Millington, Mark I. 1993 0-7734-9340-9 220 pages Presents a comprehensive analysis drawing on concepts from psychoanalytical theory and paying particular attention to the representation of gender. After an exploration of the main theoretical concepts deployed, the emerging thematic and textual features in the early stories are defined. The study then concentrates on the stories of the 1950s and 1960s. A repeating pattern in the analyses is the elaboration of a reading and then the discovery of how the coherence of that reading unravels as the stories' textuality disrupts any simple desire to `make sense'. The reading process itself is problematized via concepts drawn from psychoanalysis which help to elucidate the non-transparency of the texts and transferential effects in reading. The final chapter considers the nature of repetition in Onetti: the fact that the stories return again and again to certain ideas is viewed as disabling of a final resolution of the gender problems which are implicit in the stories. Conversely, the fact that these problems are not resolved is also enabling of further writing and invention.
Aramu, Paola 2009 0-7734-3896-3 360 pages This work analyzes, in a significant corpus of narrative and theatrical works, the several and chief manifestations of the maternal figure referable to the Great Mother’s images, also by using important studies about Psychoanalysis, Sociology and History of the religions.
Brooks, Douglas A. 2010 0-7734-3666-9 576 pages This volume of the Shakespeare Yearbook brings together articles centered around the intersections between Lacanian Theory and the literary production of Shakespeare and his contemporaries.
Hunter, Dianne 1998 0-7734-8499-X 156 pages This study describes the creative process of generating the ensemble performance work Dr. Charcot's Hysteria Shows, including the use of Labanotation and group improvisations in decoding the body language of 19th-century hysterics at the Salpetriere, with interpolations from Freud's case histories. This event takes its visual roots from period photographs and drawings used by Dr. Jean-Martin Charcot (France's first psychiatrist) and his followers at the Paris public asylum for madwomen. The verbal text draws from and responds to writings by Sigmund Freud on women, and Charcot's famous lectures, filtered through 20th-century feminist criticism and theory. With illustrations.
Hardy, Robert 2015 1-4955-0286-4 256 pages A new narrative on the writers who paved the way for the modern goddess movements. Utilizing themes of both the occult and magic as well exposing previously undiscovered parallels between the three writers, this book identifies how the advent of the feminine divine enabled men to confront their woman centered rage through embracing a modern form of goddess worship in order to soothe their psychological wounds.
This book locates a literary study of the goddess in Lawrence, Fortune and Hughes within a narrative in which some modern men try to confront their yearning anger toward women by embracing goddess religion. The author argues that his chosen writers each helped this narrative to emerge, The book (a) offers Lawrence readers a new angle on his preoccupation with the goddess; (b) introduces Dion Fortune (virtually unknown outside her cult following) as an important twentieth century writer on marginality and sexuality; and (c) shows how Ted Hughes’ narratives of the suffering goddess (in Gaudete and Shakespeare and the Goddess of Complete Being especially) relate forwards to his own Birthday Letters and backwards to Lawrence’s Lady Chatterley’s Lover. The author also takes magic and the occult as a theme linking the three writers. In doing so he aspires to place his book in the company of other texts which have also taken the occult in modern literature for their subject.
Gorton, Kristyn 2007 0-7734-5559-0 236 pages This book explores the concept of desire through psychoanalytic theory, namely in the work of Freud and Lacan, in Feminist theory and in contemporary critical theory and literature. Wide ranging in its pursuits, the book examines what Gorton terms ‘critical scenes of desire’ in literary and artistic examples in order to argue that desire, as a concept, allows for moments of production and transformation. Unlike theorisations that situate desire as ‘lack’, Gorton argues that desire can be reconceived as progressive and multiple. She also suggests that there is a desire on the part of the reader or critic which creates a second ‘scene of desire’ in which the reader tries to ‘solve’ the enigma of the text. In other words, there is a tendency on the part of the critic and reader to want to fill in the gaps that desire creates in the narrative. This book does not seek to be comprehensive in its theorisation of the concept of desire, nor does it attempt to offer a history of the concept within cultural theory. Instead, it examines the way we read for desire and argues that the concept of desire can be found in these readings as progressive and transformative.
Converse, Terry John 1999 0-7734-8207-5 268 pages In addition to a comprehensive Jungian analysis of the play, this study provides a psychological definition of the grotesque which may be used as a critical model for other literary works that involve a grotesque vision.