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Othello je napisan 1604. a Zimska priča 1610. na 11. Glavna tema obiju drama je paranoja. Shakespeareova potreba da se vrati toj temi naznačuje da se autor, pišući Othella, nije uspio osloboditi te opasne sposobnosti. Obje drame mogu povećati naše razumijevanje tog aspekta Shakespeareovog nesvjesnog.
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In teaching short story, there are lots of techniques, methods and approaches. One of these methods, especially for the students at the foreign language departments of universities, is literary approaches. Sometimes by abandoning the traditional ways of teaching short story, a trainer may make use of the literary approaches. Analyzing a short story by means of using one or more approaches may not only change the students' points of view, but also may lead them to think in different aspects. Such a study may be different, enjoyable and beneficial, apart from being monotonous, both for the trainer and the students. There are quite a good many literary approaches, and it is not possible to give information all about them in this study; thus, only their names will be mentioned here; and then psychoanalytic approach will be explained since it will be applied to a short story. Finally, William Faulkner's short story "A Rose For Emily" will be analyzed by applying this approach.
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The necessity of this paper is based on the fact that there is a real psychological and psychiatric risk in the context of medical rehabilitation, which suggests the importance of psychological counseling and psychiatric treatment services in the medical recovery sections, but also the need to evaluate the patient from this perspective. Also, the risk of psychiatric complications is increased among patients in medical rehabilitation therapy, which requires prompt identification and treatment when these conditions are identified.
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The article is a personal reflection of clinical experience that was influenced by theory of social construction and dialogical approaches in psychotherapy and family therapy. The author highlights those ideas of the theory of social construction and dialogical approach which he found attractive and inspiring in the beginning and during his professional career. The challenges one can encounter when applying those ideas in psychotherapy and psychiatry institutions are discussed. Attention is paid to individual, institutional, and social factors that may impede the application of dialogical principles not only in psychotherapy practice.
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The subject of this paper is the study of Sigmund Freud, Totem and Taboo, as a place of interdisciplinary discussion of the concepts which shaped the historical development of anthropology and psychoanalysis. After explaining the psychoanalytically informed concept of cultural origins, the paper will discuss the most significant anthropological criticism addressed at Freud. At the time of publication of the study, the existence of totemism had already been called into question, and the deconstruction of the totemism was completely formulated by Lévi-Strauss. The paper deals with Alfred Kroeber’s critiques, and then considers Malinowski’s first critique of the universality of the Oedipus complex, based on his research of the matrilineal society of the Trobriand. Freud applied psychoanalytic findings to social phenomena for the first time in this study of totemism. The purpose of this paper is to present the early disagreements between anthropology and psychoanalysis, as well as possible implicit readings of Freud’s work.
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Book Review : Ioan Pop-Curșeu, Études comparatives sur la sorcellerie. Anthropologie, cinéma, littérature, arts visuels (Școala Ardeleană Publishing House, Cluj-Napoca, 2021)
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As part of the death drive, hate, so prevalent in world literature as the natural state of so many characters, has led the creative spirits, preoccupied invariably with metamorphosis and ascension, to produce genuine masterpieces. Whether malignant or benign (socially justified), hate, along with its many shapes and forms, generates attitudes which characterize a fundamental concept in Dostoevsky’s fiction, namely the antihero. Displaying typical features that are traceable throughout literature from the great Russian author on, the character dominated by hate withdraws from the world, thus fueling his alienation.
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As part of the death drive, hate, so prevalent in world literature as the natural state of so many characters, has led the creative spirits, preoccupied invariably with metamorphosis and ascension, to produce genuine masterpieces. Whether malignant or benign (socially justified), hate, along with its many shapes and forms, generates attitudes which characterize a fundamental concept in Dostoevsky’s fiction, namely the antihero. Displaying typical features that are traceable throughout literature from the great Russian author on, the character dominated by hate withdraws from the world, thus fueling his alienation.
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The paper analyses and interprets Western radical left-wing scholars’ view on communism from the three dimensions of Ego, Other and the World in the modern philosophical context. The purpose of the research is to compare and reconstruct the three scientific categories of relations represented by communism, namely, the logical dialectical relations of Ego domain, Other domain and the World domain. The theoretical reconstruction and contextual analysis of Jacques Lacan and Sigmund Freud’s psychoanalysis, as well as numerous researchers of their work are used. The methodological basis of this research is a philosophical reconstruction and deductive speculation, inductive speculation and insight speculation approach. It is shown that the radical left scholars reexamine the evolution of communism from three basic categories: imaginary domain, symbolic domain and real domain. Furthermore, they reconsider the construction of communism through the study of the interrelations among Ego, Other and the World. Simultaneously, they also excavate the structural contradiction of contemporary capitalism and criticise its deficiencies. The weaknesses of the argument about these relations are shown by reconstructing this upward spiral relations, which can be considered an ideal model of domain structure in ‘The Neo-Communist domain’. On the basis of this claim, it is shown that these three types of domain structures may well coexist at least in ideal society, thus mankind should adhere to Marx’s dialectical materialism to consider problems. The scientific significance of the research is justifying that the philosophical reconstruction does not only enrich Marxist communist ideology and is of great practical significance for Socialist countries to reshape the ideals and beliefs of Marxism, but also stick to the development of Marxism and to expand the research horizon of communism. Nevertheless, the communist thought of western radical left scholars still has the dilemma of separating theory from practice and failing to transform theoretical communism into combatant communism.
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The article analyses the condition for release from criminal liability on bail – the full admission of guilt and remorse for committing the criminal act of the accused – from a legal, psychological and criminological point of view (in other words, the internal assessment of the actions of the accused.) An interdisciplinary analysis of this institute is necessary because the legal doctrine reflects the view that the psychological concept of guilt prevails in Lithuania, which encompasses the psychological relationship of a person to the criminal act committed, which makes it possible to argue that these provisions should be analysed systematically, combining the synergy of the legal and psychological sciences. Therefore, the author examines the features of a full admission of guilt and remorse for the criminal act and the circumstances that prompted this choice of behaviour. The study recognizes that the purpose of the surety institution, i.e., the deterrence of criminal acts through the supervision of a person who is trusted by the court, can only be effectively fulfilled by an accused who is critical of their actions, who fully admits guilt and who is remorseful for the criminal act committed. For this reason, the analysis of the psychological attitude of the accused towards the criminal offence is based on the assumption that the person is not only declaratively seeking to avoid criminal liability. The study also provides an analysis of the case law and criminological analysis of the attributes enshrined therein in relation to the special subject – a civil servant or a person equal to a civil servant. Furthermore, the question is raised whether a person, who is subject to the criterion of impeccable reputation, as well as to other specific requirements of qualification, who has committed a criminal offence against the public interest and the public service, should also be exempted on equivalent grounds from criminal liability. It is also taken into account that, due to a lack of intrinsic motivation, it is not uncommon for members of the public who have this status to fully admit their guilt because they know that sufficient evidence has been gathered on the subjective element of the criminal act, i.e., culpability (in relation to them). This can be seen by analysing the pattern of the behaviour of the accused during the criminal proceedings. The court is often faced with the problem of assessing whether releasing a civil servant from criminal liability on bail would be in line with the purpose of the institution of suretyship. The criminological analysis of the full admission of guilt and remorse for the commission of a criminal act is an important tool in the study of law, as the identification of the motives of the accused of their choice of a particular pattern of behaviour can provide insights that could lead to the adoption of more effective measures to prevent crime. For example, they should not only be limited to strengthening sanctions for criminal acts committed, but also to reconsidering the appropriateness of the institution of surety for a person with a special status. This assumption can be made by applying a teleological approach to the application of the institute of suretyship enshrined in the current Criminal Law, noting that the civil service is a professional activity designed to assist those exercising state or local authority in the performance of their functions, and not to correct the conduct of civil servants through the supervision of a person who is worthy of judicial trust.
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The identity of a person assumes a complex phenomenon, inculcating variegated aspects and meanings. The article is centered upon the investing of a person with a denomination. To bestow a name to a subject is to recognize the subject’s existence, and also its spatial and temporal dynamic. The name functions as a social pre-identity. The self interacts with the other, who no longer is an abstract figure, but becomes a recognizable referent. In Toni Morrison’s Song of Solomon, the name helps to form a character’s identity, investing it symbolically. The main character, Milkman, gets his true name as a result of a set of events, which outlines the idea that man is the result of social actions, and of hereditary factors. The article stresses the careful process employed by the writer in selecting the name of the characters, in order to cast a light upon their personality, and most of all to create an ideological subtext. Each character becomes an idea, a concept. Milkman symbolizes the oedipal complex, ventured in an attempt of escaping the parental figure. Song of Solomon, although considered a novel obsessed with names (Duvall, 90), symbolizes an obelisk aspiring to reach the symbolic existential horizon, because in the end a human life is a symbol of spiritual trials, of returning to myth and origins, but mostly of Icaric flight when human assumes his destiny to conquer his own supremacy.
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One of the most important cultural products in the digital age is video games. These plays, which are fed by various literary products such as novels, stories, epics, myths, and fairy tales, show the quality of literary products in terms of their fiction. For this reason, plays, like literary texts, are products suitable for analysis with various theories and methods. Today, the necessity of examining video games has been realized, various scientific studies have been carried out in this direction, and video games have turned into an interdisciplinary subject. The video game “Alice: Madness Returns” discussed in this study is also fed by Lewis Carroll's stories “Alice in Wonderland” and “Through the Looking-Glass”. This study, it is aimed to analyze the video game named “Alice: Madness Returns” published in 2011 by the game maker named American McGee with a psychoanalytic approach. In the study, information was given about the subjects such as the fiction, heroes, gameplay, positive and negative sides of the game that was mentioned in the first place. Then, the conflicts of the heroes within themselves and with other heroes are discussed from a psychoanalytic point of view. Afterward, various narratives, symbols, symbols and spaces in the play were evaluated in a psychoanalytic context.
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This article explores a series of dramaturgical aspects of “phenomenological theatre” that bring into play strategies of absorption of the spectator into the universe of fiction. Seeking to further extend the results of previous studies on Samuel Beckett’s “television plays” to his major theatrical works, the author here puts a special emphasis on the Endgame’s mechanisms of repetition and their ability to act as framing devices towards the human essences of the dramatic figures onstage and to turn them into simulacra of (states of) consciousness, to be lived by the spectator. This dramaturgical approach opens towards a hyper-realist configuration of a theatrical event within which characters paradoxically seem to be aware of the spectator’s immediate presence. As an effect of a theatre of non-representation, the subject feels more present to the human figures onstage and closer to discover, in a form of intersubjectivity, the real and fiction as interlaced worlds. The article also points at the configuration of the human nature of the stage presences in terms of symptoms of various deficiencies and reveals through a series of philosophical notions (temporality, being, being in the world, being with…) their framing function and the lived experiences it may give rise to.
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This paper reads Chantal’s Akerman œuvre with regards to contingency and loss, in a psychoanalytic Lacanian perspective. Womanhood in anxiety and jouissance, the time of the singular and the subject’s identity entwined with the Other and with the contingency of the real are thus correlated with Akerman’s production, particularly Jeanne Dielman and her written journal. The short essay also opens the path of articulating the singular and the unary trait in the Lacanian sense in Akerman’s cinematic style. The protagonists are drawn within a repetition that cannot be mastered or directed but pertains to an impossible encounter on “the other stage”, whose rhythm out of meaning affects the meaningful dailiness of life.
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The aim of this article is to examine an archeology of violence in the contemporary theatre with particular reference to the production of Milo Rau, The Repetition. History/ies of Theatre (1). While the species of tragedy was dominated by the notion of destiny, contemporary theatre depicts the tragedy of life of the individual who is constrained to deal with a new form of tragic resulting from the crossing between the political, the historical and the ideological spheres. Within this framework, the contemporary theatre director represents the theoretical-authoritarian conscience of the performance. Reshaping the contemporary theatre and staging violence, Rau creates a conjectural tragedy by portraying not only the violence, but also the pain, the threat of danger or the terror felt by the character/ the actor – it is the Lacanian Real that repeats itself and produces the trauma. In this context, the character/ the actor dies with each performance and the viewer witnesses something that no one has ever seen, the unrepresentable event of death.
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The present article, built in the form of a testimony, examines the specificities of my personal type of rehearsal regarding my theatrical productions from the last years. It also answers some other questions: what does the prelude mean in theatre, how can we keep the space clean after each performance/ rehearsal, how does the energy of an actor come in contact with another energy, what are the limits of a theatrical laboratory and so on.
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Without repetition, the theater looks like a psyche without complexes. Repetition creates and fixes a world that signifies reality, to the same extent that it lays the foundations of a dynamic universe, in a continuous search for the new. At the theater, just as one performance does not look like another, a new rehearsal always brings something new, a new intention that helps or, on the contrary, can destroy the whole show. But in the theater, what could go wrong? Practice teaches us that we have as many aesthetics as practitioners. Here, it matters the game of meanings and signifiers. In other words, can a mistake be an instrument of theatricality? But the Freudian slip? Is this psychological process a dramatic function? Theatrical practice has led us to the conclusion that, in order for Freudian slips to be successfully managed, we need both a skilled director to detect these “errors”, then to discover the latent intentions that are hiding behind them, and an actor with vivid instincts, eager to improvise, to play with their symbolism.
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Review of Death and the Ploughman, by Johannes von Tepl. Directed and adapted by: Silviu Purcărete.
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Platon u Politei (Republici, Državi) zbori o ratu kao »najvišem umijeću«, naime kao jednom od specifičnih načina rada koji su mogući unutar organizacije »podjele rada« od koje se sastoji super-umijeće polisa.
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In this paper, the ballet of Igor Stravinsky The Rite of Spring is interpreted from the perspective of Gaston Bachelard's philosophical thought. Bachelard's systemiatic psychoanalysis of literary images in The Psychoanalysis of Fire is applied to the interpretation of musical images in The Rite of Spring. Bearing in mind that rythm is a key characteristic of Stravinsky's composition, the paper analyses the immediate correspondences between Stravinsky's and Bachelard's perception and interpretation of rythm in the works under consideration.
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