10 research outputs found
Kings of Infinite space: psychic liberation in Sgt Pepperâs Lonely Hearts Club Band
International audienc
Re-readings of the Self in "The Dead"
In his psychoanalytic study Being a Characte,, Christopher Bollas considers the ways in which individuals use objects and experiences as a means of expressing those unconscious parts of the self that may otherwise be difficult to articulate. He argues that we may project aspects of our self-experience into the objects around us as a way of giving them form: as a way of containing particular psychic states. We may select these objects consciously, or they may appear by chance and afford us a s..
Kings of Infinite space: psychic liberation in Sgt Pepperâs Lonely Hearts Club Band
International audienc
Existential Psychodynamics in John Fowlesâs The Magus
Using the theoretical work of D. W. Winnicott, this paper considers John Fowlesâs The Magus as an exploration of âpotential spaceâ. The aesthetic experience through which Nicholas Urfe passes takes place in an area that corresponds to Winnicottâs concept of this intermediate area in which both infant play and adult encounters with culture are found. It is here, within the matrix of reality and fiction, that Nicholas sheds his false self and plays towards ontological authenticity and autonomy. At the same time, the metafictional nature of Urfeâs island adventure draws attention to the interplay between reader and text as being located within potential space, and it is through these self reflexive characteristics that Fowles confirms his commitment to a belief in the capacity of artistic encounters to effect existential transformations
Kings of Infinite space: psychic liberation in Sgt Pepperâs Lonely Hearts Club Band
International audienc
L'Allusion et l'AccĂšs
LâAllusion et LâAccĂšs follows on from work previously published in GRAAT, in particular Usure et Rupture â Breaking Points (GRAAT 13) and Fonctions du ClichĂ© â Du Banal Ă la Violence (GRAAT 16). The present conference aimed to articulate the strategies that the literary text deploys to access the unsayable, whilst, simultaneously, keeping in mind the notion of play contained in the etymology of allusion: alludere. Allusion and Access, then, are two vast subjects put into juxtaposition and perspective. Allusion sets up various mechanisms of expression by Indirection while Access gives some sort of Direction although one might not know to where the direction is leading. To Allude means to say something by other means. What is that otherness which one chooses to name by substitution? What is the fundamental otherness to which access leads us, when one is dealing with meaning and is left with language as the only tool? Allusion will be understood as metaphoric play. The receiver is expected to know what the game is all about. As Pizzorusso has well said: «La notion dâallusion demande, ou demanderait, une vaste enquĂȘte : le mot, lâidĂ©e, la pratique de lâallusion.» Access meanwhile means âto reachâ in terms of a path, a progress, implying a hermeneutic search.LâAllusion et LâAccĂšs fait suite Ă des travaux dĂ©jĂ publiĂ©s dans GRAAT, notamment Usure et Rupture - Breaking Points (GRAAT 13) et Fonctions du ClichĂ© - Du Banal Ă la Violence (GRAAT 16). La prĂ©sente confĂ©rence visait Ă articuler les stratĂ©gies que le texte littĂ©raire dĂ©ploie pour accĂ©der Ă lâindicible, tout en gardant Ă lâesprit la notion de jeu contenue dans lâĂ©tymologie de lâallusion : alludere. Allusion et AccĂšs sont donc deux vastes sujets mis en juxtaposition et en perspective. Lâallusion met en place divers mĂ©canismes dâexpression par lâIndirection tandis que lâAccĂšs donne une sorte de Direction bien que lâon puisse ne pas savoir vers oĂč la direction mĂšne. Faire allusion signifie dire quelque chose par dâautres moyens. Quelle est cette altĂ©ritĂ© que lâon choisit de nommer par substitution ? Quelle est lâaltĂ©ritĂ© fondamentale Ă laquelle lâaccĂšs nous conduit, lorsquâil sâagit du sens et quâil ne reste que la langue comme seul outil ? Lâallusion sera comprise comme un jeu mĂ©taphorique. On sâattend Ă ce que le rĂ©cepteur sache de quoi il sâagit. Comme Pizzorusso lâa bien dit : « La notion dâallusion demande, ou demanderait, une vaste enquĂȘte : le mot, lâidĂ©e, la pratique de lâallusion. » LâaccĂšs, câest « atteindre » en termes de chemin, de progrĂšs, ce qui implique une recherche hermĂ©neutique
FrontiĂšres, marges et confins
Cet ouvrage met en question les termes de frontiĂšres, de marges et de confins dans une perspective pluridisciplinaire. Il aborde respectivement, lâĂ©thique des frontiĂšres, lâespace psychique, lâaltĂ©ritĂ© et les marges telles quâelles sont vĂ©cues et perçues dans les champs de la sociologie, de lâhistoire, de lâhistoire de lâart et des arts du spectacle. Il interroge Ă©galement les marginalitĂ©s crĂ©atrices de lâĂ©criture et la reprĂ©sentation des marges en littĂ©rature. TĂ©moin de la volontĂ© dâun groupe de chercheurs en sciences humaines de sortir des champs de leur discipline pour esquisser un espace transfrontalier, il inaugure la collection « Chemins croisĂ©s ». En faisant Ă©merger de nouveaux objets dâinvestigation, de nouveaux paradigmes dans une zone frontaliĂšre oĂč sâĂ©panouissent les Ă©changes, ces chercheurs souhaitent, tels les drogmans dâantan, servir dâinterface en incarnant la fĂ©conditĂ© des espaces dâentre-deux dans lesquels sâenrichissent les langues et les cultures. Penser la frontiĂšre, les marges et les confins, câest convoquer la figure de lâĂ©tranger, esquisser celle du passeur, dĂ©voiler lâin-su que chacun porte en soi et instaurer des passerelles entre gĂ©nĂ©rations et civilisations ; câest affirmer, pour reprendre les termes de Montaigne, que nous « pensons toujours ailleurs »