Clinical psychoanalysis since Freud has put reconstruction of the patient's history at the forefront of its task but in recent years, this approach has not been so prominent. This book aims to explore and re-evaluate the relationship between history and psychoanalysis. Roger Kennedy develops new perspectives on historiography by applying psychoanalytic insight to the key issues of narrative, time and subjectivity in the construction of historical accounts. He also throws new light on the importance of history for and within psychoanalytic treatment. It is argued that human subjectivity is a major element in any historical enterprise, both the subjectivity of the historian or clinician and that of those being studied. Illustrated with clinical examples, Psychoanalysis, History and Subjectivity covers areas such as postmodernism, the nature of memory, clinical evidence and the place of trauma. Psychoanalysis, History and Subjectivity will be of great interest both to professionals in the psychoanalytic and therapeutic fields and to historians.
This book traces the psychology, history and theory of the compulsion to collect, focusing not just on the normative collections of the Western canon, but also on collections that reflect a fascination with the "Other" and the marginal – the ephemeral, exotic, or just plain curious. There are essays on the Neoclassical architect Sir John Soane, Sigmund Freud and Kurt Schwitters, one of the masters of collage. Others examine imperialist encounters with remote cultures – the consquitadors in America in the sixteenth century, and the British in the Pacific in the eighteenth – and the more recent collectors of popular culture, be they of Swatch watches, Elvis Presley memorabilia or of packaging and advertising. With essays by Jean Baudrillard, Thomas DaCosta Kaufmann, Nicholas Thomas, Mieke Bal, John Forrester, John Windsor, Naomi Schor, Susan Stewart, Anthony Alan Shelton, John Elsner, Roger Cardinal and an interview with Robert Opie.
In the Dark with my dress on fire is the remarkable life story of Blanche La Guma, a South African woman who dedicated her life to ending apartheid through her various roles as professional nurse, wife and mother, and underground Communist activist.
Roger Bromley deals with the ways in which certain popular forms contribute to the social production of memories. The texts he examines include the fictions of R. F. Delderfield and Lena Kennedy. This book should be of interest to students of cultural studies and popular fiction.
This outstanding comparative study on the curating of "difficult knowledge" focuses on two museum exhibitions that presented the same lynching photographs. Through a detailed description of the exhibitions and drawing on interviews with museum staff and visitor comments, Roger I. Simon explores the affective challenges to thought that lie behind the different curatorial frameworks and how viewers' comments on the exhibitions perform a particular conversation about race in America. He then extends the discussion to include contrasting exhibitions of photographs of atrocities committed by the German army on the Eastern Front during World War II, as well as to photographs taken at the Khmer Rouge S-21 torture and killing center. With an insightful blending of theoretical and qualitative analysis, Simon proposes new conceptualizations for a contemporary public pedagogy dedicated to bearing witness to the documents of racism.
The life and works of South African writer, political activist and artist, from his early life in District Six, his arrest and trial for treason, to his eventual reluctant exile in Cuba.
In Adorno, Roger Foster argues that there is a coherent critical project at the core of Adorno's philosophy of language and epistemology, the key to which is the recovery of a broader understanding of experience. Foster claims, in Adorno's writings, it is the concept of spiritual experience that denotes this richer vision of experience and signifies an awareness of the experiential conditions of concepts. By elucidating Adorno's view of philosophy as a critical practice that discloses the suffering of the world, Foster shows that Adorno's philosophy does not end up in a form of resignation or futile pessimism. Foster also breaks new ground by placing Adorno's theory of experience in relation to the work of other early twentieth-century thinkers, in particular Henri Bergson, Marcel Proust, Edmund Husserl, and early Wittgenstein.
This book is about the resonance and implications of the idea of ‘eternal recurrence’, as expounded notably by Nietzsche, in relation to a range of nineteenth-century literature. It opens up the issue of repetition and cyclical time as a key feature of both poetic and prose texts in the Victorian/Edwardian period. The emphasis is upon the resonance of landscape as a vehicle of meaning, and upon the philosophical and aesthetic implications of the doctrine of ‘recurrence’ for the authors whose work is examined here, ranging from Tennyson and Hallam to Swinburne and Hardy. The book offers radically new light on a range of central nineteenth-century texts.
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