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According to scholar Joseph Allen Boone, modern fiction with its strong currents of sexuality creates a poetics of the perverse with the power to influence how we think. Challenging common theories, Boone constructs a model for interpreting sexuality that reaches from Freud's theory of the libidinal instincts to Foucault's theory of sexual discourse. A landmark work in the study of modernist fiction and the study of sexuality and gender.
The first book-length feminist analysis of Eileen Gray's work, Eileen Gray and the Design of Sapphic Modernity: Staying In argues that Gray's unusual architecture and design - as well as its history of abuse and neglect - emerged from her involvement with cultures of sapphic modernism. Bringing together a range of theoretical and historical sources, from architecture and design, communication and media, to gender and sexuality studies, Jasmine Rault shows that Gray shared with many of her female contemporaries a commitment to designing spaces for sexually dissident modernity. This volume examines Gray's early lacquer work and Romaine Brooks' earliest nude paintings; Gray's first built house, E.1027, in relation to Radclyffe Hall and her novel The Well of Loneliness; and Gray's private house, Tempe ?nbsp; Pailla, with Djuna Barnes' Nightwood. While both female sexual dissidence and modernist architecture were reduced to rigid identities through mass media, women such as Gray, Brooks, Hall and Barnes resisted the clarity of such identities with opaque, non-communicative aesthetics. Rault demonstrates that by defying the modern imperative to publicity, clarity and identity, Gray helped design a sapphic modernity that cultivated the dynamism of uncertain bodies and unfixed pleasures, which depended on staying in rather than coming out.
Provocative reading of the role masochism plays in structuring the aesthetics and political philosophy of Jean-Jacques Rousseau. Theorization of sensual desire was not uncommon in the eighteenth century; like many materialists of the French Enlightenment, Jean-Jacques Rousseau rejected imperatives founded on metaphysical suppositions and viewed the senses as the only valid source of philosophical knowledge. In Social Contract, Masochist Contract, Fayçal Falaky demonstrates that what distinguishes Rousseau is that the foundational measure on which he bases his materialist philosophy is a sexual instinct endowed, paradoxically, with the same sublime, self-abnegating attributes historically associated with Christian, metaphysical desire. To understand the aesthetics of Rousseau’s masochism is, Falaky argues, to understand how ideals of Christian morality and spiritual ennoblement survived the Enlightenment, and how God died, only to be repackaged in new fetishes. Whether it is the imperious mistress of his erotic fantasies, the Arcadian nature of his philosophical reveries, or the sublime Law designed to elevate the citizen from enslaving appetite, Rousseau’s fetishes herald the new regulative Ideals of the modern secular state.
This is Volume V of seven in the Social Psychology series. Initially published in 1948, this study serves as a contribution to social and medical psychology. The type of prejudice with which this book deals is that kind of belief-system which accompanies an irrational hatred for some group of other people.
Without question, modernist texts have been haunted by what can be known, or more aptly, what cannot be known. This position is foundational to one of the pivotal readings of modernism. Simultaneously, economic, legal, and political shifts that occurred during the late nineteenth and early twentieth centuries produced real material changes pertaining to the status of women. Thus, as many others have adeptly argued, modernism is also a crisis in gender. Modernism, Metaphysics, and Sexuality keenly suggests that these narratives - the thinking of what constitutes truth and the rethinking of gender - are intertwined. Interpreting Conrad's Heart of Darkness and Victory, Forster's A Passage to India and Maurice, Lawrence's Women in Love, and Woolf's A Room of One's Own and To the Lighthouse through Luce Irigaray's rereading of western metaphysics, Raschke suggests that where there is a crisis in knowing, there is also a crisis in gender.
This is the first and only book to detail the history of the century-long relationship between education and psychoanalysis. Relying on primary and secondary sources, it provides not only a historical context but also a psychoanalytically informed analysis. In considering what it means to think about teaching from a psychoanalytic perspective and in reviewing the various approaches to and theories about teaching and curriculum that have been informed by psychoanalysis in the twentieth century, Taubman uses the concept of disavowal and focuses on the effects of disavowed knowledge within both psychoanalysis and education and on the relationship between them. Tracing three historical periods of the waxing and waning of the medical/therapeutic and emancipatory projects of psychoanalysis and education, the thrust of the book is for psychoanalysis and education to come together as an emancipatory project. Supplementing the recent work of educational scholars using psychoanalytic concepts to understand teaching, education, and schooling, it works to articulate the stranded histories ─ the history of what could have been and might still be in the relationship between psychoanalysis and education.
Space in Psychoanalysis, Psychoanalysis in Space explores the immense potential of psychoanalytic thought to questions of spatiality. The international contributors combine the symbolic, the corporeal, the libidinal and the affective aspects of human experience, using psychoanalysis to reveal numerous facets and aspects of spatiality which remain invisible or blurred from other points of view. The focus moves from readings of the very physical space of the analyst’s consulting room and spatiality of the analytic situation through philosophical analyses of spatiality of the body, subjectivity, love and materiality, to specific applications of psychoanalytic insights in a wide variety of fields from architecture to economics. Space in Psychoanalysis, Psychoanalysis in Space will be of interest to psychoanalysts in practice and in training as well as scholars of psychoanalytic theory, cultural theory, literary theory, psychology, urban studies, space studies and philosophy.
This book offers a comprehensive account of the work of J.G. Ballard, regarded by several critics as one of the most significant fiction writers of recent times. Ballard's early science-fiction writing earned him plaudits as one of the most innovative and individual voices in the field, but his development as a writer has taken him far beyond the confines of any single genre. This book traces Ballard's career from his early science-fiction short stories and novels to his most recent work, particularly his timely reflections on the role of violence in contemporary social life. It argues that Ballard's writing is characterised by a distinctive vision of the post-war world and its possible futures, and suggests that his far-reaching analyses of the present age make him one of the indispensable commentators of our time.
This book is the only full-length treatment of the relationship between aesthetic truths and psychoanalytic discoveries—of art, artists, and a new concept of sublimation. It provides a radical and unique study of the concept of sublimation and proposes a modest replacement for it. In the first third of the book the author reviews critically the psychoanalytic sources of the concept of sublimation. In the second third he shows how the concept developed from Freud's nineteenth-century notions of perception. In the last third he revises a concept of sublimation using a contemporary theory of perception. In the final chapter he examines four works of literature: short stories of John Cheever, a Japanese novel, portions of Hamlet, and sublimation and perversion in Orson Welles' Citizen Kane.
This book examines the key ordering—disordering processes of the psychotic self. It draws on Sigmund Freud, Jung, object relation and selfpsychologies, and, particularly, the work of Winnicott, Bion, and Elkin.