The Death-ego and the Vital Self: Romances of Desire in Literature and PsychoanalysisFairleigh Dickinson Univ Press, 2003 - 277 Seiten This volume presents original views of the relationship between desire and romance. It begins by looking anew at the nature of desire, citing its central theoretical text as Freud's 'Beyond the Pleasure Principle'. It traces the struggle betwen myth and romance, between the ego on its way to death and the self in search of life, through close readings of poems and letters of John Keats and in detailed considerations of a series of novels including 'Frankenstein', 'Wuthering Heights', 'Jane Eyre', and 'Sons and Lovers'. |
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Seite 15
... what a drive does . We can know the drive by the one who is driven . This allows us to suggest that the driven figure reveals the figured drive . VII We have said that the drive contains within itself 1 : INTRODUCTION 15.
... what a drive does . We can know the drive by the one who is driven . This allows us to suggest that the driven figure reveals the figured drive . VII We have said that the drive contains within itself 1 : INTRODUCTION 15.
Seite 16
... figure who experiences them . VIII The " figure " ( an incalculably rich word ) in narrative refers to a metaphor or a form or a symbolic character , that is a character who represents or " figures " something else . One of the few ...
... figure who experiences them . VIII The " figure " ( an incalculably rich word ) in narrative refers to a metaphor or a form or a symbolic character , that is a character who represents or " figures " something else . One of the few ...
Seite 22
... figures like Oedipus and Narcissus . Oedipus the King nei- ther transcends nor elaborates myth but rather employs dramatic form for a devastating statement about the inescapability of myth . Oedipus puts out his eyes when fate crushes ...
... figures like Oedipus and Narcissus . Oedipus the King nei- ther transcends nor elaborates myth but rather employs dramatic form for a devastating statement about the inescapability of myth . Oedipus puts out his eyes when fate crushes ...
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Inhalt
13 | |
28 | |
Frank | 84 |
Wuthering | 121 |
23 | 137 |
From Child of the Imaginary to the Real Life of | 156 |
The Listening Other and the Turn to Speech | 231 |
Bibliography | 263 |
Andere Ausgaben - Alle anzeigen
The Death-Ego and the Vital Self: Romances of Desire in Literature and ... Gavriel Reisner Keine Leseprobe verfügbar - 2003 |
Häufige Begriffe und Wortgruppen
achieves anti-desire begins beloved body Catherine's Charlotte Brontë child connection creative Creature D. H. Lawrence dark death drive demonic describes desire destructive disappearance dream Earnshaw elements Emily Brontë encounter energy erotic essay experience expression fantasy father feeling feminine Fiction figure finds fire force Frankenstein Freud Freudian gaze genre Gertrude Heathcliff Imaginary imagination isolation Jacques Lacan Jane Eyre Jane's Keats Keats's knight Lacan Lacanian language Lawrence's literary literature Lockwood Mary Shelley maternal metaphor metapsychology Miriam mirror moon mother myth mythic narcissistic narrative nature negation negative capability Nelly novel object Oedipus Paul physical play Pleasure Principle poetic present psyche psychic psychoanalysis reading Real reality refers relationship repetition represents reveals revenge Rochester romance scene semiotic sexual signified Slavoj Žižek Sons and Lovers space story suggests Symbolic takes Tancred tion transformation trope unconscious University Press Victor vision visual woman words writing Wuthering Heights York
Beliebte Passagen
Seite 79 - I met a lady in the meads, Full beautiful - a faery's child, Her hair was long, her foot was light, And her eyes were wild.
Seite 103 - His limbs were in proportion, and I had selected his features as beautiful. Beautiful ! Great God ! His yellow skin scarcely covered the work of muscles and arteries beneath ; his hair was of a lustrous black, and flowing ; his teeth of a pearly whiteness ; but these luxuriances only formed a more horrid contrast with his watery eyes, that seemed almost of the same colour as the dun white sockets in which they were set, his shrivelled complexion, and straight black lips.
Seite 104 - I thought I saw Elizabeth, in the bloom of health, walking in the streets of Ingolstadt. Delighted and surprised, I embraced her, but as I imprinted the first kiss on her lips, they became livid with the hue of death; her features appeared to change, and I thought that I held the corpse of my dead mother in my arms; a shroud enveloped her form, and I saw the grave-worms crawling in the folds of the flannel.
Seite 79 - And the harvest's done. 1 see a lily on thy brow With anguish moist and fever dew; And on thy cheeks a fading rose Fast withereth too.
Seite 61 - Her lips were red, her looks were free, Her locks were yellow as gold: Her skin was as white as leprosy, The Night-mare LIFE-IN-DEATH was she, Who thicks man's blood with cold. The naked hulk alongside came, And the twain were casting dice; "The game is done! I've won! I've won!
Seite 162 - All looked colder and darker in that visionary hollow than in reality: and the strange little figure there gazing at me, with a white face and arms specking the gloom, and glittering eyes of fear moving where all else was still, had the effect of a real spirit...
Seite 75 - Dilke upon various subjects; several things dove-tailed in my mind, and at once it struck me what quality went to form a Man of Achievement, especially in Literature, and which Shakespeare possessed so enormously — I mean Negative Capability, that is, when a man is capable of being in uncertainties, mysteries, doubts, without any irritable reaching after fact and reason.
Seite 79 - She found me roots of relish sweet And honey wild and manna dew And sure in language strange she said I love thee true...
Seite 75 - ... it has no self— it is every thing and nothing— It has no character— it enjoys light and shade; it lives in gusto, be it foul or fair, high or low, rich or poor, mean or elevated— It has as much delight in conceiving an lago as an Imogen.
Seite 41 - This good little boy, however, had an occasional disturbing habit of taking any small objects he could get hold of and throwing them away from him into a corner, under the bed, and so on, so that hunting for his toys and picking them up was often quite a business.