions to this problem, affording a rough but serviceable distinction between analytic and other therapeutic methods. And the special studies of Freud (1) on group psychology, Ferenczi (2) on transference, Ernest Jones (3) on suggestion and auto-suggestion, Abraham (4) on Couéism and an unfinished study by Radö (5) on the processes of cure, have given a broader theoretical basis to this differentiation. Nevertheless we are periodically stimulated to reconsider the relations between different forms of psychotherapy, more particularly when any advance is made in analytic knowledge. When such advances occur we are bound to ask ourselves, ' what happened to our cases before we were in a position to turn this fresh knowledge to advantage ? ' Admittedly we would not be under this obligation had we not previously used terms such as ‘ cure ', ' thorough analysis etc., etc. -
John Halperin Bloomsbury and Virginia W
John Halperin ., I Bloomsbury and Virginia WooH: Another VIew . i· "It had seemed to me ever since I was very young," Adrian Stephen wrote in The Dreadnought Hoax in 1936, "that anyone who took up an attitude of authority over anyone else was necessarily also someone who offered a leg to pull." 1 In 1910 Adrian and his sister Virginia and Duncan Grant and some of their friends dressed up as the Emperor of Abyssinia and his suite and perpetrated a hoax upon the Royal Navy. They wished to inspect the Navy's most modern vessel, they said; and the Naval officers on hand, completely fooled, took them on an elaborate tour of some top secret facilities aboard the HMS Dreadnought. When the "Dread nought Hoax," as it came to be called, was discovered, there were furious denunciations of the group in the press and even within the family, since some Stephen relations were Naval officers. One of them wrote to Adrian: "His Majesty's ships are not suitable objects for practical jokes." Adrian replied: "If everyone shared my feelings toward the great armed forces of the world, the world [might] be a happier place to live in . .. armies and suchlike bodies [present] legs that [are] almost irresistible." Earlier a similarly sartorial practical joke had been perpetrated by the same group upon the mayor of Cam bridge, but since he was a grocer rather than a Naval officer the Stephen family seemed unperturbed by this-which was not really a thumbing·of-the-nose at the Establishment. The Dreadnought Hoax was harder to forget. -
Lacan and Foulkes1
Volume 1 (Issue 2), 2012 GROUP ACTS AND MISSED ENCOUNTER: LACAN AND FOULKES1 Erica Burman Prologue The theme of action outside speech typically does not gain positive treatment in psychoanalytical contexts, with all such action vulnerable to being designated “acting out”, or at best “acting in”. But the question “how to act” transcends such false oppositions between acting and not acting, to topicalise instead ethical responsibility and social engagement. In this paper these themes are explored in terms of the relations between Lacanian psychoanalytic and Foulkesian group analytic ideas. The assertion of the priority of one model over the other, or the assimilation of one to the other is not aimed at here, but rather this paper seeks to highlight, and perhaps indicate, some potential evaluations of how each approach attempts to engage with the question of action. While Lacanian psychoanalysis often draws a strong boundary around the analytic space, resisting the generalization of psychoanalytic phenomena outside the clinic, the social model of the psyche to which group analysts are committed, means that no such absolute distinctions can be maintained. Paradoxically, group analysts seem rather more reluctant than Lacanians to discuss questions of ethics, preferring to talk about questions of democracy, although both models share an understanding of analytical process in terms of the 1 This article is a version of a paper delivered at APPI’s 17th Annual Congress (2010) entitled; How to Act – Ethics and the Psychoanalytic Clinic in a Culture of Suppression and Demand. 22 23 Lacunae promotion of (if also the impossibility of) free speech. The challenge therefore, is to find ways of both analyzing and intervening in, the contexts that give rise to analysis.