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.
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오혜진. "The Eye of the Machine and the Melancholic Objects - Visual Control through the Empire of Technology and (Un)consciousness about Photography in the Colony." 사이間SAI ll, no. 10 (May 2011): 165–96. http://dx.doi.org/10.30760/inakos.2011..10.005.
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Ligęza, Wojciech. "On Time Fleeting and Regained." Polish Review 67, no. 1 (April 1, 2022): 27–40. http://dx.doi.org/10.5406/23300841.67.1.03.
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Abstract Anna Frajlich's poetry accords a special place to themes of time, change, journeys, exile, home and habituation, tamed landscapes and remembered objects, spaces lost and regained. In this poetics of the transitory we see the influence of Frajlich's autobiography, which plays an important role in her work. Reflection on current events is combined with memories, which in turn creates a particular atmosphere of ecstatic joy and traumatic experiences. The author's Heraclitean poetry speaks about impossible returns, but it is precisely the confrontation with one's past that is among the first tasks involved in the search for one's place in the world. This rhythm of thematic return is an important feature of her work. Frajlich sometimes references real events, playing out on the larger canvas of collective history, but more often she crosses into her private realm. In Anna Frajlich's poetics the contrast of duration and dramatic changes are very important, as well as the play between the apology of life and the melancholic feelings of loss. In this poetry the effect of time is perceived sensually. In Frajlich's creative works biographic events that have been lost are retrieved by means of the artistic word. Reflection on time in her poems involves adventures of consciousness and deliberations over things in a state of flux.
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Nam, Hye-kyoung. "A Study on the Characteristics of Peony and the Garden of Flowers in “Anbingmongyurok”." Research of the Korean Classic 57 (May 31, 2022): 315–42. http://dx.doi.org/10.20516/classic.2022.57.315.
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This study examines the theme of “Anbingmongyurok” (安憑夢遊錄) by comparing similar texts such as Shin Kwanghan’s collection of writings, “Gijaejip” (企齋集), and “Choi Hyunmi” (崔玄微) in Taepyeonggwanggi (太平廣記). Existing discussions have often described the flower garden kingdom as a corrupted space, and have stated that there was a confrontation between the female and male groups. However, if there is a confrontational structure in this work, there is room for it to be thought of as being between plants and rainstorm, as in 〈Choi Hyun-mi〉 of Taepyeonggwanggi. This is because there are many poems written by anthropomorphic plants related to rainstorm, as in 〈Choi Hyun-mi〉. In “Anbingmongyurok,” Shin Kwang-han mixes the images of Donghwang, Rainstorm, King, and husband. Thus, the female character’s melancholic sentiment toward her husband may also be understood as political rhetoric. In Shin Kwanghan’s collection of writings, “Gijaejip,” the spring day symbolizes the grace of the king, not a space of corruption. In addition, like the female characters of the flower garden kingdom, he left numerous poems that expressed regret over the fall of flowers and the aging of his body. The speaker of “Hwaisogyeong” (和離騷經) decorated himself like a peony and kept his manners and laws, but died after a long time without gaining the king’s trust. In conclusion, the flower garden kingdom and the Peony Queen were not objects to be overcome, but rather objects that reflected Shin Kwang-han’s inner self. The significance of this study is that Shin Kwang-han’s “Gijaejip,” which has been neglected until now in the study of “Anbingmongyurok,” served as principal reference material. It is expected that the author’s values will reveal the truth of the flower garden kingdom full of metaphors and symbols.
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Gibson, Margaret. "Melancholy objects." Mortality 9, no. 4 (November 2004): 285–99. http://dx.doi.org/10.1080/13576270412331329812.
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Sudbery, Anthony. "Dürer's magic tesseract." Mathematical Gazette 97, no. 538 (March 2013): 8–12. http://dx.doi.org/10.1017/s0025557200005374.
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Albrecht Dürer's mysterious engraving Melencolia I (Figure 1) has always intrigued both art critics and mathematicians. Among art critics, according to Campbell Dodgson [1], “The literature on the Melancholia is more extensive than that on any other engraving by Dürer” (he adds “the statement would probably remain true if the last two words were omitted”). Mathematicians, if disconcerted by the association between mathematics and melancholy, have been fascinated by the objects appearing in the print, such as the polyhedron occurring on the left of the engraving and—the subject of this note—the magic square in the upper right-hand corner (Figure 2).
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Lassan, Eleonora. "The Mental Scenarios and Internet Genre Etiquette of Different Cultures (Based on Online Greetings in Four Languages)." Respectus Philologicus 22, no. 27 (October 25, 2012): 21–36. http://dx.doi.org/10.15388/respectus.2012.27.15334.
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This article analyses online greetings in the Russian, Polish, Lithuanian and German languages. The author treats greetings as a speech act which helps the addresser to remind the addressee of his/her good attitude towards him/her on the basis of a particular occasion—the addressee’s birthday. The author analyses this speech act in relation to the specific communicative and mental scenarios of the culture to which the speaker belongs. The entirety of standard speech acts and the combination of intentions of the speakers form a genre. The genre of modern online greetings seems contiguous to folklore genres, because most of the texts do not have authors. Moreover, these texts move from one Internet site to another, resulting in a wide circle of “implementers”—users.The author distinguishes some typical characteristics of online greetings among the four cultures. An emphasis on the figure of the speaker and an incantatory character are typical of Russian greeting texts. Happiness, health and eternal youth are the key objects of these Russian texts. Russian greetings are related to the future. German greetings are mainly related to the birthday celebration itself. Greetings are often related to a review of life: on this occasion the addressee is encouraged to reflect on whether s/he has lived the past year appropriately. The word courage (Mut) is constantly repeated in German greetings, whereas this word is absent from the Russian greetings. The figure of the speaker is marginally expressed in Polish greetings. The sweetness of life is present in Polish greetings, whereas it is observed neither in German nor in Russian texts. May all your dreams come true is a cliché element of Polish greeting texts. Lithuanian greetings distinguish themselves by their melancholic tone.The author relates the detected specific features of online greetings to the ideas of philosophers and historians on the unique means of expressing one’s national character.
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Egan, R. Danielle. "Lost objects: Feminism, sexualisation and melancholia." Feminist Theory 14, no. 3 (December 2013): 265–74. http://dx.doi.org/10.1177/1464700113499843.
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Castro, Brian. "Melancholy Objects: Flaubert's Double Agency." Australian Journal of French Studies 48, no. 3 (September 2011): 257–70. http://dx.doi.org/10.3828/ajfs.48.3.257.
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Wolf-Meyer, Matthew. "Our Master’s Voice, the Practice of Melancholy, and Minor Sciences." Cultural Anthropology 30, no. 4 (November 2, 2015): 670–91. http://dx.doi.org/10.14506/ca30.4.10.
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How do scientists and experts in marginal scientific fields think about themselves, their knowledge production, and their practices in relation to dominant sciences? In this article, drawing on fieldwork with a group of Lacanian psychoanalysts, I argue that what motivates much of the training, practice, and thought of some contemporary psychoanalysts is their place as practicing a minor science in relation to dominant forms of psychiatry and neuroscience in the United States. They are exemplary marginalized experts who articulate themselves and their work against mainstream forms of neuroscientific and psychiatric expertise. I adopt the concept of minor sciences from Gilles Deleuze and Félix Guattari, who characterize them by their eminently political nature, their challenging of dominant sciences through intensive uses of language, and their disenfranchisement. Yet Deleuze and Guattari are relatively silent on the experiential qualities of practicing minor sciences. I turn to Sigmund Freud’s distinction of mourning and melancholia in relationship to lost objects, suggesting that one of the constituent components of minor sciences is a persistent state of melancholy related to the minor sciences’ struggling for relevance. Drawing on my fieldwork with a Lacanian community and their interest in who and what belongs to psychoanalytic thought, what threats endanger the status of psychoanalysis, and what is at stake in keeping psychoanalysis alive in the United States, I suggest that the power of melancholia proves vital to keeping minor sciences alive for marginalized experts.
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Hook, Derek. "Das Ding as Object of Melancholia." Psychoanalytic Dialogues 28, no. 4 (July 4, 2018): 491–95. http://dx.doi.org/10.1080/10481885.2018.1482157.
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Lac. "Losing Melancholia: Between Object, Fidelity, and Theory." Cultural Critique 102 (2019): 1. http://dx.doi.org/10.5749/culturalcritique.102.2019.0001.
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Lansdown, Richard. "Suicide, Melancholia, and Manic Defense in Byron’s Manfred." Nineteenth-Century Literature 76, no. 1 (June 1, 2021): 1–32. http://dx.doi.org/10.1525/ncl.2021.76.1.1.
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Richard Lansdown, “Suicide, Melancholia, and Manic Defense in Byron's Manfred” (pp. 1–32) This essay presents a literary-critical account of Lord Byron’s verse drama Manfred (1817) from the perspective of Freudian and Object Relations psychological theories, in particular as regards the distinction between melancholia and mourning and the presence of part-objects within the psyche. It argues that whereas it is important to preserve a distinction between the poet and his works, such a distinction can never be total: like Childe Harold, Manfred is clearly in part a personal projection, given Byron’s state of mind at the time of composition. To provide context for these discussions the essay surveys both Byron’s personal views concerning suicide and the history of self-slaughter in Western culture, with Romanticism as a particular focus. The poet’s attitudes were many and various, depending on which cases he had in mind. Furthermore, the Romantic tradition initiated by Johann Wolfgang von Goethe’s The Sorrows of Young Werther (1774) and continued by Byron’s numerous treatments of suicide mark a complication of the attitudes we find voiced by Enlightenment philosophers and, indeed, by Sigmund Freud himself.
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Gonzaga, Ana Paula. "Anorexia: a failure in the work of melancholia." Revista Latinoamericana de Psicopatologia Fundamental 15, no. 3 suppl 1 (September 2012): 649–56. http://dx.doi.org/10.1590/s1415-47142012000500002.
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The self-reproach against their own bodies seen in patients with eating disorders has led us to posit the existence of failures in the work of melancholia. Defined by Freud in 1915, this process of melancholia is aimed at repairing a loss felt as unbearable by the ego and that triggers off a violent struggle with ambivalent feelings toward the lost object. The resulting hatred is aimed at the shadow of the object that falls on the ego. Especially in anorexia nervosa, there seems to be a regressive movement that goes beyond this.
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SOUZA, Alexandre Venancio de, Kátia das Neves GARCIA, Thiago Henrique Muniz MORILHA, and Carol Godoi HAMPARIAN. "CONTRIBUIÇÕES PSICANALÍTICAS ACERCA DO LUTO E DA MELANCOLIA." UNIFUNEC CIÊNCIAS DA SAÚDE E BIOLÓGICAS 4, no. 7 (July 2, 2021): 1–13. http://dx.doi.org/10.24980/ucsb.v4i7.4907.
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A temática do luto e melancolia é demasiadamente importante no estudo psicanalítico e tem sido estudada desde o criador da psicanálise, Sigmund Freud, até autores contemporâneos que acrescentaram e revisaram as ideias iniciais. A perda do objeto de amor propicia ao indivíduo a experiência do luto, enquanto, na melancolia, o estado de sofrimento psíquico se dá a partir da perda ou danificação dos objetos internos sem, necessariamente, a perda de um objeto real. Os estados de luto e melancolia desencadeiam sofrimento psíquico, podendo inclusive levar o indivíduo ao patológico. O presente estudo tem como objetivo elucidar elementos presentes no luto e na melancolia e o processo de elaboração psíquica, utilizando como recurso artístico o filme Melancolia (2011) do diretor dinamarquês Lars Von Trier, articulando as teorias psicanalíticas acerca do tema, seus desdobramentos e consequências psíquicas. Para isso, utilizou-se como metodologia a revisão bibliográfica. A análise dos mecanismos encontrados na personagem Justine da obra de Lars Von Trier e suas vivências subjetivas dos processos ligados à melancolia permite avaliar importantes aspectos sobre a identificação melancólica e a temática da perda de objeto e investimentos afetivos com o mundo externo. Conclui-se que a melancolia, apesar de apresentar aspectos patológicos e prejuízos no campo afetivo e social, pode possibilitar potencialidades e saídas criativas em situações de desamparo diante da possibilidade de finitude humana, enquanto no processo de elaboração do luto envolve a escolha de um objeto substituto. PSYCHOANALYTICAL CONTRIBUTIONS TO MOURNING AND MELANCHOLY ABSTRACT The mourning and the melancholy issues are profoundly important for psychoanalytic study, and it has been studied from the creator of psychoanalysis Sigmund Freud to contemporary authors who added and revised the first concepts. Losing beloved ones results in the mourning experience to the individual, whereas in melancholy the suffering mental feeling comes from losing or damaging internal objects, without necessarily losing a real object. Mourning and melancholy conditions trigger mental suffering and may even lead the individual to a pathological condition. The present study aims at elucidating mourning and melancholy elements, and the psychic elaboration process, using the film Melancolia (2011) by the Danish director Lars Von Trier as an artistic resource, articulating the psychoanalytic theories about the issue, outcomes, and psychic consequences. In this regard, the literature review was used as a methodology. The analysis of the mechanisms found in the character Justine of Lars Von Trier's artwork, and his subjective experiences of the processes related to melancholy, allows us to evaluate important aspects as concerns melancholy identification and the loss of object issue and affective investments with the external world. It is concluded that melancholy, despite presenting pathologic aspects and damages for affective and social areas, may provide potentialities and creative results for abandon situations when facing the possibility of human finitude, whereas in the natural mourning stage involves the displacement mechanism. Descriptors: Mourning. Melancholy. Movie theater. Psychoanalysis.
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Evans, Brad. "The Tears of Things: Melancholy and Physical Objects (review)." Modernism/modernity 14, no. 2 (2007): 384–86. http://dx.doi.org/10.1353/mod.2007.0032.
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Correa, Cristia Rosineiri Gonçalves Lopes. "Suicide in anti-psychiatry and in psychoanalysis." Revista Latinoamericana de Psicopatologia Fundamental 11, no. 3 (September 2008): 392–404. http://dx.doi.org/10.1590/s1415-47142008000300004.
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In psychiatry, the criteria by which the need for psychiatric attention is evaluated are often the object of disagreements, thus bringing to the fore debates regarding the validity of the concept of mental illness. Whereas anti-psychiatrists, such as Szasz (1961), argue against the prevention of suicide, Freud (1915) describes a case of melancholia that would justify psychiatric intervention in suicidal individuals. In this article, I examine these arguments and argue that Freud's account of melancholia puts Szasz's position into question.
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Eruvbetine, A. E., and Solomon Ombatsola Azumurana. "Melancholia and the search for the lost object in Farah’s Maps." Tydskrif vir Letterkunde 54, no. 1 (March 24, 2017): 142–57. http://dx.doi.org/10.17159/tvl.v.54i1.9.
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Maps, given its intriguing narrative thrusts and multi-axial thematic concerns, is arguably the most studied or analysed of Nur- rudin Farah's nine prose fictions. The novel's title as well as its synopsis has naturally dictated the focus of critics on the Western Somalia Liberation Front's war efforts geared towards liberating the Ogaden from Ethiopian suzerainty and restoring it to Somalia. The nationalist fervour, the war it precipitates and its fallouts of a strife-ridden milieu have such a pervading presence in the novel that the personal experiences of the novel's two major characters, Askar and Misra, are quite often discussed as basic allegories of ethnic and nationalistic rivalries. This paper focuses on the personal experiences of Farah's two major characters. It contends that the private story of Askar and Misra is so compelling and central to the many issues broached in the novel that it deserves significant critical attention. Drawing upon Sigmund Freud's and Melanie Klein's concepts of melancholia, the paper explores how central the characters' haunting sense of melancholia is to the happenings in Farah's Maps.
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Amir, Dana. "Naming the Nonexistent: Melancholia as Mourning Over a Possible Object1." Psychoanalytic Review 95, no. 1 (February 2008): 1–15. http://dx.doi.org/10.1521/prev.2008.95.1.1.
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Hoffmann, Eva. "“Innocent Objects:” Fetishism and Melancholia in Orhan Pamuk’s The Museum of Innocence." Konturen 8 (October 24, 2015): 155. http://dx.doi.org/10.5399/uo/konturen.8.0.3715.
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In this article, I place Orhan Pamuk’s novel The Museum of Innocence into dialogue with Sigmund Freud’s theory of the fetish. As Gerhard Neumann argues, the fetish provides the basic pattern for the modern subject and its experience of self and the world while performing the impossibility of narrating this experience. In a similar vein, the fetishized objects described in the novel and put on display in Pamuk’s actual museum in Istanbul complicate the narrator’s account of a lost love relationship. The fetish objects create an intertwinement of coalescing and contradicting narratives that point to “black melancholia” as a deeply ambiguous feeling in the collective memory of Istanbul and its people.
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Francis, John. "Emotional Registers of Queer Representation: Gothic Expression in The Rocky Horror Picture Show and Vivienne Medrano’s “Addict”." Frames Cinema Journal 20 (November 16, 2022): 67–94. http://dx.doi.org/10.15664/fcj.v20i0.2512.
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Queer representation in media often relies on a limited perspective built around identity visibility. Who or what is this made to serve? As with the unhappy queer archives Sara Ahmed explores in The Promise of Happiness, queerness is rendered as a surface level struggle for legitimacy in society and relationships, that far too often ends in melancholy or despair. While non-queer audiences indulge in a temporary alignment with a vicarious interpretation of queer experience, the queer audience is presented with an often melancholic or distressing representation of our racist, hetero-patriarchal, neoliberal capitalist present. Working within western canons assembled through the fetishising of liberal rationality, to be outside the scope of the liberal human subject is a wide and deep realm of the undefined and unknown. This is the home of speculative fiction and where the sprouts of popular media were seeded. The gothic, horror, and science fiction grew out of the artistic impulses that clash at the borderlands between the rational and irrational, known and unknown, subject and object, human and queer.
The twisting meeting places of horror and queerness is experienced best within queer treatments of horror. A close reading of the queer emotional affects in the queer media products The Rocky Horror Picture Show’s “Floor Show” sequence and Hazbin Hotel’s music video “Addict,” demonstrates that queer representation is inclusively produced through emotional affects most visible in horror. Furthermore, the gothic and horror pastiche at work within these two particular segments shows Jack Halberstam’s low theory in action.
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Marchal, Joseph A. "Toward Feeling Fragments: Melancholic Migrants and Other Affect Aliens in the Philippian and Corinthian Assemblies." Biblical Interpretation 30, no. 5 (November 14, 2022): 600–623. http://dx.doi.org/10.1163/15685152-03050004.
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Abstract Grief and trauma mark both the ancient past and the present, while melancholia reflects the possibilities for holding on in both contexts. In order to vary and multiply our approaches to people and places touched by loss, biblical scholars could get a different feel for the potentials of melancholia as examined in affect, queer, and critical race theories. While Pauline letters often aim to convert grief away from pain and trauma, the pre-Pauline materials within them (specifically, the slogans in 1 Corinthians and the Christ-hymn in Philippians) index a communal melancholia, refusals to “get over it” or relinquish the other and/as lost object(s). Though the other affect aliens in the assembly communities are moving within colonized contexts shaped by layered sediments of insidious trauma, their slogans and hymns assemble contingent and temporary fragments, modes of negotiating difficult conditions, of loss and death, enslavement and exploitation, unwanted touch and ongoing suffering – without forgetting.
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Jones, James W. "Mourning, Melancholia and Religious Studies: Is the “Lost Object” Really Lost?" Pastoral Psychology 59, no. 3 (June 23, 2009): 379–84. http://dx.doi.org/10.1007/s11089-009-0224-8.
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MCCRACKEN, JANET. "The Tears of Things: Melancholy and Physical Objects by schwenger, peter." Journal of Aesthetics and Art Criticism 69, no. 3 (August 2011): 336–38. http://dx.doi.org/10.1111/j.1540-6245.2011.01476_4.x.
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Zamzuri, Ahmad. "MEMBACA JATISABA: MENELISIK MEMORI, TRAUMA, DAN JALAN PULANG." Widyaparwa 48, no. 2 (December 24, 2020): 269–82. http://dx.doi.org/10.26499/wdprw.v48i2.629.
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This study aims to describe the construction of memory and trauma in Ramayda Akmal’s Jatisaba using memory and trauma perspectives. This research went through four stages. Those are determining the material (source of data) and the formal object of the research, collecting data, analyzing data, and conclusions. Ramayda Akmal’s Jatisaba is the source of data. Meanwhile, memory and trauma are determined as the formal object of research. In collecting data, an intensive reading process is the next step for understanding the elements of the story. Then classifying words, phrases, sentences, and paragraphs based on the concepts of a traumatic event, loss, and melancholy. All the data were analyzed through memory and trauma concepts. The results of the analysis show that, first, the memory constructed in the Jatisaba is related to traumatic memories triggered by a sense of homelessness and traumatic events when Mae became a migrant worker. Second, Mae becomes a traumatic subject (melancholia). Third, Gao becomes a reconstruction of “undeniably home” for Mae’s soul. Fourth, the reconstruction of memory in Jatisaba is an effort to complement the author's longing for a homeland.Penelitian ini bertujuan mendeskripsikan konstruksi memori dan trauma dalam Jatisaba karya Ramayda Akmal dengan menggunakan perspektif memori dan trauma. Penelitian ini melalui empat tahapan, antara lain penentuan objek material (sumber data) dan objek formal penelitian, pengumpulan data, analisis data, dan simpulan. Novel Jatisaba karya Ramayda Akmal adalah objek material (sumber data). Sedangkan memori dan trauma merupakan objek formal penelitian. Dalam pengumpulan data, proses membaca intensif merupakan langkah selanjutnya untuk memahami unsur-unsur cerita. Kemudian, pengklasifikasian kata, frasa, kalimat, dan paragraf berdasarkan konsep peristiwa traumatis (traumatic event), kehilangan, dan melankolis. Data dianalisis melalui konsep memori dan trauma. Hasil analisis menunjukkan bahwa, pertama, memori pada novel Jatisaba berkaitan dengan memori traumatis yang dipicu oleh rasa kehilangan dan peristiwa traumatis saat Mae menjadi buruh migran. Kedua, Mae merupakan subjek traumatis (melankolia). Ketiga, Gao merupakan rekonstruksi “rumah” bagi jiwa Mae. Keempat, rekonstruksi memori pada novel Jatisaba sebenarnya merupakan upaya pulang pengarang untuk melengkapi kerinduan pada kampung halaman.
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Kozłowska, Aleksandra. "Yearning for Beauty. The Expression of Melancholy in Toni Morrison’s “The Bluest Eye”." Jednak Książki. Gdańskie Czasopismo Humanistyczne, no. 9 (April 24, 2018): 79–86. http://dx.doi.org/10.26881/jk.2018.9.07.
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The purpose of the paper is to discuss the sources and results of melancholy in Toni Morrison’s novel The Bluest Eye with reference to Dominick LaCapra’s theory based on a distinction between loss and absence. LaCapra claims that the former concept refers to a particular event, while the latter cannot be identified with any specific point in time or object. What is more, LaCapra admits that absence may result in melancholy, i.e. the state in which the individual remains possessed by a negative emotion because there is no possibility of working it through. The idea of absence causing melancholy is exemplified by the protagonist of The Bluest Eye, Pecola Breedlove. The girl dreams about acquiring blue eyes that belong to the prevailing white model of beauty which excludes African-American features. The feeling of absence is intensified by the U.S. education system aimed at promoting the lifestyle and characteristics of white Americans, her own mother who prefers serving white people to taking care of her own children, and the peers that constantly stigmatize Pecola for ugliness. Consequently, she becomes obsessed with the unattainable blue eyes. Since there is no chance for her to be accepted and thus cope with the absence of white features, the girl suffers from melancholy which leads her to insanity and exclusion from society.
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Dzhabbarova, Egana Ya. "Melancholy as a Plot-Forming Concept in Orhan Pamuk’s Novels." Izvestia of the Ural federal university. Series 2. Humanities and Arts 24, no. 2 (2022): 115–25. http://dx.doi.org/10.15826/izv2.2022.24.2.028.
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This article analyses the concept of “melancholy” and “post-imperial melancholy” in Orhan Pamuk’s novels. An attempt is made to consider the novelist’s work from the point of view of postcolonial and decolonial theories. The material of analysis is limited to his novels A Strangeness in My Mind (2016) and Istanbul: Memories and the City (2012). The crucial state of Pamuk’s characters and, consequently, the object of analysis is melancholy, which, on the one hand, can be interpreted as nostalgia for the former greatness of the Ottoman Empire and, on the other hand, is an example of an “aestheticised nostalgia” as a technique of decolonial aestheticism. The article also focuses on Pamuk’s own position as a cultural trickster, balancing between East and West in an attempt to find a balance. The author examines images of the “bouza” and the “dog” as symbols of the Ottoman Empire and analyses the dichotomy of the “Eastern man” vs the “European man”. On the one hand, Pamuk’s characters, like Pamuk himself, associate themselves with the European man, broadcasting the “Orientalist” view of the West as a backward space, on the other hand, they are representatives of Oriental culture and mentality, guardians of Turkish traditions and the history of their own city. The analysis makes it clear that the melancholy of the protagonists is primarily related to their personal past and childhood memories. It is the author’s attempt to return to his own past in order to find cultural and personal integrity, to discover the origins of self-identity, and to overcome his inner “coloniser”. Thus, Pamuk’s melancholy is inextricably linked with pride and beauty.
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Moradi, Hossein. "Melancholy in John Dryden’s All for Love." European Journal of Humanities and Social Sciences 2, no. 6 (December 5, 2022): 83–89. http://dx.doi.org/10.24018/ejsocial.2022.2.6.341.
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Antony, the mourner, sticks to his bondage to others by entering the bondage of love of Cleopatra. This makes the difficulty in acting independently. Antony shows most persuasively that he is seeking a life secure in the arms of Cleopatra. In Freud’s narcissism, secure life is achieved through the process of self-regard. This is a pathology. However, I argue that Antony does not incorporate Cleopatra into himself but loses her to demand a possibility, a mood, or an orientation toward the world. His feeling is changed into a mood that copes with the problems caused by the libidinous involvement with the object in Freud. He changes his feeling into a countenance towards the world, rather than a pathology. This is what Walter Benjamin calls melancholy.
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Trapp, Erin. "On “The Edge of the Sea”: Climate Breakdown and Psychoanalysis." Yearbook of Comparative Literature 64 (July 1, 2022): 172–94. http://dx.doi.org/10.3138/ycl-64-070.
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This article connects Rachel Carson’s idea of what “seem[s] unchanged” to a specific point in psychoanalysis’s narrative of loss, where the tension between letting go of an object that is external (mourning) and the incorporation of the lost object (melancholia) persists to such an extent that the indeterminacy of the internal/external object becomes the matter at hand for interpretation. This indeterminacy is experienced in and as unconscious phylogenetic phantasy, which I locate in Carson’s figure of change at the “edge of the sea.” This article attempts to bring the realm of unconscious phantasy directly to bear on ideas of the environment, using Harold Searles’s ideas of the nonhuman environment and phylogenetic regression to explore the idea of the psychical significance of the environment. It then extends these ideas about the significance of the nonhuman environment to thinking about change and reality in the clinical psychoanalytic space in the writing of Betty Joseph and Hans Loewald.
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Alexander, Travis. "Immunity’s Racial Empire: Virality, Melancholy, Whiteness." American Literature 92, no. 3 (September 1, 2020): 513–41. http://dx.doi.org/10.1215/00029831-8616175.
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Abstract Writing in 1991 and 1994, respectively, Donna J. Haraway and Emily Martin argued that in the postwar decades the immune system became a material pedagogy for neoliberal and postmodern thought. In its depiction as a decentralized network of response, the immune system modeled life in late liberalism’s dematerialized time-space compressions. Moreover, if the immune system reified life in this radical expansion, its preternatural competency for discrimination between self and other simultaneously availed a means of retaining racial hygiene in this brave new world of empire. Yet curiously neither Haraway nor Martin acknowledged the extent to which the arrival of HIV in the early 1980s constituted a radical desublimation of what Roberto Esposito identified as the immune system’s salvational image. This essay posits that the arrival of HIV did not simply constitute a neutralization of the immunological fetishism of the postwar period. Rather, the loss of immunity precipitated a biopolitical melancholia. Having lost access to its privileged topos—the immune system itself—immunological governance in turn proximately cathected the object responsible for its trauma, namely, HIV itself. I understand Neal Stephenson’s Snow Crash (1992) and Chuck Hogan’s The Blood Artists (1998) to think, in submerged literary form, an incremental embrace of virality as, ironically, the most viable vehicle for conserving the fantasies of both neoliberal competency and racial containment reified initially by immunity itself.
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Winters, Joseph. "Recovering the Irrecoverable: Blackness, Melancholy, and Duplicities That Bind." Religions 12, no. 4 (April 16, 2021): 276. http://dx.doi.org/10.3390/rel12040276.
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In this article, I critically engage Stephen Best’s provocative text, None Like Us. The article agrees with Best’s general concerns regarding longings for a unified black community or a We before the collective crime of slavery. Yet I contend that melancholy, which Best associates with black studies’ desire to recover a lost object, can be read in a different direction, one that includes both attachment and wound, investment and dissolution. To think with and against Best, I examine Spike Lee’s School Daze in conversation with Freud, Benjamin, and Morrison.
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Novaković, Nikola. "“A Melancholy Meditation on the False Millennium”." Tabula, no. 19 (December 8, 2022): 89–110. http://dx.doi.org/10.32728/tab.19.2022.6.
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Edward Gorey’s works are commonly set within a hybrid Victorian/ Edwardian period and often elicit further confusion by containing comically anachronistic details and a nonsensical approach to time, all of which leads to Gorey’s characteristic “bewildering temporality” (Shortsleeve 2018: 104). As this paper shows with examples from The Broken Spoke (1976), The Object- Lesson (1958), and The Water Flowers (1976), Gorey employs manipulations of temporal boundaries within the framework of nonsense, such as simultaneity, digression, and repetition, which suggest timelessness and infinity. These are devices that necessarily draw the reader’s attention to the form, structure, and pattern of Gorey’s works, and the same is true of his intertextual quotation and nonsensical rearrangement of time-related motifs from other texts, as in the case of his parodic transplantation of Charles Dickens’ device of time-traveling ghosts (The Haunted Tea-Cosy, 1997). Nevertheless, despite a self-referential flaunting of form, Gorey’s works frequently accomplish a seriocomic confusion of tone that complicates any simplified reading of his tales as exclusively humorous. This effect, which has elicited descriptions of Gorey’s work as “radiat[ing] a melancholy and an existential unease” (Kindley 2018), is to some extent accomplished by his relatively frequent depiction of ghosts and apparitions, which inherently point toward the question of time, indicating both the past and the future. The paper concludes by exploring what implications such a bidirectional movement can have on the reader’s experience when encountering Gorey’s mysterious spectres.
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Pahl, Katrin. "The Logic of Emotionality." Publications of the Modern Language Association of America 130, no. 5 (October 2015): 1457–66. http://dx.doi.org/10.1632/pmla.2015.130.5.1457.
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I would like to suggest that we use the term emotionality instead of emotions. this will avoid the taxonomic impulse at work when we take specific emotions and name them as objects of our inquiries. These taxonomies render emotions more stable than they are and create a hierarchy of the most talked-about or salient emotions (like melancholy, for queer studies, or fear, for political theory). More abstract than emotions, the term emotionality can take on the quality of a name and thus allow us to think together with emotionality the way one may think something through with another person. This essay will define emotionality as minimally as possible so that its particulars are allowed to shift and change.
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Cenis, Thomas. "NEO-BAROQUE ELEMENTS OF YURY BUIDA’S POETICS." Practices & Interpretations: A Journal of Philology, Teaching and Cultural Studies 6, no. 4 (December 1, 2021): 92–123. http://dx.doi.org/10.18522/2415-8852-2021-4-92-123.
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The article analyzes the neo-baroque elements in the work of the writer Yury Buida, considers the concepts of neo-Baroque (Benjamin, Deleuze, Calabrese, Lipovetsky), as well as the relationships between Baroque and neo-Baroque in postmodern poetics. In Buida’s prose such distinctive features of neo-Baroque aesthetics are revealed as excessive quoting and genre-style eclecticism (“The Fifth Kingdom”); “rhythm of repetitions and breaks” in repetitive motifs and representation of the characters (“Everyone flowing”); manifestation of neo-Baroque melancholy and nostalgia (“The Prussian Bride”); the aesthetics of excess, manifested in the physical and moral deformation of the characters or in mass scenes of violence in a theatrical fashion; the image of the library-labyrinth (“Nscdtchndsi”). The article also interprets the role of the Königsberg text as an object of the author’s melancholy and nostalgia, an element of the narrative linking of the author’s stories. The neo-Baroque elements are analyzed not only as a re-mythologization of the style and of the specific views of the epoch, but also from the point of view of their poetic function in the texts. In Buida’s texts these elements can perform as tools of author’s control over the reader’s reception, as well as strategies aimed to confront chaos and entropy.
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Passos, José Luiz. "Machado de Assis, moral imagination and the novel." Machado de Assis em Linha 7, no. 13 (June 2014): 05–18. http://dx.doi.org/10.1590/s1983-68212014000100003.
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The article discusses the premise behind binding literary value to the ability a work has to yield socio-historical information, prevalent in recent criticism on Machado de Assis. It argues that the body of Machado's work shows an increasing ambivalence regarding the links between imagined lives and history, thus proposing that in his late writings the matching between things real and things represented is a rhetorical and melancholy gesture of great insight. In order to illustrate the prevalence of moral imagination as object and technique in Machado's late novels, the author highlights a few points of contact between Machado de Assis and Henry James, contemporaries and akin in their literary sensibilities.
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Ismail, Nyak Mutia, and Moriyanti Moriyanti. "The overview analysis of the movie Sense and Sensibility." EduLite: Journal of English Education, Literature and Culture 4, no. 1 (February 28, 2019): 45. http://dx.doi.org/10.30659/e.4.1.45-54.
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Movies have been everybody�s favorite across all ages. Some movies are not suitable for certain ages and the parents� assistance is needed during the watching movie process so that they can show the morals conceived in the movie. This study tries to shed lights on the elements contained in �a movie entitled �Sense and Sensibility�, �a movie made based on a novel by Jane Austen. This study was carried out in qualitative approach using visual feature analysis technique. The object of this study was the movie with the duration of 140 minutes. The data obtained were then classified based on its elements such as realism, local color, narratives, and symbolism. The result portrayed that the realism given in this movie is the condition of a noble family who had lost all of their wealth and life had been becoming crude. The local color depicts the social status in the mid-eighteenth century. The story was narrated in the linear plot and finally, the symbolism in this movie exposed much about the calming and melancholic nature of Devonshire.
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Ahmetagić, Jasmina. "The case study by Slavenka Drakulić: Whose victim is Mileva Einstein?" Зборник радова Филозофског факултета у Приштини 50, no. 4 (2020): 3–17. http://dx.doi.org/10.5937/zrffp50-29483.
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By embedding the "theory of sadness" phrase in the novel's title (Mileva Einstein, a theory of sadness), Slavenka Drakulić suggests that she sees her heroine's life as a paradigm of melancholy and depression. By diving into the psychology of a woman who has been portrayed during the two decades as wilingless and gloomy, always lacking the sense of self-fulfillment, the author is trying to reveal the key drivers which are responsible for Mileva's humiliating life circumstances-non-assertiveness, suppression, adjustment, feeling of inferiority, inability to tolerate separation and addiction, as well as a tendency to deny the facts. The protagonist illuminates her own feelings of inferiority due to her birth physical defects which pushed her into the science. She compensates her low self-esteem by school achievements and by nurturing the love relationship towards the symbiosis and removal of self-boundaries. Therefore, the love loss is a personal impoverishment and an identity issue. The novel is told by the omniscient narrator influenced by the influx of Mileva's stream of consciousness (still unreliable, since it is a testimony of "melancholy effect" and distortion of reality). The heroine faces the deepest truth about herself and at the same time turns away from it. Intertwined contradictions and ambivalences are revealing that the main cause of Mileva's tragedy is her pathological sadness. Using the psychoanalytical repertoire of object relations, we point out that, following the loss of the object, the heroine transferred her libido to herself and became self-obsessed in a destructive manner. By suggesting to the reader why Mileva Marić Einstein's response to the circumstances was depression (amidst all other psychological possibilities), Slavenka Drakulić's work is breaking the journalistic boundaries and emerges as a psychological novel.
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Hsueh, Vicki. "Intoxicated Reasons, Rational Feelings: Rethinking the Early Modern English Public Sphere." Review of Politics 78, no. 1 (2016): 27–57. http://dx.doi.org/10.1017/s0034670515000868.
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AbstractThis article examines early modern English public houses and related period miscellany—broadside ballads, conduct books, and songs—to more closely investigate the discourses and performances of drinking culture. Drinking culture, I argue, not only had a significant role in shaping the Restoration's civic culture of political participation and the emerging early modern public sphere, but also positioned emotions of pleasure and melancholy as social and political objects of care and cultivation. While the politics of pub culture and intoxication have been well documented by historians and literary scholars of early modern England and eighteenth-century America, much of this discussion has not yet been incorporated into political assessments of the public sphere and its history. Reinserting emotion and intoxication into the emergence of the public sphere helps to flesh out the history of feeling and social ritual in civic engagement.
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Verbivska, H. O. "AESTHETICAL EXPERIENCE AS PATHOLOGICAL DISCOURSES OF ABJECTION AND MELANCHOLIA IN THE BEKSINSKI' ART." UKRAINIAN CULTURAL STUDIES, no. 1 (6) (2020): 55–59. http://dx.doi.org/10.17721/ucs.2020.1(6).12.
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This article tackles the issue of aesthetic experience from the pathologized everyday discourse viewpoint in the system of relations between I and symbolic order, where transgressed and close to symbolic death I is predominant. The stage, in which I, crossing the symbolic borders, stay readable, appears to be the process of continuous constituting the aesthetic experience and its transforming into the primordial a priori structure of everyday discourse. The problem lies deeply in the preserving of evanescent borders which are said to exist in the cultural palpability and simultaneously to be exiled from the system. The article exemplifies pathological discourses by referring to the Beksinski' works, namely his numerous ways of articulating the ineffable. However, articulated ineffable, similarly to such culturally conditioned reactions as abjection and melancholia, declares double death of the discursive subject: the first time when the separation from primordial presymbolic world takes place and the second time during problematizing the symbolic borders and paradoxical immortalization concerning postulated frontiers. The aim of this article is to dig out kaleidoscope of images and sub-images from Beksinski' works through the motive of crucifixion resulting in the specific value of Christ's body and chimerical things inside the dehumanized catastrophic space. It is demonstrated how pathological discourse of melancholia could be intertwined with the discourse of abjection in the common point of transgressing the limits, making the symbolic space full of details indicating the risk of Ego being disintegrated, staying inside the transgressed limits as constituting aesthetical experience. Inexplicability of terrible post-apocalyptic world is readable via symbolic coordinates insofar as the main primal object (the body of Christ) occurs to be banished. Appearing of aesthetic experience is paralleled to the stages of psychosexual development in the existence of symbolic being where in opposition to classical freudism maternal authority is accentuated. That's how Kristevan style of psychoanalytic ruminations looks like.
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Fakhrkonandeh, Alireza. "Melancholy Ontology, Evental Ethics, and the Lost (m)Other in Howard Barker’s Theatre of Catastrophe: An Analysis of 13 Objects." Comparative Drama 50, no. 4 (2016): 365–405. http://dx.doi.org/10.1353/cdr.2016.0027.
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Assoulin, Kobi (Yaaqov). "Memory, Place and Pain in W.G. Sebald's: The Emigrants." ATHENS JOURNAL OF HUMANITIES & ARTS 8, no. 2 (February 23, 2021): 154–72. http://dx.doi.org/10.30958/ajha.8-2-3.
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When we discuss the concept of place, we mostly do so geographically, or as a metaphor. That is, by representing what we think about by geographical notions. This paper avoids this literary tendency by discussing directly the role of actual place in W.G. Sebald's The Emigrants. Not only that, While still acknowledging melancholy's main role in the novel, and the way in which it is discussed in Freud and through Freud et al, the paper takes this melancholy to be a phenomenological spring board for explicating the centrality of place within The Emigrants's melancholy. In order to do this, the paper discusses the role of place within major phenomenological thinkers like Husserl, Heidegger and Merleau-Ponty and the way their discussion dissolves the classical dichotomy of subject/object. However, as this dichotomy is dissolved, it becomes clearer as to the way places do not only belong to human-beings – simultaneously, humans belong to places. Through explicating this, we come to understand in The Emigrants what makes it such a tragic story. While the emigrants find their home to be rooted in places and memories of places, these places carry at the same time a mood of being-at-home and alongside that, a sense of ruins which haunt. Thus they become trapped between the conflicting urges of running toward and running from these memories. A dilemma that is finally solved only, in the novel, through death.