In shape, style, and argument, Blake and Freud is an original and provocative work. It is readable, lively, always intelligent, daring and speculative." -Harold Bloom, Yale University "The conjunction of Blake and Freud is a rich and intriguing one, and in this clearly and vigorously written book George handles the topic in a fascinating way. Blake and Freud makes excellent reading." -Thomas R. Frosch, Associate Professor of English, Queens College of the City University of New York Blake and Freud emerges from William Blake's theory of contraries and from his statement that "opposition is true friendship." Diana Hume George explores the complex relationship of these two extraordinary minds by examining their systematic mappings of the human psyche. Certainly the works of the two men seem antithetical. Freud's is the ultimate analytical mind, his theories built on division and classification, while Blake is the passionate, romantic poet in search of unity. If Blake might have placed Freud in the same category as Newton and Locke, perhaps Freud would have viewed Blake as a fascinating study in neurosis. But these apparent oppositions are misleading, according to Diana Hume George. In this original and provocative study she shows that although the emphases of the two men differ, a close comparative reading of their works reveals a far more complex and fraternal relationship. George makes a large claim for Blake: that he anticipated the major tenets of psychoanalysis a hundred years before Freud. But just as Freud needs Blake to expand the insights offered by the psychoanalytic model of the mind, she asserts, Blake needs Freud to make accessible his own contributions to psychology. Through Blakean texts, George presents a revisionist reading of the Oedipus complex and the process of sublimation. She also discusses each thinker's view of the role of art and his concept of the feminine. Contemporary feminism, she concludes, must rethink its attitudes toward Freudian psychoanalysis. By examining Blake as a psychoanalytic theorist and Freud as a poet, George has created a new kind of psychoanalytic literary criticism—one that transforms the relationship between psychoanalytic and literary texts.
The Lonely Other chronicles the life of a woman constantly facing new amazements. In Wound Chevy at Wounded Knee (Best of the Best American Essays (1994)) Diana Hume Georgia recounts how she lived a trapped and futile life as a white teenage bride on an Indian reservation. As an adult she confronts drunken hunters outside her isolated cabin; she faces her fear of heights by climbing in the White Mountains; she unflinchingly delves into her long-standing engagement with Anne Sexton's poetry, and into her own father's suicide. Always she wonders: Can women learn to travel alone, on roads and in their daily lives, without fear.
In shape, style, and argument, Blake and Freud is an original and provocative work. It is readable, lively, always intelligent, daring and speculative." -Harold Bloom, Yale University "The conjunction of Blake and Freud is a rich and intriguing one, and in this clearly and vigorously written book George handles the topic in a fascinating way. Blake and Freud makes excellent reading." -Thomas R. Frosch, Associate Professor of English, Queens College of the City University of New York Blake and Freud emerges from William Blake's theory of contraries and from his statement that "opposition is true friendship." Diana Hume George explores the complex relationship of these two extraordinary minds by examining their systematic mappings of the human psyche. Certainly the works of the two men seem antithetical. Freud's is the ultimate analytical mind, his theories built on division and classification, while Blake is the passionate, romantic poet in search of unity. If Blake might have placed Freud in the same category as Newton and Locke, perhaps Freud would have viewed Blake as a fascinating study in neurosis. But these apparent oppositions are misleading, according to Diana Hume George. In this original and provocative study she shows that although the emphases of the two men differ, a close comparative reading of their works reveals a far more complex and fraternal relationship. George makes a large claim for Blake: that he anticipated the major tenets of psychoanalysis a hundred years before Freud. But just as Freud needs Blake to expand the insights offered by the psychoanalytic model of the mind, she asserts, Blake needs Freud to make accessible his own contributions to psychology. Through Blakean texts, George presents a revisionist reading of the Oedipus complex and the process of sublimation. She also discusses each thinker's view of the role of art and his concept of the feminine. Contemporary feminism, she concludes, must rethink its attitudes toward Freudian psychoanalysis. By examining Blake as a psychoanalytic theorist and Freud as a poet, George has created a new kind of psychoanalytic literary criticism—one that transforms the relationship between psychoanalytic and literary texts.
Female Gothic Histories traces the development of women's Gothic historical fiction from Sophia Lee's The Recess in the late eighteenth century through the work of Elizabeth Gaskell, Vernon Lee, Daphne du Maurier and Victoria Holt to the bestselling novels of Sarah Waters in the twenty-first century. Often left out of traditional historical narratives, women writers have turned to Gothic historical fiction as a mode of writing which can both reinsert them into history and symbolise their exclusion. This study breaks new ground in bringing together thinking about the Gothic and the historical novel, and in combining psychoanalytic theory with historical contextualisation.
An examination of the development, role, and influence of the British decorative art dealers who invented an Anglo-Gallic style for elite interiors. In this volume Diana Davis demonstrates how London dealers invented a new and visually splendid decorative style that combined the contrasting tastes of two nations. Departing from the conventional narrative that depicts dealers as purveyors of antiquarianism, Davis repositions them as innovators who were key to transforming old art objects from ancien régime France into cherished “antiques” and, equally, as creators of new and modified French-inspired furniture, bronze work, and porcelain. The resulting old, new, and reconfigured objects merged aristocratic French eighteenth-century taste with nineteenth-century British preference, and they were prized by collectors, who displayed them side by side in palatial interiors of the period. The Tastemakers analyzes dealer-made furnishings from the nineteenth-century patron’s perspective and in the context of the interiors for which they were created, contending that early dealers deliberately formulated a new aesthetic with its own objects, language, and value. Davis examines a wide variety of documents to piece together the shadowy world of these dealers, who emerge center stage as a traders, makers, and tastemakers.
Diana Murchison Carrico grew up in the small town of Dunoon, Scotland, where she attended Primary School then Grammar School. After which she helped out in her father’s photographic business. Diana then decided that more schooling was in place so she left Dunoon and enrolled in commercial school in Greenock, Scotland. She also did a stint at Photographic College in Glasgow and that ́s when the photographic bug hit her. She loved photographing babies, families and weddings but most of all the pop groups like The Rolling Stones, The Beatles, Gerry and the Pacemakers and the list goes on. The thrill and excitement that surrounded such gigs and the electrifying performances from the well loved pop stars was stupendous. She even found herself screaming along with the audience while standing in the wings. Diana now lives in The Dalles, Oregon where her two sons live. The Dalles sits right on the Columbia River which separates Oregon and Washington State in the Pacific Northwest. The area is well known for their vast cherry, apple and pear orchards and definitly a world renowned windsurfing spot. Winemaking ranks high on the list also. Our wines are sent around the world. As Diana said,.."in life, there is so much to write about and knows that we all have a story inside of us and maybe someday I will lay my fingers to the keyboard and realize my dream of making people smile and have them reflect on their own growing up years." font color="RED"font size="3"For customers located in UK and around the world, you may call the book orders department by phone at (888) 795-4274 to place an order or you email us at Orders@Xlibris.com. fontfont
The Lonely Other chronicles the life of a woman constantly facing new amazements. In Wound Chevy at Wounded Knee (Best of the Best American Essays (1994)) Diana Hume Georgia recounts how she lived a trapped and futile life as a white teenage bride on an Indian reservation. As an adult she confronts drunken hunters outside her isolated cabin; she faces her fear of heights by climbing in the White Mountains; she unflinchingly delves into her long-standing engagement with Anne Sexton's poetry, and into her own father's suicide. Always she wonders: Can women learn to travel alone, on roads and in their daily lives, without fear.
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