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Mothers and Daughters and the Origins of Female Subjectivity challenges the theory of the Oedipus complex, which permeates psychoanalytic theory, psychology, semiotics and cultural studies. The book focuses on the re-examination of women’s development through the theories of primitive mental states. Women’s subjectivity has been profoundly limited by continuing anxieties about the mother’s body. Jane Van Buren describes how women are gradually escaping the curse of inferiority and finding a voice, enabling the mother to provide their daughters with a legacy of rightful agency over their bodies and minds. Drawing on the theories of Klein, Bion and Winnicott, and incorporating recent developments in psychobiology, this book provides a novel approach to subjects including the dreams, myths and phantasies of individuals, the nature of mother and daughter relationships, sexuality, pregnancy, menstruation and the idea of the mother’s body as problematic and dangerous. This interdisciplinary investigation into curtailed female subjectivity and its many ramifications in society, culture and individual mental growth will be of great interest to all practising psychoanalysts, and those studying psychoanalytic theory and gender studies.
Mothers and Daughters and the Origins of Female Subjectivity challenges the theory of the Oedipus complex, which permeates psychoanalytic theory, psychology, semiotics and cultural studies. The book focuses on the re-examination of women’s development through the theories of primitive mental states. Women’s subjectivity has been profoundly limited by continuing anxieties about the mother’s body. Jane Van Buren describes how women are gradually escaping the curse of inferiority and finding a voice, enabling the mother to provide their daughters with a legacy of rightful agency over their bodies and minds. Drawing on the theories of Klein, Bion and Winnicott, and incorporating recent developments in psychobiology, this book provides a novel approach to subjects including the dreams, myths and phantasies of individuals, the nature of mother and daughter relationships, sexuality, pregnancy, menstruation and the idea of the mother’s body as problematic and dangerous. This interdisciplinary investigation into curtailed female subjectivity and its many ramifications in society, culture and individual mental growth will be of great interest to all practising psychoanalysts, and those studying psychoanalytic theory and gender studies.
This work draws on feminist and critical theory and on anthropological and historical research to analyze the changing articulations of gender subjectivity that emerge from the links between discursive shifts, generational differences, and individual experiences of the mother-daughter relationship."--BOOK JACKET.
The pathbreaking investigation into motherhood and womanhood from an influential and enduring feminist voice, now for a new generation. In Of Woman Born, originally published in 1976, influential poet and feminist Adrienne Rich examines the patriarchic systems and political institutions that define motherhood. Exploring her own experience—as a woman, a poet, a feminist, and a mother—she finds the act of mothering to be both determined by and distinct from the institution of motherhood as it is imposed on all women everywhere. A “powerful blend of research, theory, and self-reflection” (Sandra M. Gilbert, Paris Review), Of Woman Born revolutionized how women thought about motherhood and their own liberation. With a stirring new foreword from National Book Critics Circle Award–winning writer Eula Biss, the book resounds with as much wisdom and insight today as when it was first written.
In this landmark collection of original essays, outstanding feminist critics in Britain, France, and the United States present new perspectives on feminism and psychoanalysis, opening out deadlocked debates. The discussion ranges widely, with contributions from feminists identified with different, often opposed views on psychoanalytic criticism. The contributors reassess the history of Lacanian psychoanalysis and feminism, and explore the significance of its institutional context. They write against the received views on 'French feminism' and essentialism. A remarkable restatement of current positions within psychoanalysis and feminism, the volume as a whole will change the terms of existing debates, and make its arguments and concerns more generally accessible.
Noted clinical psychologist Robert Firestone and his co-authors explore the struggle that all of us face in striving to retain a sense of ourselves as unique individuals.
Using a wide range of disciplinary backgrounds, Laufer examines the topic of maternal infanticide through the lens of Jungian theory and presents an integrated and forensic view of this issue as an aggregate of personal and political moments, and as a feminine and feminist outcry urging human evolution. The first part of the book will dissect the identity of the infanticidal mother and the Death Mother archetype, with the author providing firsthand accounts of patients that she has worked with in her professional career. The second part of the book focuses on interpreting that act of maternal infanticide, and these chapters will look to the construct of patriarchal Motherhood as a way of explaining the drive and actions of an infanticidal mother. The third and final section of the book takes the concept of evolution and transmutation a step further and addresses what is required in our modern state for the event of maternal infanticide. This is an important new book for Jungian and analytic clinicians and scholars with an interest in maternal archetypes, as well as psychologists and psychiatrists who specialize in perinatal mental health. It would also be appropriate for forensic psychologists and legal analysts, and academics and clinicians in the fields of women’s health and studies.
Feminist reading of women’s representation and activism in Israeli cinema. Warriors, Witches, Whores: Women in Israeli Cinema is a feminist study of Israel’s film industry and the changes that have occurred since the 1990s. Working in feminist film theory, the book adopts a cultural studies approach, considering the creation of a female-centered and thematically feminist film culture in light of structural and ideological shifts in Israeli society. Author Rachel S. Harris situates these changes in dialogue with the cinematic history that preceded them and the ongoing social inequalities that perpetuate women’s marginalization within Israeli society. While no one can deny Israel’s Western women’s advancements, feminist filmmakers frequently turn to Israel’s less impressive underbelly as sources for their inspiration. Their films have focused on sexism, the negative impact of militarism on women’s experience, rape culture, prostitution, and sexual abuse. These films also tend to include subjects from society’s geographical periphery and social margins, such as female foreign workers, women, and refugees. Warriors, Witches, Whoresis divided into three major sections and each considers a different form of feminist engagement. The first part explores films that situate women in traditionally male spheres of militarism, considering the impact of interjecting women within hegemonic spaces or reconceptualizing them in feminist ways. The second part recovers the narratives of women’s experience that were previously marginalized or silenced, thereby creating a distinct female space that offers new kinds of storytelling and cinematic aesthetics that reflect feminist expressions of identity. The third part offers examples of feminist activism that reach beyond the boundaries of the film to comment on social issues. This section demonstrates how feminists use film (and work within the film industry) in order to position women in society. While there are thematic overlaps between the chapters, each section marks structural differences in the modes of feminist response. Warriors, Witches, Whores considers the ways social and political power have affected the representation of women and looks to how feminist filmmakers have fought against these inequities behind the camera and in the stories they tell. Students and scholars of film, gender, or cultural studies will appreciate this approachable monograph.
First Published in 2003. Routledge is an imprint of Taylor & Francis, an informa company.