Part II
II. a. Psyche: A Crypted Text
The challenge of hospitality is to extend an invitation to the other, in its otherness. The unanticipatable other, whose arrival puts into question one’s own belonging. To extend hospitality to madness, from the discourse of psychoanalysis, would require a closer attention to the absences in spoken language, to the hyphens and margins of the one’s speech. This demands that new avenues for interpretation be brought forward. To attempts to create spaces for the production of meaning, even when there seems to be none. Such a principle would be an acknowledgement of signification being construed, even in the face of apparent absence. The problematic is the establishment of the signification process itself, rather than analysing the existing meaning (Abraham & Torok, 1977, pp. li-lii).
In a very evocative text, The Wolf Man’s Magic Word: A Cryptonymy, psychoanalysts Nicholas Abraham and Maria Torok, re-read Freud’s Wolf Man case, a case which is as old as psychoanalysis itself. The foreword of this text is written by Jacques Derrida. Abraham and Torok, question the classical analysis
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According to psychoanalytic theory, that which evokes fear in one’s own affective state, is usually hidden through repression or forgetting. The uncanny would refer to the re-turn of that which was forgotten. One’s own past, paradoxically, becomes the other. It is not anything new, but an estrangement of the familiar from the psyche because of repression. Perhaps, uncanny can be thought of in terms of a haunted house. A region of familiarity that is haunted by that which is unfamiliar. The uncanny is a return to a hidden secret, which wants to come back. This secret in its attempt to reveal itself, slowly colours the atmosphere, until one is confronted with the unfamiliar. A movement from hosting, to the hostile. How does one engage with this hostile other within
Here is where the forces of self esteem is applied. The speaker is already unpleased with the structure of the human body and then he discovers he is the product of intimacy, which he can only relate to disease. This makes him feel as if he's just some animal. He then goes on to talk about how his father isn't a serious man and relates him in this way to Frankenstein. He reflects on another memory he has of his parents sitting on the porch laughing, drinking,
There are many language examples within the novel, Kingdom Keepers: Disney after Dark by Ridley Pearson. Kingdom Keepers: Disney after Dark is a novel that depicts the story of five children who become Disney Host Interactives and have to save the Disney Amusement Park from the Overtakers, a group of evil characters. In addition to their standard lives at school, the five teenagers need to constantly be aware of the situations at Disney. One example of a language example is its title, which is used to introduce the book. This language example correlates to the theme of, “Good and evil coexist.”
In A Cold Manipulation Of Language, Melissa W. Noel analyzes Capote’s In Cold Blood to help students develop an awareness of the author's’ intentions and to understand how writers use language to change readers perspectives (Noel 51). According to the March 2011 edition of the English Journal, authors will habitually use literary devices like “tone, diction, syntax, attitude, and style” to manipulate language in order to have their desired effect on the intended audience, much like Henry James does in the Turn of the Screw (Noel 51). A literary device James uses frequently throughout the Turn of the Screw is ambiguity, a term coined to describe when a phrase or word has more than one meaning. The way James constructs sentences is done very
The emotional responses to the Creature’s condition that the novel evokes are illuminated when cast in psychoanalytical light. This article traces how shame and disgust, as theorized by Silvan Tomkins, operate in the novel, and how these responses disrupt or undermine the function of sympathy, as described by Adam Smith. In doing so, the article attempts to show that ethical readings of the novel – readings which participate in both Enlightenment ideas of sympathy and Romantic ideas of the “Other” – remain problematic because of the enduring presence of shame and disgust throughout the novel. The novel remains as powerful as it is partly because of the irreconcilability of the affects of shame and disgust with the ethical operation of sympathyhttp://www.tandfonline.com/doi/full/10.1080/10509580701844967 Works Cited Sympathy In Frankenstein. "
There’s a repressed memory lodged in his mind waiting to seep out. It gradually invades his sanity like a flipbook that is a back to front throughout the story. The visions come to him as a thin manikin, very white sickly skin without features at the beginning, and every time he sees it, it starts to form a resemblance of a girl. Every time he sees it there’s a slight blurriness similar to a flipbook’s page sequence.
Freud’s theories and ideas can be applied to John Knowles’ A Separate Peace through Gene’s character and personality. First of all, the id, ego, and superego can effectively describe the relationship between Phineas
This novel address how symbolic meanings do not necessarily equate to truth by opposes
Despite the human form that mankind takes, monstrous qualities thrive throughout the natures of humanity, creating creatures full of spite and savagery. This malformation in mankind is proved dominant in Elie Wiesel’s autobiography Night, William Shakespeare’s “The Tempest”, and the painting searching for humanity by John Wentz. The theme of all these pieces is referring to the hermetical aspects that rely within each individual. The evil that lurks abaft the mask exhibited in the world to optically discern, Wentz’s painting represents those factors within society holistically.
”(H.P. Lovecraft, “Supernatural Horror in Literature”) This quote which has been stated by H.P. Lovecraft himself in his essay “Supernatural Horror in Literature” reflects a big aspect of his writing. Lovecraft’s works make use of the unknown; the fear of it. By referring to the supernatural, things that are not known or widely understood, Lovecraft
The uncanny can be described in many ways depending on who
“I was never kinder to the old man than during the whole week before I killed him.” This is just one quote of many, Poe’s creepy stories that he wrote in his lifetime. In Poe’s stories the narrator wanted to solve a problem, but he went about it the wrong way so, people die and the narrator got caught. In some of Poe’s short stories, the theme, not to let depression or grief make one to turn to alcohol, is shown throughout the conflict, figurative language, and setting.
This photo still of Mrs. Potts and Chip from the 1991 film “Beauty and the Beast” represents the correlation between early childhood and animism. During early childhood, it is common for children to think objects have the ability to become alive and take on human characteristics. In the film, “Beauty and the Beast” many natural objects are brought to life and given the opportunity to take on human qualities. For example, Mrs. Potts (Angela Lansbury) and Chip (Bradley Pierce) were actually humans but were turned into household objects due to a curse but were able to keep their personalities. A great example of how it’s easy for a child to think of objects as alive is the mother (Mrs. Potts) and son (Chip) duo in the movie.
Ricoeur suggests that explanation is something of the natural sciences; interpretation, however, is the main form of understanding – specific to human sciences (Ricoeur, 2018, p. 275). Ricoeur believes that the two are not quite a binary but indeed complementary to each other. Through this deconstruction, he shows that interpretation makes use of methodology to find a hidden meaning in a text. He sees interpretation, consequently, to be both a philosophical and scientific endeavor (Ricoeur, 2018, p.
The films Girl, Interrupted and One Flew Over the Cuckoo’s Nest gave a glimpse into the conditions and treatments used in the 1960s and 1970s in mental health institutions. Both films follow the struggles of two individuals and give insight into the psychological health field. Each film demonstrated some accurate but also inaccurate portrayals of the treatment and conditions that patients received and lived in while staying at these facilities. Girl, Interrupted is a film that focused on the institutionalization of the main character, Susanna Kaysen, and her time that was spent at Claymore Mental Institution.
Drastically impacted by the time spent on the creation of his monster, Frankenstein finds that he not only ignored his own life, but also the lives of those who surround him. Frankenstein’s realization of his isolation is apparent when, “the same feelings which made [him] neglect the scenes around [him] caused [him] also to forget those friends who were so many miles absent, and whom [he] had not seen for so long a time” (40). The root of Frankenstein’s isolation was the two years spent on the creation of his monster, as he was separated from all of society. In the context of the novel, the words “neglect” and “absent” reveal Frankenstein’s isolation atop of his limited emotion. Frankenstein’s representation as the brain of the body reflects on his longing desire to feel emotion as a result of his isolated emotions.