Voice In Psychoanalysis Research Articles

Edges of the Voice in Psychoanalysis.

Edges of the Voice in Psychoanalysis.

Celluloid is Sticky: Sex, Death, Materiality, Metaphysics (in Some Films by Catherine Breillat)

Click to increase image sizeClick to decrease image size Notes 1. Quoted in David J. Hogan, Dark Romance: Sexuality in the Horror Film, Jefferson, NC: McFarland, 1986, epigraph. 2. Catherine Breillat, Robert Sklar, ‘A Woman's Vision of Shame and Desire: An Interview with Catherine Breillat’, Cinéaste 25/1, 1999, pp. 24–38. 3. Quoted in Ginette Vincendeau, ‘Romance’, Sight and Sound, November 1999, available at www.bfi.org.uk/sightandsound/review/244 (viewed 4 May 2006). 4. See, for example, Adrian Martin, “X” Marks the Spot: Classifying Romance’, Senses of Cinema (online journal) 4, March 2000, at www.sensesofcinema.com/contents/00/4/romance.html (viewed 4 May 2006). 5. Marc Augé, Non-places: Introduction to an Anthropology of Supermodernity, trans. from the French by John Howe, London: Verso, 1995, pp. 77–8. 6. Jean Baudrillard, Seduction, trans. from the French by Brian Singer, New York: St Martin's Press, 1979, pp. 28–9. 7. André Bazin, ‘The Ontology of the Photographic Image’, in A. Bazin, What Is Cinema?, vol. 1, trans. from the French by Hugh Gray, Berkeley and Los Angeles: University of California Press, 1967, p. 14. 8. See Linda Williams, Hard Core: Power, Pleasure, and the ‘Frenzy of the Visible’, Berkeley: University of California Press, 1989, pp. 184–99. 9. Catherine Breillat, interview with Rhiannon Brown, Arts Today with Michael Cathcart, broadcast on ABC Radio National, Australia, 31 January 2000, transcript available at www.abc.net.au/rn/arts/atoday/stories/s101866.htm (viewed 4 May 2006). 10. Chris Wiegand, ‘A Quick Chat with Catherine Breillat’, kamera.co.uk, 2001, at www.kamera.co.uk/interviews/catherinebreillat.html (viewed 4 May 2006). 11. Kaja Silverman, The Acoustic Mirror: The Female Voice in Psychoanalysis and Cinema, Bloomington: Indiana University Press, 1988, p. 56. 12. Kaja Silverman, The Acoustic Mirror: The Female Voice in Psychoanalysis and Cinema, Bloomington: Indiana University Press, 1988, p. 52. 13. Quoted in Augé, Non-places, p. 79. See also Michel de Certeau, The Practice of Everyday Life, trans. from the French by Steven Rendall, Berkeley: University of California Press, 1984. 14. Luce Irigaray, Speculum of the Other Woman, trans. from the French by Gillian C. Gill, Ithaca, NY: Cornell University Press, 1985, pp. 144–5. 15. ‘How the Directors and Critics Voted. Catherine Breillat: Top Ten’, Sight and Sound, 2002, available at www.bfi.org.uk/sightandsound/topten/poll/voter.php?forename = Catherine&surname = Breillat (viewed 4 May 2006). 16. Quoted in Silverman, The Acoustic Mirror, p. 67. 17. Catherine Millet, The Sexual Life of Catherine M., trans. from the French by Adriana Hunter, New York: Grove Press, 2002, p. 96. 18. For an interesting mention of absence as presence in Breillat's films in the very different context of Sartre's theorization of response and the gaze, see Liz Constable, ‘Unbecoming Sexual Desires for Women Becoming Sexual Subjects: Simone de Beauvoir (1949) and Catherine Breillat (1999)’, MLN 119, 2004, pp. 672–95. Although this article ignores the question of the ontology of/and the image in Breillat's work and argues for a theory of ‘shame-as-stasis’ (687) that is at odds with my characterization of the materiality of movement in Breillat's work, it is a very compelling piece and one of the few serious treatments in English of Breillat's philosophy. 19. Gilles Deleuze, Cinema 1: The Movement-Image, trans. from the French by Hugh Tomlinson and Barbara Habberjam, Minneapolis: University of Minnesota Press, 1986, p. 99. 20. Lev Kuleshov, a member of the Soviet school in the 1920s, led a series of famous experiments in which he alternated the same photograph of a man's blank face with intercut images of horror, pleasure, silliness etc. He argued that it was juxtaposition that produced a reading of the man's face (audiences saw, at times, him joyous, him mournful) more than any intrinsic properties of the image. 21. Gilles Deleuze and Felix Guattari, A Thousand Plateaus: Capitalism and Schizophrenia, trans. from the French by Brian Massumi, Minneapolis: University of Minnesota Press, 1987, p. 167. 22. Gilles Deleuze, The Logic of Sensation, trans. from the French and intro. by Daniel W. Smith, Minneapolis: University of Minnesota Press, 2002, p. xxix. 23. Wiegand, ‘A Quick Chat with Catherine Breillat’. 24. Deleuze, Logic of Sensation, p. xxix. 25. Deleuze, Logic of Sensation, p. xxix. 26. Deleuze, Logic of Sensation, p. 19. 27. Deleuze, Logic of Sensation, p. 51. 28. Catherine Breillat, interview with Rhiannon Brown. 29. Deleuze, Logic of Sensation, p. 34. 30. Deleuze, Logic of Sensation, p. 35.

The Discursive Voice of Psychoanalysis: A Case for Culturally Constituted Defenses

The cultural construction of defense mechanisms has been a central concern of psychoanalytic and psychological anthropologists. Billig (1998) offers a novel perspective orn this issue. The approach advanced in this article goes beyond Billig's discursive view by taking seriously the determinative influence of preoedipal phase and preverbal communication for the establishment and maintenance of repression or psychological defense and by locating psychoanalysis within the wider field of social and biological sciences. The Euro-American middle-class bias prevalent in psychoanalysis and psychology overemphasizes verbal interactive and socialization strategies. This article suggests that an understanding of defense mechanisms in a cultural context can be furthered by ethnographic descriptions of the social and interpersonal environments of infants and young children prior to, during and after the emergence of language.

The Rhetorical Voice of Psychoanalysis

The Rhetorical Voice of Psychoanalysis

The Lacanian Phallus

Research Article| April 01 1992 The Lacanian Phallus Kaja Silverman Kaja Silverman Kaja Silverman is Professor of Rhetoric at the University of California at Berkeley. Her recent books are The Acoustic Mirror: The Female Voice in Psychoanalysis and Cinema (Bloomington: Indiana UP, 1988) and Male Subjectivity at the Margins (New York: Routledge, 1992). Search for other works by this author on: This Site Google differences (1992) 4 (1): 84–115. https://doi.org/10.1215/10407391-4-1-84 Cite Icon Cite Share Icon Share Twitter Permissions Search Site Citation Kaja Silverman; The Lacanian Phallus. differences 1 July 1992; 4 (1): 84–115. doi: https://doi.org/10.1215/10407391-4-1-84 Download citation file: Zotero Reference Manager EasyBib Bookends Mendeley Papers EndNote RefWorks BibTex toolbar search Search Dropdown Menu toolbar search search input Search input auto suggest filter your search Books & JournalsAll Journalsdifferences Search Advanced Search The text of this article is only available as a PDF. Copyright © 1992 by Brown University and differences: A Journal of Feminist Cultural Studies1992 Article PDF first page preview Close Modal You do not currently have access to this content.

The Rhetorical Voice of Psychoanalysis

The rhetorical voice of psychoanalysis has a long history and has only recently come to be seen as a special feature of the theory. Its beginnings can be found in Freud's earliest pleadings for the usefulness of metaphor and analogy, although he felt that they were largely provisional and would eventually be replaced by more durable concepts. We have begun to see problems in replacing the central metaphors; the rhetorical base of psychoanalysis may be more enduring than we thought. While our metaphors may never provide epistemic access to the stuff of the mind, they can and do point to specific clinical encounters. Ways must be found to expand our rhetorical treasure chest and develop language even better suited to our concepts and observations.

The Rhetorical Voice of Psychoanalysis

The rhetorical voice of psychoanalysis has a long history and has only recently come to be seen as a special feature of the theory. Its beginnings can be found in Freud's earliest pleadings for the usefulness of metaphor and analogy, although he felt that they were largely provisional and would eventually be replaced by more durable concepts. We have begun to see problems in replacing the central metaphors; the rhetorical base of psychoanalysis may be more enduring than we thought. While our metaphors may never provide epistemic access to the stuff of the mind, they can and do point to specific clinical encounters. Ways must be found to expand our rhetorical treasure chest and develop language even better suited to our concepts and observations.

The Acoustic Mirror: The Female Voice in Psychoanalysis and Cinema

Acknowledgements Preface [1] Lost Objects and Mistaken Subjects: A Prologue [2] Body Talk [3] The Fantasy of the Maternal Voice: Paranoia and Compensation [4] The Fantasy of the Maternal Voice: Female Subjectivity and the Negative Oedipus Complex [5] Disembodying the Female Voice: Irigaray, Experimental Feminist Cinema, and Femininity [6] The Female Authorial Voice Notes Index

The acoustic mirror: the female voice in psychoanalysis and cinema

The acoustic mirror: the female voice in psychoanalysis and cinema