Academic literature on the topic 'Melancholic objects'
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Journal articles on the topic "Melancholic objects"
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Junik-Łuniewska, Kamila. "Writing (in) melancholy. Loss and remembrance in the works of two contemporary Hindi writers." Jednak Książki. Gdańskie Czasopismo Humanistyczne, no. 9 (April 24, 2018): 55–66. http://dx.doi.org/10.26881/jk.2018.9.05.
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The paper aims at analysing the question of melancholy and memory in contemporary Hindi literature. The author selected works by two Hindi writers (T. Grover and U. Vajpeyi), who represent similar approach towards literature and use similar means of expression. The two main motifs characteristic for their writing – love (pyār) and loss (a-bhāv) – are closely related to the creative process: the loved one is the lost object, the one subjugated to melancholy, who can be remembered through writing. In the light of A. Świeściak’s idea of “melancholic subject” and S. Bahun’s concept of “performing melancholia”, the author discusses ways in which both the writers construct their literary world, inhabit it with loved/absent objects (beloved, father), and mourn their loss. The subject in their writing is both fictional and biographical, so the loss relates to literary as well as real events, becomes multidimensional. In Grover’s Blue, the subject’s separation with the beloved leads her to realise the loss of her father in childhood, and thus unveils the mourning and melancholy (symbolically represented by blue/Blue). U. Vajpeyi’s poems create a space for meeting his lost love, for weeping and remembrance, for exchanging letters (and writing). The results of the present study show that melancholy – as a consequence of loss, mourning, and remembering - becomes a creative force, inducing the author (narrator, subject) to write.
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Harris, Adrienne. "Melancholic Fathers: Tantalizing and Dangerous Objects." Psychoanalytic Perspectives 16, no. 3 (September 2, 2019): 340–52. http://dx.doi.org/10.1080/1551806x.2019.1653671.
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Sobczyk, Agata. "Deuil et mélancolie de Narcisse : Le joli buisson de jeunesse de Jean Froissart (1373)." Studia Litteraria 17, no. 1 (June 2, 2022): 37–48. http://dx.doi.org/10.4467/20843933st.22.005.15305.
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Żałoba i melancholia Narcyza: Le joli buisson de jeunesse Jeana Froissarta (1373) Narcyz ukazuje się jako figura przepojona melancholią zarówno w Metamorfozach Owidiusza, jak i w poezji XVI i XVII wieku. W średniowieczu można dostrzec związek tej postaci z melancholią w różnych jej przedstawieniach. Ale Narcyz, który wydaje się najbardziej melancholijny, to ten, którego Jean Froissart przedstawia w Joli buisson de jeunesse, głęboko modyfikując mit Owidiusza. Badacze uważają, że reprezentuje on tu archetyp kochanka. Autorka artykułu sugeruje jednak, że Froissart wykracza poza sferę miłości i temat miłości dworskiej – nie chodzi już o niedostępność obiektu miłości czy też o jego utratę, ale o jakąkolwiek stratę nieodłącznie związaną z upływem czasu. W tym skojarzeniu narcyzmu z żałobą objawia się nostalgia, która wydaje się charakterystyczna dla twórczości Froissarta, ponieważ jest obecna w różnych formach zarówno w jego Kronikach, jak i w jego dziełach lirycznych. Mourning and Melancholia of Narcissus: Jean Froissart’s Le joli buisson de jeunesse (1373). Narcissus appears as imbued with melancholy both in Ovid’s Metamorphoses and in the poetry of the sixteenth and seventeenth centuries. In the Middle Ages, the association between this figure and melancholy can be perceived in its various uses. But the Narcissus who seems the most melancholic is the one that Jean Froissart includes in Joli buisson de jeunesse, profoundly modifying the Ovidian myth. The researchers consider this one to represent the archetype of the lover. However, the author of the paper suggests that Froissart goes beyond the domain of love and the theme of courtly love: it is no longer the question of the inaccessibility of the object, nor exclusively of the loss of the object, but of any loss inherent in the passage of time. The association of narcissism with mourning entails the nostalgia that seems specific to Froissart’s work since it is found, in different forms, both in his Chronicles and in his lyrical work.
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Navaro-Yashin, Yael. "Affective spaces, melancholic objects: ruination and the production of anthropological knowledge." Journal of the Royal Anthropological Institute 15, no. 1 (March 2009): 1–18. http://dx.doi.org/10.1111/j.1467-9655.2008.01527.x.
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Wróbel, Szymon. "Melancholy either children of Polish Saturn." Psihologìâ ì suspìlʹstvo 3, no. 81 (September 1, 2020): 104–14. http://dx.doi.org/10.35774/pis2020.03.104.
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The article has a double task, considering the content of Mira Marcinуw’s book, which is important in two controversial topics: madness and its conditions on Poland and its societal psyche, in particular the specifics of Polish melancholy. The author’s views on the status of melancholy in culture and its unique position in public life are presented. The question is: does the melancholic doubt his life? A fairly justified hypothesis would be that the melancholic sees himself as a dead rather than a living body. The significance of the quoted book is that it raises troubling questions but doesn’t give easy answers. First of all, it becomes obvious an unclear – how to develop the epistemological history of melancholy, which is understood as a scientific idea that seeks coherence and adequacy of the medicine language while the political history of melancholy is interpreted as a symptom of this sociocultural context, in this case in relation to Poland. Science in this case creates or selects concepts, although it always systematizes them in a certain place and time. Secondly, it is not clear today how to distinguish the language of melancholy itself, which is the language element of the emergency state, from the language of medicine, which is a means of describing a certain medical disorder. Medicine to a greater extent than we might think refers to normality than to the problematic concept of health. Medicine, while managing human life, adopts a normative attitude, which does not amount to providing advice on how to live wisely, but allows to influence the physical and moral relations of citizens that connect them with society. Thirdly, it is argued that the very concept of melancholy remains dynamic and changeable. The proposed “erotic constellation of melancholy” shows that the subject of melancholy loses the ability to find new objects of love. This incapacity simultaneously leads a person to open nihilism, which is not only the “nothingness of the will” and the usual “will of nothingness”, but also the discovery of the nothingness of knowledge and the futility of the cognition process. The inability to find items worth loving is due to the difficulty of finding items worth the effort to know. Thus, the causes of melancholy go beyond the trivial case of loss and cover all resentments, rejections, failures, disappointments, including despair in the process of cognition. Melancholy brings the subject to ruin, so it is the limit of all medical knowledge, stating that there is no secret of «disorder» in clinical cognition, that there is no secret of madness, and that there is nothing but the study of madness itself. It turns out that madness is recognition of nothingness of the world.
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Robson, James. "Faith in Museums: On the Confluence of Museums and Religious Sites in Asia." PMLA/Publications of the Modern Language Association of America 125, no. 1 (January 2010): 121–28. http://dx.doi.org/10.1632/pmla.2010.125.1.121.
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Over the past decade the critical study of museums has matured, as the number of books, journals, and conferences devoted to all facets of museum studies has dramatically increased. While many approaches to the topic are possible, I would like to examine how museums in Asia function in religious ways and how religious sites, such as temples, have come to function as museums. Pursuing this tack might seem puzzling, or even controversial, to those familiar with Theodor W. Adorno's now well-known essay inveighing against the immuration of objects in museums, in which he emphasizes the unpleasant overtones of the German word museal (“museum-like”), used to describe “objects to which the observer no longer has a vital relationship and which are in the process of dying…. Museums are like the family sepulchers of works of art” (175). Adorno's essay articulates a sentiment about museums that was born in the past and has persisted down to the present. We hear echoes of Adorno's disdain and feelings of dehumanization, for example, in James Boon's recent essay “Why Museums Make Me Sad,” which expresses his own melancholic reaction to museums. If museums are merely mausoleums where dead objects are housed, how could they possibly function as religious sites? How could their contents ever provide religious inspiration?
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McCallum, E. L. "Not Your Mother’s Melodrama." Camera Obscura: Feminism, Culture, and Media Studies 34, no. 2 (September 1, 2019): 133–61. http://dx.doi.org/10.1215/02705346-7584940.
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This essay argues that twenty-first-century melodrama films by female directors rework the core components of classic melodrama form—not only its timing, but also narrative form, agnition, and the underlying fantasy of union. While they retain a focus on objects and setting as bearers of emotion, and on a crisis in intimate relations, the three films by Chantal Akerman, Claire Denis, and Ann Hui considered here reconsider melodrama’s possibilities. They all broach ways of rethinking Oedipal fantasy, moving beyond a story of the fraught emergence of the individual to one focused on a collective problem of how we negotiate a proper proximity to cherished others. All three films turn from what could have been to what the past makes possible now and thus change melodrama from a melancholic genre to a generative one.
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LaMothe, Ryan. "Singing the Blues: Reflections on African American Men, the Emergence of Melancholic Selves, and the Search for Transformational Objects." Pastoral Psychology 67, no. 6 (August 9, 2018): 655–71. http://dx.doi.org/10.1007/s11089-018-0834-0.
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Poluboyarinova, Larisa N., and Olga N. Kulishkina. "Two “Marienbad Elegies”: J.W. Goethe and W.G. Sebald." Studia Litterarum 5, no. 3 (2020): 128–43. http://dx.doi.org/10.22455/2500-4247-2020-5-3-128-143.
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The article compares J.W. Goethe’s “Marienbad Elegy” (1823) and a poetic text with the same title written in 1999 by W.G. Sebald. “Marienbad Elegy” by Goethe is a precedent text of German culture, its historical and literary authority being additionally supported by the popular biographical myth of the love of the 73-year-old poet to the 19-year-old Ulrike von Levetzow. On the one hand, Sebald’s own “Marienbad Elegy” is an attempt to decanonize the classical text by updating its references (restoration of the biographical context associated with the aging Goethe in Marienbad, his acquaintance with the von Levetzow’ family, and actualization of the realities of the spa town and the “museum” objects related to the occurrence of the Goethean text) and by consistently reducing the elegiac pathos of the original. On the other hand, as this article demonstrates, Sebald puts in place of Goethe’s elegiac tune his own — melancholic — pathos inherited from a philosopher of the Frankfurt school Walter Benjamin whom he greatly appreciated.
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Orzeszek, Jakub. "A Negative History of Literature: The Case of Schulz (and Riff)." Tekstualia 2, no. 57 (August 16, 2019): 99–113. http://dx.doi.org/10.5604/01.3001.0013.3547.
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The article discusses the concept of a negative history of literature, understood as an academic- literary discourse focused on non-existing books: deliberately destroyed, forgotten, unfi nished or barely developed. References to several critics and writers (Pierre Bayard, Samuel Beckett, Jorge Luis Borges, Stanisław Lem) enable the identifi cation of two contiguous fi gures: the negative reader who is defi ned by his or her melancholic tendency to see literature as a realm of loss and the negative literary historian who attempts to reconstruct lost books as artifacts (material remains, archival objects) and linguistic entities (contextual analysis). Bruno Schulz, whose reception is marked with the dialectics of loss and revelation, is discussed as a „patron” of the negative history of literature. Additionally, the article looks at the case of his friend Władysław Riff, a novelist who died of tuberculosis at the age of 26 and who exists today only in Schulz’s biographical legend.
Dissertations / Theses on the topic "Melancholic objects"
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Barreto, Clarissa Maia Esmeraldo. "The identification in melancholia: from the lost object to the object a." Universidade Federal do CearÃ, 2016. http://www.teses.ufc.br/tde_busca/arquivo.php?codArquivo=17383.
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CoordenaÃÃo de AperfeiÃoamento de Pessoal de NÃvel SuperiorA melancolia à uma afecÃÃo psÃquica caracterizada por dor profunda e terrÃvel sofrimento. Seus estudos ainda hoje despertam questionamentos e querelas no meio psicanalÃtico, principalmente no que se refere a sua categorizaÃÃo como neurose ou psicose. Neste trabalho, partiu-se da dificuldade constatada por meio de revisÃo bibliogrÃfica, tanto em Freud como em autores da atualidade, em precisar o objeto alvo da identificaÃÃo nessa afecÃÃo. Pensar qual a natureza desse encadeamento à importante para se conceber mais especificamente aspectos da clÃnica com sujeitos que padecem dessa estrutura. Nesse contexto, essa pesquisa pretendeu contribuir para o esclarecimento do processo de identificaÃÃo ao que Freud denominou como objeto perdido na melancolia â o qual dà um colorido peculiar a essa afecÃÃo â e lanÃar luzes sobre os debates atuais que envolvem a clÃnica da melancolia. Para tanto, o percurso metodolÃgico se concentrou em duas frentes principais: o estudo do conceito de identificaÃÃo e o desenvolvimento da concepÃÃo de objeto por Freud e a sua releitura estabelecida por Lacan. A partir disso, empreendeu-se uma reflexÃo acerca do que à particular da melancolia, ilustrando os achados dessa pesquisa por meio do caso clÃnico de Louis Althusser, parte final deste trabalho. Um ponto destacou-se dentre os resultados da pesquisa, qual seja: que o objeto alvo da identificaÃÃo melancÃlica, ao qual Freud nomeara de objeto perdido, nÃo à o objeto como causa de desejo, mas sim, o objeto a em sua face real, tal como proposto por Lacan no seu seminÃrio sobre a angÃstia. Esse processo à governado pela identificaÃÃo primÃria ao pai da prÃ-histÃria pessoal, nÃo simbolizada pela identificaÃÃo ao traÃo unÃrio â ou seja, pela incidÃncia do Nome-do-Pai â modelo que se observa especialmente na psicose. Esse fator explica vÃrios aspectos clÃnicos dessa estrutura, como a submissÃo ao impÃrio da Coisa por aÃÃo da pulsÃo de morte, a constituiÃÃo do eu e o suicÃdio.
Melancholia is a psychological disorder characterized by deep and terrible suffering and pain. Its studies still evokes questions among psychoanalytical society, particularly as regards its categorization as neurosis or psychosis. In this work, the authors started with the difficulty found through literature review, both in Freud and in today's authors, in specify the object concerning of the identification in this affection. Thinking about the nature of this linked chain is important to understand more specific clinical aspects with subjects suffering with this structure. In this context, this research intended to contribute to the clarification of the identification process to what Freud called as lost object in melancholia â which gives a peculiar coloring to this condition â and shed a light on current debates surrounding this clinic. Consequently, the methodological approach was focused in two paths: the study of the concept of identification and the development of the object term by Freud and its rereading established by Lacan. From this, the authors analyzed what is particular of melancholia, illustrating these findings through clinical case of Louis Althusser, final part of this paper. One detail shone through the research results, namely: that the target of the melancholic identification, to which Freud had named the lost object, it is not the object as cause of desire, but the object in its real face, as proposed by Lacan in his seminar on anxiety. This process is controlled by primary identification to the father of personal prehistory, not symbolized by the identification to the unary trait â that is, by the incidence of the Name of the Father â a model that is observed especially in psychosis. This factor explains various clinical aspects of this structure, as the submission to the empire oh the Thing by the action of the death instinct, the constitution of the self and suicide.
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Brisley, Lucy Anne. "Beyond melancholia : Algeria and its spectres." Thesis, University of Oxford, 2013. http://ora.ox.ac.uk/objects/uuid:237deb07-8961-4532-b19b-2507e7135b68.
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This thesis problematizes the recent transdisciplinary turn to melancholia by grounding the concept within the literature of three contemporary Algerian authors: Assia Djebar, Yasmina Khadra, and Boualem Sansal. If Freud figured melancholia as a pathological response to loss, much recent scholarship has reconceptualized it as an ethico-political model of remembrance that safeguards the memory of the lost or marginalized other. Yet the recent and ubiquitous depathologization of melancholia is only possible insofar as theorists overlook its more insidious elements. By analyzing how melancholia emerges within the postcolonial novels of Djebar, Khadra, and Sansal, this thesis reveals how melancholia in fact undermines an ethico-politics of remembrance, further displacing those lost others that theorists of melancholia would recuperate. Divided into two sections, the first part of the thesis thus challenges the ethico-political viability of melancholia as a mnemonic model. Through close readings of the texts, the first four chapters reveal postcolonial melancholia in Algeria to be imbricated in amnesia, immobility, repetition, victimhood, apolitical retrospection, and the unethical appropriation of the lost object. Part II investigates how the authors imagine different models of remembrance that move beyond the limits of the mourning and melancholia dyad. If melancholia has been depathologized, it nonetheless remains ensnared within a binary system in which the subject either forgets (mourns) or engages in a putative act of hyper-remembrance (melancholia). Building upon the recent theory of Dominick LaCapra, Mireille Rosello, and Judith Butler, the final two chapters explore the critical potential of ‘working upon’ the past. As an on-going and conscious model of remembrance, ‘working upon’ actively resists the closure inherent to mourning but it also circumvents the melancholic (re)appropriation of the past and its lost others. Ultimately, then, this thesis signals the need for emergent models of memorialization that move beyond the restrictions of the Freudian binary of mourning and melancholia.
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Barreto, Clarissa Maia Esmeraldo. "A identificação na melancolia: do objeto perdido ao objeto a." reponame:Repositório Institucional da UFC, 2016. http://www.repositorio.ufc.br/handle/riufc/18934.
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BARRETO, Clarissa Maia Esmeraldo. A identificação na melancolia: do objeto perdido ao objeto a. 2016. 110f. – Dissertação (Mestrado) – Universidade Federal do Ceará, Programa de Pós-graduação em Psicologia, Fortaleza (CE), 2016.Submitted by Márcia Araújo (marcia_m_bezerra@yahoo.com.br) on 2016-08-05T12:07:36Z No. of bitstreams: 1 2016_dis_cmebarreto.pdf: 754907 bytes, checksum: 1415ba78bcda81aeb4fb583a3959cf93 (MD5)
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Melancholia is a psychological disorder characterized by deep and terrible suffering and pain. Its studies still evokes questions among psychoanalytical society, particularly as regards its categorization as neurosis or psychosis. In this work, the authors started with the difficulty found through literature review, both in Freud and in today's authors, in specify the object concerning of the identification in this affection. Thinking about the nature of this linked chain is important to understand more specific clinical aspects with subjects suffering with this structure. In this context, this research intended to contribute to the clarification of the identification process to what Freud called as lost object in melancholia – which gives a peculiar coloring to this condition – and shed a light on current debates surrounding this clinic. Consequently, the methodological approach was focused in two paths: the study of the concept of identification and the development of the object term by Freud and its rereading established by Lacan. From this, the authors analyzed what is particular of melancholia, illustrating these findings through clinical case of Louis Althusser, final part of this paper. One detail shone through the research results, namely: that the target of the melancholic identification, to which Freud had named the lost object, it is not the object as cause of desire, but the object in its real face, as proposed by Lacan in his seminar on anxiety. This process is controlled by primary identification to the father of personal prehistory, not symbolized by the identification to the unary trait – that is, by the incidence of the Name of the Father – a model that is observed especially in psychosis. This factor explains various clinical aspects of this structure, as the submission to the empire oh the Thing by the action of the death instinct, the constitution of the self and suicide.
A melancolia é uma afecção psíquica caracterizada por dor profunda e terrível sofrimento. Seus estudos ainda hoje despertam questionamentos e querelas no meio psicanalítico, principalmente no que se refere a sua categorização como neurose ou psicose. Neste trabalho, partiu-se da dificuldade constatada por meio de revisão bibliográfica, tanto em Freud como em autores da atualidade, em precisar o objeto alvo da identificação nessa afecção. Pensar qual a natureza desse encadeamento é importante para se conceber mais especificamente aspectos da clínica com sujeitos que padecem dessa estrutura. Nesse contexto, essa pesquisa pretendeu contribuir para o esclarecimento do processo de identificação ao que Freud denominou como objeto perdido na melancolia – o qual dá um colorido peculiar a essa afecção – e lançar luzes sobre os debates atuais que envolvem a clínica da melancolia. Para tanto, o percurso metodológico se concentrou em duas frentes principais: o estudo do conceito de identificação e o desenvolvimento da concepção de objeto por Freud e a sua releitura estabelecida por Lacan. A partir disso, empreendeu-se uma reflexão acerca do que é particular da melancolia, ilustrando os achados dessa pesquisa por meio do caso clínico de Louis Althusser, parte final deste trabalho. Um ponto destacou-se dentre os resultados da pesquisa, qual seja: que o objeto alvo da identificação melancólica, ao qual Freud nomeara de objeto perdido, não é o objeto como causa de desejo, mas sim, o objeto a em sua face real, tal como proposto por Lacan no seu seminário sobre a angústia. Esse processo é governado pela identificação primária ao pai da pré-história pessoal, não simbolizada pela identificação ao traço unário – ou seja, pela incidência do Nome-do-Pai – modelo que se observa especialmente na psicose. Esse fator explica vários aspectos clínicos dessa estrutura, como a submissão ao império da Coisa por ação da pulsão de morte, a constituição do eu e o suicídio.
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Valášková, Kateřina. "Kniha v prostoru." Master's thesis, Vysoké učení technické v Brně. Fakulta výtvarných umění, 2012. http://www.nusl.cz/ntk/nusl-232330.
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This final work is focused on the space and light and its screening by the medium of the venetian blinds which are used to separate inner and outer space. This instalation made with 5 Venetian blinds is a parallel to the book. The object is in a form of the hexagon space. It mirrors surrounding story and closes it in the pages by the mirror film. The text is called Chronicle of the melancholy and indicates the intimite of the space of book. Between lines there is a penetration of the space and light behind the pages.
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Hunter, Elizabeth Katherine. "Melancholy and the doctrine of reprobation in English puritan culture, 1550-1640." Thesis, University of Oxford, 2012. http://ora.ox.ac.uk/objects/uuid:7adadd9e-17c0-4ebe-837b-0e5183fc8495.
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The thesis examines the relationship between reprobation fears and melancholic illness in puritan culture over a period of approximately ninety years. Reprobation formed part of the Calvinist doctrine of double predestination, by which God had chosen a few for salvation (the elect), and many for destruction (the reprobate). When a person came to believe that they were reprobate, this could give rise to symptoms of fear and despair similar to those associated with melancholy (an imbalance of black bile believed to affect the brain). The thesis shows how puritans used explanations based on melancholy in order to explain how otherwise godly people came to doubt their election. The first chapter shows how the Calvinist physician, Timothy Bright, incorporated ideas from medieval scholastic and medical texts into his Treatise of melancholie (1586), in order to explain how physiological causes could be at the root of reprobation fears. The second and third chapters examine the religious context in which Bright was writing. The second chapter shows puritan ambivalence about pronouncing a person to be reprobate through an examination of responses to the death of the apostate, Francesco Spiera. The third chapter shows how the Elizabethan puritan clergy developed a form of consolation for those suffering from despair of salvation based on the medieval idea that melancholy was the ‘devil’s bath’. The fourth and fifth chapters show the importance of physiological explanations for despair in defending the reputations of the dying. When a godly person despaired on their death-bed, or committed suicide, this was blamed on a combination of forces external to themselves – melancholy and the devil. The final chapter shows how Robert Burton’s Anatomy of Melancholy adapted puritan ideas about despair, to be more acceptable in the context of growing resistance to the preaching of double predestination in the 1620s and 30s.
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Lavieille, Jean Clément. "Relique, objet-relique et créativité reliquaire : les devenirs de l’objet conservé dans la clinique du deuil." Thesis, Rennes 2, 2022. http://www.theses.fr/2022REN20009.
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Dans la clinique du deuil, certains endeuillés conservent des restes de leur proche décédé avec lesquels ils prolongent une relation au-delà de la mort. Nous croisons cette pratique de conservation avec un objet de la religion catholique : la relique. La relique est un reste du corps d’un saint, considéré comme objet sacré. Elle est un objet de croyance, de catalyse, d'intercession et ouvre sur l'éternité. L'étude anthropologique de la relique nous présente le caractère exceptionnel de ce morceau de corps et l'exception de son inscription dans le rituel funéraire. A un niveau psychopathologique, l'objet-relique peut être l'entame nécessaire pour supporter la perte. L'expérience de deuil est une résurgence de l'objet perdu de la relation à l'Autre Primordial. Face à la détresse de la perte, l'objet-relique est le lieu d'un compromis illusoire et une surface hallucinatoire. Ainsi, nous présentons l'objet-relique comme un objet extérieur, orne-mental et para-mélancolique. La seconde partie de cette recherche traite les devenirs de l'objet. Généralement, il est abandonné : la résolution de deuil passe par l'acceptation du verdict de la réalité et un nouvel investissement libidinal. A l'inverse, son arrêt produit une fétichisation de l'objet. L'objet se charge d'autre chose et traite avant tout du manque imaginaire de l'Autre. Enfin, nous appelons créativité reliquaire, l'enchâssement et l'exposition du vide laissé à la suite de la disparition d'un proche. La sublimation reliquaire est à entendre comme l'expression commune des effets de deuil sur la vie du survivant. La création reliquaire est l'expression plus rare, potentielle émergence d'un signifiant et d'un lien social nouveauIn the bereavement clinic, we met patients who kept the remains of their deceased loved one and with whom they continued a relationship beyond death. We crossed this conservation practice with a religious object : relics. The relics are the remains, after death, of the body of a saint considered also as sacred objects. The relic is an object of belief, catalysis and intercession. The anthropological study of the relic allows us to present the exceptional character of this piece of body and the exception of its inscription in the funeral ritual. At a psychopathological level, the relic object is for some bereaved the start necessary to endure the loss. The experience of mourning is above all the resurgence of the lost object of the relationship to « l'Autre Primordial ». Thus, we will present the relic-object as a promise of openness and reminder of castration : an external, orne-mental and para-melancholic object. We will open the second part to the fate of this preserved object. Gradually, the object is called to be abandoned: the resolution of mourning passes by the acceptance of the verdict of reality and new libidinal investments. Its undefined stop opens towards a fetishization of the object. The object takes care of the chosen other and deals above all with the lack of the Other. Finally, we call reliquary creativity, the movement of embedding and exposure of the void left following the disappearance of a loved one. The reliquary sublimation is to be understood as the common expression of the effects of mourning on the life of the survivor. The reliquary creation is the rarer expression that can bring about the emergence of a « signifiant nouveau » and social réalité
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Rushworth, Jennifer Frances. "Discourses of mourning in Dante, Petrarch, and Proust." Thesis, University of Oxford, 2013. http://ora.ox.ac.uk/objects/uuid:4efea31d-85c5-4a68-893e-ac694ebfa08d.
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This thesis interpolates medieval and modern authors and theorists, namely Dante, Petrarch, and Proust on the one hand, and Freud, Kristeva, and Derrida on the other. I propose that these writers are intimately connected and differentiated by their meditations on grief and loss. I compare, confront, and contrast these narratives of mourning in a discursive shuttling to and fro between medieval and modern, French and Italian, and literature and theory, in order to delineate the specificities of different forms of melancholia as legible in Dante’s Commedia, Petrarch’s Canzoniere, and Proust’s A la recherche du temps perdu, and as illuminated by Freudian melancholia, Kristeva’s Soleil noir, and Derrida’s concept of ‘demi-deuil’. I challenge the homogeny of the modern concept of melancholia and juxtapose it with the medieval sin of acedia in Dante (Inferno VII) and Petrarch (considering both the Secretum and the Canzoniere). From the examples of the treatment of the myth of Orpheus and the book of Lamentations, I argue that discourses of mourning are trapped in a fruitful tension between a desire for uniqueness or originality and a desire for legibility or the comfort of communality. In Girardian terms, I define literary representations of mourning as ‘mimetic’, that is, caught in a web of intertextual imitation and preoccupations of genre and tradition which are at odds with a quest for new forms of writing. Finally, I contend that the relationship between content and form is particularly close in grief-stricken texts, and characterise my chosen primary texts – including Dante’s Vita nuova – according to the twin poles of endlessness (which I equate with melancholia) and finitude (the teleological, closed nature of the work of mourning), with a Derridean alternative of unstable oscillation between the two (‘demi-deuil’).
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Gomes, Cristiana Nogueira Menezes. "A impermanência do processo: poeira, caminhos, objetos." Universidade do Estado do Rio de Janeiro, 2009. http://www.bdtd.uerj.br/tde_busca/arquivo.php?codArquivo=1214.
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Essa dissertação levanta um conjunto de questões relacionadas à reflexão do processo artístico. Focando em conceitos como poeira, melancolia, flânerie e memória, foi desenvolvido um diálogo entre Walter Benjamin, W.G. Sebald, Georges Perec, Susan Sontag, Georges Bataille e Giorgio Agamben e, também, foram pesquisados os trabalhos de Marcel Duchamp, Joseph Cornell e Robert Smithson. O texto é dividido em três momentos nos quais as principais questões são expandidas em fragmentos que consistem em proposições inseridas na arte contemporânea. Junto com o texto é apresentada uma série de imagens que pertencem ao conjunto de fotos que serão expostas durante a defesaThis dissertation raises a set of questions related to the reflection of the artistic process. Focusing on concepts like dust, melancholy, flânerie and memory, it was developed a dialogue among Walter Benjamin, W.G. Sebald, Georges Perec, Susan Sontag, Georges Bataille and Giorgio Agamben and also, the works from Marcel Duchamp, Joseph Cornell and Robert Smithson were researched. The text is divided in three moments, which the principal questions are expanded in fragments that consist in propositions inserted in the contemporary art. Along with the text is showed a series of images that belong to a set of photos that will be exposed during the presentation
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Brogan, Boyd. "The ethics of otium : pastoral, privacy and the passions 1559-1647." Thesis, University of Oxford, 2012. http://ora.ox.ac.uk/objects/uuid:f178e449-e48d-4794-bf75-5b7ecc950010.
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This thesis studies the literary genre of pastoral between 1559 and 1647. The first of these dates is that of a work that changed the course of early modern pastoral, Montemayor’s Diana; and the second marks the English translation of Gomberville’s Polexandre, a pastoral romance which exemplifies the shifts in cultural values that re-shaped Montemayor’s model over the century that followed its publication. My study focusses on the significance for this genre of the ethical quality known to classical moral philosophy as otium, and translated in early modern English by words such as peace, leisure, retirement, ease and idleness. Otium has strong historical associations with the tradition of Virgilian pastoral. Its significance in early modern pastorals, however, has been largely overlooked, despite the fact that early modern interest in otium had been revitalised by the rediscovery of some of its most important classical discussions. This renewed interest in otium, I argue, was essential to the development of early modern pastoral. My argument challenges both old and new critical perspectives on pastoral, and engages with key issues in early modern culture which literary scholars have neglected. Older studies understood pastoral otium simply as idyllic retreat; newer ones accept this view, but argue against its privileged and quietist political implications, preferring to concentrate on the tradition of interpreting pastoral as political allegory. Otium’s principal connotations, however, were neither quiet nor idyllic. Though its restorative qualities were sometimes cautiously acknowledged, otium’s potential to corrupt was ever-present, and affected a range of areas including privacy, politics, moral psychology and medicine. When people wanted to imaginatively explore those effects, I argue, pastoral was the genre to which they were most likely to turn. Listening to what pastorals say about otium can play an important role in reconstructing this crucial and misunderstood aspect of early modern culture.
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Taveira, Junior Manoel Paulo. "Do fetiche à relíquia: paixão, luto e melancolia (?) a partir de um estudo de caso." Pontifícia Universidade Católica de São Paulo, 2014. https://tede2.pucsp.br/handle/handle/15369.
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Previous issue date: 2014-08-19This work aims to investigate the origins and effects of passion through a case study. It is a study of the psychoanalytic clinic that aims to articulate metapsychological concepts of S. Freud's work taking as spine the history of the subject in question. The first chapter is dedicated to discuss the concepts of object-choice and fetishism. The second chapter is devoted to investigate and discuss the concept of the Oedipus complex, ideal Self, and the experience of illusion inherent passions. The third chapter discusses the concepts of mourning and melancholia. Clinical material are presented in each chapter to illustrate the chosen metapsychological concepts and indicate vividly the suffering experienced by the subject of the case, as well as his ability to "cure"
Este trabalho tem a finalidade de investigar as origens e os efeitos da paixão através de um estudo de caso. É um estudo sobre a clínica psicanalítica que objetiva a articulação de conceitos metapsicológicos da obra S. Freud tomando como coluna vertebral parte da história do sujeito em questão. O primeiro capítulo dedica-se a discutir os conceitos de escolha objetal e fetichismo. O segundo capítulo dedica-se a investigar e discutir o conceito de complexo de Édipo, ideal do Eu e a ilusão inerente às paixões. O terceiro capítulo aborda os conceitos de luto e melancolia. Em cada capítulo são apresentados materiais clínicos com a finalidade de ilustrar os conceitos metapsicológicos escolhidos e indicar com vivacidade o sofrimento experienciado pelo sujeito do caso, bem como suas possibilidades de cura
Books on the topic "Melancholic objects"
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Schwenger, Peter. The tears of things: Melancholy and physical objects. Minneapolis, MN: University of Minnesota Press, 2006.
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The tears of things: Melancholy and physical objects. Minneapolis: University of Minnesota Press, 2006.
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Gill, Denise. Melancholic Modes, Healing, and Reparation. Oxford University Press, 2017. http://dx.doi.org/10.1093/acprof:oso/9780190495008.003.0006.
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Chapter 5 maps the way melancholy becomes lived as a reparative Turkish identity practice by musicians today. An outline is presented of five centuries of Ottoman musico-medicinal treatises on melancholy as disease and melancholic musics that aided physicians in the task of healing patients suffering from melancholy. This chapter oscillates between melancholy as affective practice and objects of melancholy—specific musical modes (makam-s) and the illness affecting one of the four bodily humors. The author exposes how contemporary Turkish classical musicians have resurrected Ottoman notions of the positive effects of melancholy after the medicalization of physiological states in the early years of the Republic of Turkey. Today, Turkish classical musicians deem melancholy a position to dwell in because it is pleasurable and connects individuals to one another.
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Hanlon, Christopher. Coda. Oxford University Press, 2017. http://dx.doi.org/10.1093/oso/9780190842529.003.0005.
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This chapter examines the paintings of John Frederick Peto, whose “letter rack” depictions constitute melancholic acts of remembering transacted through the arrangement of abandoned objects. Insofar as Peto theorizes memory through the genre of trompe l’oeil, he provokes questions concerning the extent to which recollection entails fabrication, and focused upon the insistence that such fabrication invariably turns upon sensations of loss. As Peto’s letter racks move toward subject matter relating to the Civil War, his questions come increasingly to involve embroilments of memory and memorialization, and in ways that offer an entrée into Emerson’s “Fortune of the Republic,” an essay that anticipates future acts of remembering undertaken by other generations of Americans confronted with the challenge of recalling the War with integrity.
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Milbank, Alison. God & the Gothic. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780198824466.001.0001.
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God and the Gothic undertakes a complete reimagining of the Gothic literary canon to examine its engagement with theological ideas, tracing its origins to the apocalyptic critique of the Reformation female martyrs, and to the Dissolution of the Monasteries, now seen as usurpation of power by the authorities. A double gesture of repudiation and regret is evident in the consequent search for political, aesthetic, and religious mediation, which characterizes the aftermath of the Glorious Revolution and Whig Providential discourse. Part I interprets eighteenth-century Gothic novels in terms of this Whig debate about the true heir, culminating in Ann Radcliffe’s melancholic theology which uses distance and loss to enable a new mediation. Part II traces the origins of the doppelgänger in Calvinist anthropology and establishes that its employment by a range of Scottish writers offers a productive mode of subjectivity, necessary in a culture equally concerned with historical continuity. In Part III, Irish Gothic is shown to be seeking ways to mediate between Catholic and Protestant identities through models of sacrifice and ecumenism, while in Part IV, nineteenth-century Gothic is read as increasingly theological, responding to materialism by a project of re-enchantment. Ghost-story writers assert the metaphysical priority of the supernatural to establish the material world. Arthur Machen and other Order of the Golden Dawn members explore the double and other Gothic tropes as modes of mystical ascent, while raising the physical to the spiritual through magical control, and the M. R. James circle restores the sacramental and psychical efficacy of objects.
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Restuccia, Frances L. Jacques Lacan. Edinburgh University Press, 2018. http://dx.doi.org/10.3366/edinburgh/9781474423632.003.0027.
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Agamben only sporadically alludes to psychoanalysis and invokes psychoanalytic concepts. He does so most prominently in Stanzas, where he dedicates Part III to ‘geniisque Henry Corbin et Jacques Lacan‘ (S 61); refers to ‘the Lacanian thesis according to which […] the phantasm makes the pleasure suited to the desire’, in order to elaborate a point in Plato about desire and pleasure relying on images in the soul (S 74); and takes up melancholia and fetishism – both of which, it is important to note, circumvent lack. But Agamben is by no means ‘psychoanalytic’. He presents and employs melancholia and fetishism as paradigms for accessing the inaccessible (perhaps we can say that he plays with them). Melancholia, in Agamben, becomes an ‘imaginative capacity to make an unobtainable object appear as if lost’ so that it ‘may be appropriated insofar as it is lost’ (S 20), a strategy for saving the unsavable that evolves into his conception of the messianic. And, although Agamben is preoccupied with ‘a zone of non-consciousness’, he underscores that it is ‘not the fruit of a removal, like the unconscious of psychoanalysis’ (UB 64)
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Rivera, Takeo. Model Minority Masochism. Oxford University Press, 2022. http://dx.doi.org/10.1093/oso/9780197557488.001.0001.
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There are few grand narratives that loom over Asian Americans more than the “model minority.” While many Asian Americanist scholars and activists aim to disprove the model minority as “myth,” author Takeo Rivera instead rethinks the model minority as cultural politics. Rather than disproving the model minority, Rivera instead argues that Asian Americans have formulated their racial and gendered subjectivities in relation to what Rivera terms “model minority masochism.” Rivera details two complementary forms of contemporary racial masochism: a self-subjugating masochism which embraces the model minority, and its opposite, a self-flagellating masochism that punishes oneself for having been associated with the model minority at all. Drawing from performance studies, queer theory, techno-orientalism, and new media studies, Model Minority Masochism covers a range of contemporary objects across multiple media that variously exhibit and deepen these iterations of masochism: the 1982 murder of Vincent Chin and its multiple performance responses, the plays of Philip Kan Gotanda and Ping Chong, experimental fiction, Marvel comics, and the video game Deus Ex: Human Revolution. Building upon previous models of melancholy and castration, Model Minority Masochism offers a new theory of Asian American subject formation that accounts for both resistance and accommodation vital for the contemporary moment.
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Yust, Jason. Epilogue. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780190696481.003.0016.
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I offer the final word on time to György Ligeti:As a small child I once had a dream that I could not get to my cot, to my safe haven, because the whole room was filled with a dense confused tangle of fine filaments. It looked like the web I had seen silkworms fill their box with as they change into pupas. I was caught up in the immense web together with both living things and objects of various kinds—huge moths, a variety of beetles—which tried to get to the flickering flame of the candle in the room; enormous dirty pillows were suspended in this substance, their rotten stuffing hanging out through the slits in the torn covers. There were blobs of fresh mucus, balls of dry mucus, remnants of food all gone cold and other such revolting rubbish. Every time a beetle or a moth moved, the entire web started shaking so that the big, heavy pillows were swinging about, which, in turn, made the web rock harder. Sometimes the different kinds of movements reinforced one another and the shaking became so hard that the web tore in places and a few insects suddenly found themselves free. But their freedom was short-lived, they were soon caught up again in the rocking tangle of filaments, and their buzzing, loud at first, grew weaker and weaker. The succession of these sudden, unexpected events gradually brought about a change in the internal structure, in the texture of the web. In places knots formed, thickening into an almost solid mass, caverns opened up where shreds of the original web were floating about like gossamer. All these changes seemed like an irreversible process, never returning to earlier states again. An indescribable sadness hung over these shifting forms and structure, the hopelessness of passing time and the melancholy of unalterable past events. (Ligeti, from program notes to ...
Book chapters on the topic "Melancholic objects"
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Ganzer, Carol. "Mourning the melancholy object." In Reflections on Long-Term Relational Psychotherapy and Psychoanalysis, 61–73. Names: Lord, Susan (Susan A.), editor.Title: Reflections on long-term relational psychotherapy and psychoanalysis: relational analysis interminable/edited by Susan A. Lord.Description: Abingdon, Oxon; New York, NY: Routledge, 2019.: Routledge, 2019. http://dx.doi.org/10.4324/9780429054501-7.
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Morton, Timothy. "Melancholy Objects: If Stones Were Lacanian." In Lacan and the Posthuman, 193–209. Cham: Springer International Publishing, 2018. http://dx.doi.org/10.1007/978-3-319-76327-9_11.
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Rolland, J. C. "The denied object of melancholy." In On the Dark Side of Chronic Depression, 58–60. London: Routledge, 2022. http://dx.doi.org/10.4324/9781003279297-5.
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Wagner-Egelhaaf, Martina. "Das verlorene Objekt. Psychoanalytische Lektüren der Melancholie." In Die Melancholie der Literatur, 159–74. Stuttgart: J.B. Metzler, 1997. http://dx.doi.org/10.1007/978-3-476-03696-4_8.
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Rustin, Michael. "Narcissism and Melancholia from the Psychoanalytical Perspective of Object Relations." In Narcissism, Melancholia and the Subject of Community, 41–63. Cham: Springer International Publishing, 2017. http://dx.doi.org/10.1007/978-3-319-63829-4_2.
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"Affective Spaces, Melancholic Objects." In The Make-Believe Space, 161–75. Duke University Press, 2012. http://dx.doi.org/10.1215/9780822395133-008.
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"Affective Spaces, Melancholic Objects." In The Make-Believe Space, 161–75. Duke University Press, 2012. http://dx.doi.org/10.2307/j.ctv1134dxr.12.
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"7. Affective Spaces, Melancholic Objects." In The Make-Believe Space, 161–75. Duke University Press, 2020. http://dx.doi.org/10.1515/9780822395133-010.
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Lin, Lana. "Reparative Objects in the Freudian Archives." In Freud's Jaw and Other Lost Objects. Fordham University Press, 2017. http://dx.doi.org/10.5422/fordham/9780823277711.003.0005.
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This chapter returns to the Freudian narrative of loss, specifically to sites of his memorialization in the two Freud Museums. Forced into exile after living in Vienna for seventy-eight years, Freud escaped to London where most of his material objects followed him. The chapter examines the reconstruction of Freud’s Viennese study and consulting room at what is now the Freud Museum in Hampstead, London, where Freud died in the presence of his massive collection of antiquities. Whereas the Freud Museum, London, now houses all the “good” Freudian artifacts, objects that could be said to function reparatively, the museum that occupies Freud’s former residence in Vienna compensates for his expulsion and the evacuation of his prized possessions through a fetishizing and melancholic reliance upon photographs taken by Edmund Engelman prior to the objects’ displacement. The chapter interprets the Sigmund Freud Museum, Vienna, as a space of irremediable loss where Freud’s missing objects—his couch, books, and antiquities—take on the character of fantasied partial objects enlisted to perform the work of mourning.
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Elhaik, Tarek. "Roger Bartra: Intrusion and Melancholia." In The Incurable-Image. Edinburgh University Press, 2016. http://dx.doi.org/10.3366/edinburgh/9781474403351.003.0004.
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This chapter explores the post-nationalist and post-cosmopolitan diagnostic work of Roger Bartra, leading public intellectual figure in contemporary Mexico, in relation to what he calls the ‘melancholic post-Mexican condition’. ‘Bartra’ stands here both for the conceptual persona of the Anthropologist and for a sign of a slow and patient disarticulation of the historically constituted racialized citizen-subjects and media-objects staged by post-revolutionary cosmopolitan modernism and avant-garde art/film practices. Bartra has evaluated the dominant forms of affectivity transmitted by the nationalist and national tradition of Mexican anthropology: a composite of pride, abjection, enthusiasm, and melancholia. The chapter considers the mutual intrusions between Bartra and the author as well as Bartra's intellectual vocation and anthropological motion in and out of Mexico, along with the implications this has with regard to the assemblage at work in the anthropological turn in contemporary art.