By Jutta Fortin
Strategy in insanity appears on the ways that nineteenth-century French literature of the wonderful mirrored what psychoanalysis might later outline as mechanisms of defence. every one bankruptcy of the e-book is devoted to a selected mechanism – fetishization, projection, intellectualization, mechanization, and compulsion – and to a consultant set of texts which illustrate and include the method involved. The ebook therefore systematizes what has remained in the past a slightly obscure belief of the mental tactics at paintings in fabulous narrative and of the connection among the wonderful and the rising technology of psychoanalysis. even if focused on French works, together with texts through Gautier, Mérimée, Balzac, George Sand, Maupassant, and Villiers de l’Isle-Adam, the examine unavoidably bargains with the German culture of the glorious, significantly Hoffmann and Freud. It argues that mechanisms of defence not just ensue in remarkable literature, yet that the glorious itself in truth is composed in translating defence into the genuine, therefore making transparent to the reader the very approaches wherein defence happens. The booklet reveals that the defence mechanisms “fail” within the wonderful, simply because during this literature defence comprises including a true probability to a in basic terms psychic one, thereby intensifying the nervousness and displeasure which the mechanisms of defence are preferably designed to reduce. Contents creation background and Theories of the wonderful the wonderful and mental Defence define 1 Fetishization Fetishization and the glorious Balzac’s “Le Chef-d’oeuvre inconnu” Maupassant’s “ l. a. Chevelure ” Gautier’s “ Le Pied de momie ” 2 Projection Projection and the glorious The Uncanny Sand’s “La Fée aux gros yeux” George Sand and Idealism Mérimée’s “Carmen” three Intellectualization Intellectualization and the glorious Mérimée’s “La Vénus d’Ille ” Mérmimee’s “ Carmen ” four Mechanization Mechanization and the glorious Hoffmann’s “Der Sandmann” Villiers de l’Isle-Adam’s L’Ève destiny The Mechanical Monster five Compulsion Compulsion and the wonderful Maupassant’s “Madame Hermet” Maupassant’s “Fou” end chosen Bibliography
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Additional resources for Method in Madness: Control Mechanisms in the French Fantastic (Chiasma 16) (v. 16)
The balance which the fetishist establishes by creating for himself a fetish is highly precarious. Upsetting this balance leads to the destruction of both the fetishized object and its human fetishizer. Although the painting in “Le Chef-d’œuvre inconnu” never actually changes into the living woman for whom it substitutes in Frenhofer’s psychic reality, the fantastic element of the tale clearly connects with the painter’s fetishization of his painting – that is, with his own obsessive view of it as a god-like woman.
While the painter thus humanizes his own work, it is interesting to note that he himself is described by the tale’s narrator in terms of a painting: 24 Charles de Brosses, Du Culte des dieux fétiches, ou, parallèle de l’ancienne religion de l’Égypte avec la religion actuelle de Nigrite (Westmead: Gregg International, 1972), p. 64. Fetishization 33 Mettez cette tête sur un corps fluet et débile, entourez-la d’une dentelle étincelante de blancheur et travaillée comme une truelle à poisson, jetez sur le pourpoint noir du vieillard une lourde chaîne d’or, et vous aurez une image imparfaite de ce personnage auquel le jour faible de l’escalier prêtait encore une couleur fantastique.
When the princess appears to reclaim the foot from the narrator, it also asserts its independent existence vis-à-vis her; she cannot initially take hold of it, for it will not let her seize it: “Le pied sautait et courait ça et là comme s’il eût été poussé par des ressorts d’acier. ” (146) From the foot’s sad and sulky voice we know that it is not happy about its own commodification, and yet the foot acts in accordance with commercial rules. Although the foot has been completely estranged from its original function and cut off from its original wholeness, to be transformed into a fragmented 52 Method in Madness commodity, it nevertheless represents the bad conscience of those who do not comply with the rules of commerce.