The Oxford Handbook of Philosophy and Psychoanalysis

2018 ◽  
Keyword(s):  
Final Section ◽  
Social Institutions ◽  
Therapeutic Action ◽  
The Unconscious ◽  
Interdisciplinary Field ◽  
Current Thinking ◽  
Psychoanalytic Perspective ◽  
History Of ◽  
Literature And Film ◽  
Evolutionary Neuroscience

With contributions from 35 leading experts in the field, The Oxford Handbook of Philosophy and Psychoanalysis provides the definitive guide to this interdisciplinary field. The book comprises eight sections, each providing an overview of current thinking at the interface between philosophy and psychoanalysis through original contributions that will shape the future of the debate in its area. The first section covers the philosophical pre-history of the psychoanalytic unconscious, including discussions of Spinoza, Kant, Hegel, Schopenhauer, and Nietzsche. The next three present evaluations of psychoanalysis. Thus, the second examines how psychoanalysis was received and developed in the twentieth century by Merleau-Ponty, Wittgenstein, the Frankfurt School, and Ricoeur. In the third, central clinical concepts, such as transference, symbolism, wish-fulfilment, making the unconscious conscious, and therapeutic action are presented and interrogated. The fourth discusses the scientific credentials of psychoanalysis, and whether it is better understood as a form of phenomenology. The final four sections turn to the contribution and significance of a psychoanalytic perspective for different aspects of human self-understanding. In that on aesthetics, philosophical theories of art, literature and film are illuminated. In the section on religion, Freud’s challenge to theism, philosophical and psychoanalytic responses to that, and Lacan’s reinterpretation of religion take centre-stage. Next, questions of love, mental health and evolutionary neuroscience are discussed in relation to ethics. The final section examines the radical challenge of psychoanalysis to political and social institutions, including issues of education, gender and war.

scholarly journals ‘Habitually Embodied’ Memories: The Materiality and Physicality of Music in Hardy's Poetry

2020 ◽  
Vol 17 (2) ◽  
pp. 245-269
Author(s):  
Catherine Charlwood
Keyword(s):  
Material Culture ◽  
Musical Instrument ◽  
Musical Instruments ◽  
Poetic Form ◽  
Mechanical Contact ◽  
Critical Fields ◽  
The Unconscious ◽  
Interdisciplinary Field ◽  
History Of ◽  
Century Science

This article reads Thomas Hardy's many musical instrument poems as the meeting point for the concerns of several critical fields: material culture, memory studies and the emerging interdisciplinary field of musical haptics. Close readings illuminate not only their relevance to such enquiries, but also how Hardy's manipulation of poetic form engenders a tactile musicality or ‘poetics of touch’ (as Marion Thain puts it). This article focuses on the aspects of these poems which have undergone least exploration: the depiction of the bodily effort involved in music-playing. While some of the poems are critical favourites (‘Old Furniture’) many of those studied here are routinely overlooked.A mnemonically-minded poet, Hardy wrote about the memories objects hold and the memories that may be mediated through them. For Hardy, the history of objects is inseparable from that of their now-dead owners: person and thing are tied together in memory. This is in part due to an object's inherent tangibility, and musical instruments are particularly tactile objects, benefiting from the further mnemonic of music itself.The core of the article considers Hardy's late poem ‘Haunting Fingers: A Phantasy in a Museum of Musical Instruments’, which hears instruments speak out their memories of being touched, and through memory feel ‘old muscles travel/Over their tense contours’. Revisions to the manuscript show Hardy removing ‘death’ and privileging instead the immediacy of remembered touch.Paying attention to the reading and note-taking Hardy did within nineteenth-century science, this article traces Hardy's imaginative explorations of the processes involved in playing musical instruments back to discoveries about the workings of the unconscious. Saleeby, James, Maudesley and Bastian informed Hardy's knowledge of the science behind music-playing, while musical haptics helps this study unpack why Hardy attends to the interactions which take place at the point of mechanical contact: finger to key, and to string.

EXPLORING HEALTHCARE ARCHITECTURE THROUGH THE MEDIUM OF FILM: Motives and Techniques

2014 ◽  
Vol 8 (1) ◽  
pp. 29
Author(s):  
Stephen Verderber
Keyword(s):  
Real World ◽  
The Real ◽  
Healthcare Settings ◽  
Interdisciplinary Field ◽  
Body Of Knowledge ◽  
Behavior Setting ◽  
Physical Environments ◽  
Scant Attention ◽  
History Of

The interdisciplinary field of person-environment relations has, from its origins, addressed the transactional relationship between human behavior and the built environment. This body of knowledge has been based upon qualitative and quantitative assessment of phenomena in the “real world.” This knowledge base has been instrumental in advancing the quality of real, physical environments globally at various scales of inquiry and with myriad user/client constituencies. By contrast, scant attention has been devoted to using simulation as a means to examine and represent person-environment transactions and how what is learned can be applied. The present discussion posits that press-competency theory, with related aspects drawn from functionalist-evolutionary theory, can together function to help us learn of how the medium of film can yield further insights to person-environment (P-E) transactions in the real world. Sampling, combined with extemporary behavior setting analysis, provide the basis for this analysis of healthcare settings as expressed throughout the history of cinema. This method can be of significant aid in examining P-E transactions across diverse historical periods, building types and places, healthcare and otherwise, otherwise logistically, geographically, or temporally unattainable in real time and space.

Same Address, Different Doors: Post-Heritage Deconstruction of the Heritage Household in Upstairs Downstairs in the 1970s and 2010s

2020 ◽  
Author(s):  
William Abbiss
Keyword(s):  
Final Section ◽  
Social Structures ◽  
The Third ◽  
The Past ◽  
War Narrative ◽  
Critical History ◽  
The Social ◽  
Fourth Series ◽  
History Of ◽  
Multiple Episodes

This article offers a ‘post-heritage’ reading of both iterations of Upstairs Downstairs: the LondonWeekend Television (LWT) series (1971–5) and its shortlived BBC revival (2010–12). Identifying elements of subversion and subjectivity allows scholarship on the LWT series to be reassessed, recognising occasions where it challenges rather than supports the social structures of the depicted Edwardian past. The BBC series also incorporates the post-heritage element of self-consciousness, acknowledging the parallel between its narrative and the production’s attempts to recreate the success of its 1970s predecessor. The article’s first section assesses the critical history of the LWT series, identifying areas that are open to further study or revised readings. The second section analyses the serialised war narrative of the fourth series of LWT’s Upstairs, Downstairs (1974), revealing its exploration of female identity across multiple episodes and challenging the notion that the series became more male and upstairs dominated as it progressed. The third section considers the BBC series’ revised concept, identifying the shifts in its main characters’ positions in society that allow the series’ narrative to question the past it evokes. This will be briefly contrasted with the heritage stability of Downton Abbey (ITV, 2010–15). The final section considers the household of 165 Eaton Place’s function as a studio space, which the BBC series self-consciously adopts in order to evoke the aesthetics of prior period dramas. The article concludes by suggesting that the barriers to recreating the past established in the BBC series’ narrative also contributed to its failure to match the success of its earlier iteration.

Same Address, Different Doors: Post-Heritage Deconstruction of the Heritage Household in Upstairs Downstairs in the 1970s and 2010s

2020 ◽  
Author(s):  
William Abbiss
Keyword(s):  
Final Section ◽  
Social Structures ◽  
The Third ◽  
The Past ◽  
War Narrative ◽  
Critical History ◽  
The Social ◽  
Fourth Series ◽  
History Of ◽  
Multiple Episodes

This article offers a ‘post-heritage’ reading of both iterations of Upstairs Downstairs: the LondonWeekend Television (LWT) series (1971–5) and its shortlived BBC revival (2010–12). Identifying elements of subversion and subjectivity allows scholarship on the LWT series to be reassessed, recognising occasions where it challenges rather than supports the social structures of the depicted Edwardian past. The BBC series also incorporates the post-heritage element of self-consciousness, acknowledging the parallel between its narrative and the production’s attempts to recreate the success of its 1970s predecessor. The article’s first section assesses the critical history of the LWT series, identifying areas that are open to further study or revised readings. The second section analyses the serialised war narrative of the fourth series of LWT’s Upstairs, Downstairs (1974), revealing its exploration of female identity across multiple episodes and challenging the notion that the series became more male and upstairs dominated as it progressed. The third section considers the BBC series’ revised concept, identifying the shifts in its main characters’ positions in society that allow the series’ narrative to question the past it evokes. This will be briefly contrasted with the heritage stability of Downton Abbey (ITV, 2010–15). The final section considers the household of 165 Eaton Place’s function as a studio space, which the BBC series self-consciously adopts in order to evoke the aesthetics of prior period dramas. The article concludes by suggesting that the barriers to recreating the past established in the BBC series’ narrative also contributed to its failure to match the success of its earlier iteration.

Acta Fluens – Generatives Handeln und Improvisation im Jazz

2014 ◽  
Vol 59 (1) ◽  
pp. 49-60
Author(s):  
Davide Sparti
Keyword(s):  
Walter Benjamin ◽  
History Of Philosophy ◽  
Human Existence ◽  
The Unconscious ◽  
The Past ◽  
The Future ◽  
History Of

Obwohl jede menschliche Handlung mit einem gewissen Grad an Improvisation erfolgt, gibt es kulturelle Praktiken, bei denen Improvisation eine überwiegende Rolle spielt. Um das Risiko zu vermeiden, einen zu breiten Begriff von Improvisation zu übernehmen, konzentriere ich mich im vorliegenden Beitrag auf den Jazz. Meine zentrale Frage lautet, wie Improvisation verstanden werden muss. Mein Vorgehen ist folgendes: Ich beginne mit einem Vergleich von Improvisation und Komposition, damit die Spezifizität der Improvisation erklärt werden kann. Danach wende ich mich dem Thema der Originalität als Merkmal der Improvisation zu. Zum Schluss führe ich den Begriff affordance ein, um die kollektive und zirkuläre Logik eines Solos zu analysieren. Paradigmatisch wird der Jazzmusiker mit dem Engel der Geschichte verglichen, der nur auf das Vergangene blickt, während er der Zukunft den Rücken zugekehrt hat, und lediglich ihr zugetrieben wird. Weder kann der Improvisierende das Material der Vergangenheit vernachlässigen noch seine genuine Tätigkeit, das Improvisieren in der Gegenwart und für die Zukunft, aufgeben: Er visiert die Zukunft trotz ihrer Unvorhersehbarkeit über die Vermittlung der Vergangenheit an.<br><br>While improvised behavior is so much a part of human existence as to be one of its fundamental realities, in order to avoid the risk of defining the act of improvising too broadly, my focus here will be upon one of the activities most explicitly centered around improvisation – that is, upon jazz. My contribution, as Wittgenstein would say, has a »grammatical« design to it: it proposes to clarify the significance of the term »improvisation.« The task of clarifying the cases in which one may legitimately speak of improvisation consists first of all in reflecting upon the conditions that make the practice possible. This does not consist of calling forth mysterious, esoteric processes that take place in the unconscious, or in the minds of musicians, but rather in paying attention to the criteria that are satisfied when one ascribes to an act the concept of improvisation. In the second part of my contribution, I reflect upon the logic that governs the construction of an improvised performance. As I argue, in playing upon that which has already emerged in the music, in discovering the future as they go on (as a consequence of what they do), jazz players call to mind the angel in the famous painting by Klee that Walter Benjamin analyzed in his Theses on the History of Philosophy: while pulled towards the future, its eyes are turned back towards the past.

Muscovy and the Tatars

2020 ◽  
Vol 54 (4) ◽  
pp. 403-431
Author(s):  
Bulat R. Rakhimzianov
Keyword(s):  
Seventeenth Century ◽  
Social Institutions ◽  
The Political ◽  
East European ◽  
Central Eurasia ◽  
History Of ◽  
Mutual Relations ◽  
Forest Line ◽  
The Relationship

Abstract This article explores relations between Muscovy and the so-called Later Golden Horde successor states that existed during the fifteenth and sixteenth centuries on the territory of Desht-i Qipchaq (the Qipchaq Steppe, a part of the East European steppe bounded roughly by the Oskol and Tobol rivers, the steppe-forest line, and the Caspian and Aral Seas). As a part of, and later a successor to, the Juchid ulus (also known as the Golden Horde), Muscovy adopted a number of its political and social institutions. The most crucial events in the almost six-century-long history of relations between Muscovy and the Tatars (13–18th centuries) were the Mongol invasion of the Northern, Eastern and parts of the Southern Rus’ principalities between 1237 and 1241, and the Muscovite annexation of the Kazan and Astrakhan khanates between 1552 and 1556. According to the model proposed here, the Tatars began as the dominant partner in these mutual relations; however, from the beginning of the seventeenth century this role was gradually inverted. Indicators of a change in the relationship between the Muscovite grand principality and the Golden Horde can be found in the diplomatic contacts between Muscovy and the Tatar khanates. The main goal of the article is to reveal the changing position of Muscovy within the system of the Later Golden Horde successor states. An additional goal is to revisit the role of the Tatar khanates in the political history of Central Eurasia in the fifteenth and sixteenth centuries.

KAZAKH MUSIC CULTURE ON THE GLOBALIZATION CROSSROADS: ETHNIC TRADITIONS VERSUS COMPOSER SCHOOL IN INTERCULTURAL INTERACTION

2020 ◽  
Vol 384 (2) ◽  
pp. 185-193
Author(s):  
A. Raimkulova
Keyword(s):  
20Th Century ◽  
Cultural Policy ◽  
Information Technologies ◽  
Cultural Landscapes ◽  
Social Institutions ◽  
Music Culture ◽  
Oral Transmission ◽  
Intercultural Interaction ◽  
History Of ◽  
New Type

At the present stage, Kazakh musical culture is heterogeneous. It represents traditions coexisting at the same time and interacting with each other: Kazakh ethnic and newly established composer school (tradition). Examining changes in cultural landscapes of the 20th century I reveal the peculiarities of interaction and dialogue between two kinds of culture: ethnic and global (endogenous and exogenous). The procedures include the complex study of the history of Kazakh culture in the 20th century, stylistic analysis of traditional and composer’s music, semiotic approach to intercultural interaction, as far as a comparative analysis of oral and written music of 19th and 20th centuries. On one hand, dramatic changes in the structure of music culture were caused by external objective reasons: new industrial and postindustrial civilization phases (urbanization and information technologies); intensification of interaction with western (mainly Russian) cultures, etc. On the other hand, some changes were inspired by inner factors: diverse development of local song and kui (dombyra piece) traditions; Soviet cultural policy. As a result new type (or layer) of national culture – Kazakh composers’ music – appeared. It was connected with the formation of a national style based on transcriptions and borrowing. Traditional music was influenced by new social institutions (philharmonic halls, theatres, radio, conservatoire) that caused changes in the creative process (decrease of oral transmission, lack of traditional social context) as well as in the style (virtuoso performance, new genres of songs).

Subaltern Migrations and the State

2017 ◽  
Author(s):  
Philipp Zehmisch
Keyword(s):  
Final Section ◽  
Social Engineering ◽  
The State ◽  
Penal Colony ◽  
The Third ◽  
Dynamic Relationship ◽  
Historical Processes ◽  
Subaltern Agency ◽  
History Of ◽  
Media Reports

This chapter considers the history of Andaman migration from the institutionalization of a penal colony in 1858 to the present. It unpicks the dynamic relationship between the state and the population by investigating genealogies of power and knowledge. Apart from elaborating on subaltern domination, the chapter also reconstructs subaltern agency in historical processes by re-reading scholarly literature, administrative publications, and media reports as well as by interpreting fieldwork data and oral history accounts. The first part of the chapter defines migration and shows how it applies to the Andamans. The second part concentrates on colonial policies of subaltern population transfer to the islands and on the effects of social engineering processes. The third part analyses the institutionalization of the postcolonial regime in the islands and elaborates on the various types of migration since Indian Independence. The final section considers contemporary political negotiations of migration in the islands.

Schopenhauer and the Unconscious

2020 ◽  
pp. 496-516
Author(s):  
Stephan Atzert
Keyword(s):  
Sigmund Freud ◽  
Arthur Schopenhauer ◽  
Death Drive ◽  
Central Idea ◽  
The Unconscious ◽  
Pleasure Principle ◽  
History Of ◽  
The Will ◽  
The Individual ◽  
Sabina Spielrein

This chapter explores the gradual emergence of the notion of the unconscious as it pertains to the tradition that runs from Arthur Schopenhauer via Eduard von Hartmann and Philipp Mainländer to Sabina Spielrein, C. G. Jung, and Sigmund Freud. A particular focus is put on the popularization of the term “unconscious” by von Hartmann and on the history of the death drive, which has Schopenhauer’s essay “Transcendent Speculation on the Apparent Deliberateness in the Fate of the Individual” as one of its precursors. In this essay, Schopenhauer develops speculatively the notion of a universal, intelligent, supraindividual unconscious—an unconscious with a purpose related to death. But the death drive also owes its origins to Schopenhauer’s “relative nothingness,” which Mainländer adopts into his philosophy as “absolute nothingness” resulting from the “will to death.” His philosophy emphasizes death as the goal of the world and its inhabitants. This central idea had a distinctive influence on the formation of the idea of the death drive, which features in Freud’s Beyond the Pleasure Principle.

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