This article investigates the applicability of certain aspects of Lacanian psychoanalytic theory to the study of visual satire and/or caricature. Lacan’s treatment of the phenomenon of visual anamorphosis can provide a fruitful new way of thinking about the art of caricature. The visual exaggerations and distortions central to the art of caricature function as they do, as works of social or political satire, by virtue of the extent to which they expose the psychological emptiness or hollowness (castration) which inheres in all human social or symbolic activity. This argument is then applied to the political circumstances prevailing in late Georgian England: in particular, the visual satirical treatment devoted to the nature and status of the monarchy during this period is examined in the light of foregoing arguments.
Lacan and the Satirists
A Psychoanalytic Reading of Hamlet and Catch-22
Bahareh Azad and Pyeaam Abbasi
phallus of the mother: ‘The renunciation of identification with the imaginary phallus paves the way for a rapport with the symbolic phallus …. Yet the male can only lay claim to the symbolic phallus if he assumes castration, that is to give up being the
Sartre's phobia of crabs is traced through his experimental experience with mescaline and such literary works as Nausea, The Words and The Condemned of Altona. The phobia is analysed through an examination of Sartre's biphasic childhood Oedipus complex and attendant castration anxiety relating to his mother, father and stepfather. Finally, the question is raised of what the existence of unconscious phobias might imply about the relations between existentialism and psychoanalysis.
The Fleshy Horror of the Unknowable Other in Spring and Honeymoon
Leigh Janiak’s Honeymoon (2014) and Justin Benson and Aaron Moorhead’s Spring (2015) initially seem like two horror films birthed in the spirit of classical psychoanalytic film criticism. They deal with a monstrous female, a fearful, castrated male, and the “otherness” of sexual relationships. Through a close analysis of each film, however, I suggest in the following that both films “think” through problems of the gendered other, sexual politics, and cinematic affect outside the bounds of contemporary psychoanalytic or affect theory. By suggesting and analyzing two neologisms that blend the insights of psychoanalytic and affective film theory—objet a(ffect) and che(www) vuoi—I argue that both films not only complicate typical readings of horror films “about” gender and sex, but that each film performs its own type of philosophical thought about gender and “otherness” through its very form and content.
Elizabeth J. McLean, Kazuki Yamada and Cameron Giles
condensed space. First, Gallop contends that fears around aging and late-onset disability as sexual and gendered loss can be understood as castration anxieties driven by a normative sense of time that defines aging as inevitable, irreversible, and highly
Universalizing Shakespeare’s Play after the Holocaust
he has anticipated this legal manoeuvre and summons an offstage Halal butcher to bring him a cautery. Used to castrate sheep, it is described as ‘a long thin needle-like instrument that works like a soldering gun’ 21 and eliminates bleeding by
Gender, Relics and Speech Acts
Alex da Costa
masculinity, though several have accepted his masculinity as neutered or castrated. 1 ‘Over the years, he has been identified variously as “feminoid”, as a literal or metaphorical eunuch, as a hermaphrodite, as “homosexual” or “gay”, as a “normal” (i
Perceptions and Realities of Black Men in Heterosexual Porn
Darryl L. Jones II
African boys captured and incorporated in the Arab slave trade were far more likely to have their entire genitalia castrated (as opposed to the castration of the testicles of white European captives) on their transformation into eunuchs, and that they were
Violence and Medieval England
Sara M. Butler
did not waver in assigning flogging or prison terms to apenitent when the nature of the sin required it. Medieval law prescribed public hanging, burning, blinding, and castration for felonies, and clergymen heartily recommended all devout Christians
pénis – ce qui peut bien amener l’idée de castration: l’acte amoureux est castration de l’homme – mais c’est avant tout que le sexe est trou’ (676). 31 Beauvoir fait remarquer que les personnages de Sade éprouvent un dégoût profond pour le ‘devant’ des