This article tries to elucidate Gabriel’s story ‘Steps’ to some extent. Here, as elsewhere, the narrator’s deliberate failure to clearly separate actual from imaginary facts and incidents causes problems of understanding. Initially, we are told that the protagonist has long been living in Paris. A little later, however, we hear that he has moved to Wales with his second wife. So where does the man live? While other stories remain ambiguous throughout, ‘Steps’ seems less impenetrable. The protagonist, we learn, often indulged fantasies when he went for his strolls in Paris and is quoted as saying ‘Going up and down steps lets the mind float free’. When at the end of the story the narrative suddenly shifts to the present tense – ‘…he climbs the steps of the rue St. Julien’ – this seems to suggest that most of the story represents aspects of the protagonist’s ‘alternative lives’, as envisaged during his walks.
Much commentary on Indian cinema unreflectively equates film with fantasy. Writing in this vein may depict audiences as emotionally and cognitively undeveloped, while it represents those critics and viewers who prefer realism as sophisticated, rational, and mature. Those scholars of Indian cinema who examine fantasy and realism in depth, however, often draw different conclusions about both cinema and its consumers. Some note the close relationship between fantasy and reality, and thereby represent audiences as more savvy than do those who superficially link film with fantasy. Others analyze the privileging of cinematic realism as an element of socio-political ideology, or examine viewers' own application of realist criteria to films, thus further complicating the image of Indian cinema consumers as irrational and infantile. In continuing to pose these concepts as a dichotomy, however, cinema scholars reproduce some of the assumptions that underlie the standard usage in film criticism.
A Defense of Lacanian Responsibility
, assume responsibility for one’s desire and the actions that one takes up on this basis. The Role of Fantasy To expand on this point, I think it is useful to turn to Lacan’s conception of fantasy, which I believe can further clarify how he prevents the
UK Teen Girl Comics from 1955 to 1960
, and discussed with friends. The comic as a material object was crucial for it provided a conduit to an encounter with a star through fantasy and daydream. Anna Pellegram suggests that the “physical nature of the paper has much to do with the message it
In this article, I analyze Park Chan-wook’s The Handmaiden (Ah-gassi, 2016) by addressing its puzzle narrative and complex interactive dynamics as embodied and affective categories. In particular, I employ Mikhail Bakhtin’s theory of the chronotope together with Giuliana Bruno’s work on media theory and Steffen Hven’s notion of the embodied fabula to show how the film, in all its aesthetic complexity, enacts a creative and transformative experience based on the continuous subversion of the power dynamics I describe. Furthermore, I demonstrate how this semantic and experiential reconstruction couples viewers’ alignment with the two main characters in their rebellion against patriarchal power and obsessive male fantasies. Ultimately, then, in this article I aim to connect the experiential and affective engagement of the film with a critical reading of power dynamics as ecologically situated structures to be challenged and revolutionized through a creative process of becoming.
Projection and Introjection, or the Witch and the Spirit-Medium
What is the relationship of psychoanalysis to questions of dignity, self-respect and respect for others?1 How, ultimately can we link Freud with Aristotelian concerns for eudaimonia – human flourishing – and for phronesis – sustained moral judgement?2 If Freud rightly tempers Aristotle’s optimism, how might Aristotelian questions illuminate and complement Freudian forays into personhood? If repression is defined as a state of disconnection and disavowal, of nonacknowledgement of one’s own thoughts and acts, then it is morally and politically problematic. Repression generates projection, in which accountability is displaced onto others. However, I argue that in some instances, and given the appropriate cultural means, it may provoke a dialectical return. Such introjection provides the opportunity for gradual reconnection, recognition and, ideally, the acknowledgement of responsibility.
Eric S. Rabkin
Frankenstein and Dracula represent two different genres in print but only one in film. The emergence of science fiction from the Gothic exemplifies normal public genre development. The translation of the written Frankenstein and Dracula into film exemplifies genre development as an adaptation both to historical moment and to medium. In both the print and film cases, we can see the same mechanisms by which a genre is not only established in the public sphere but in the mind of a reader or viewer, a dialectic process in which the genre forms and informs reading and viewing and potentially, as a genre, is reformed by reading and viewing. Consideration of cognitive mechanisms involved in verbal and visual cognition shows both the interaction and the typical dominance of the visual, although genre, and hence individual works, can be modified by increasing our focus on the verbal.
In this article I analyze the production of disabled girlhood on YouTube. Examining the YouTube channel of Rikki Poynter, a deaf vlogger, I show how YouTube is an affective spotlight through which exceptional disabled young women and girls are insidiously called to participate in a project of able-nationalism. I trace how Poynter’s channel, as an affective conduit of benevolence, participates in a project of ablebodied rehabilitation. Paradoxically, as Poynter is incorporated into the nation through the resignification of her corporeality as a disabled young woman, (dis)orienting affects that reverberate from her #NoMoreVoicing—A Challenge Video + Closed Captioning Campaign | ASL vlog pose the potential for a collective crip reimagining of the virtual.
Silvia M. Bell
Circularity, a salient theme in the film Lovers of the Arctic Circle (1999), is explored as a symbol that points to a consideration of issues central to psychic life. The movie sets up an expectation—two lives will be brought together to recreate a former blissful union, and complete a circle that defies finality, separation, and loss. It succeeds in creating a dialectic between two tensions, the experience of separateness where each person is a circle unto oneself, and the longing to be encircled with an "other" in a union that promises safety and permanence. The wish for fusion versus merger with the loved one is discussed in the context of traumatic loss and soul blindness. These early experiences interfere with healthy mourning and determine the reliance on magic and regressive compromise that contributes to a tragic outcome.
, artists have at their disposal a rich cultural archive of fantasies that historically propelled and ideologically sustained economic and political processes of encounter and engagement, from the age of empire and colonialism, to European integration after