“Look At It Carefully Now”: Athenian Tragedy And The “Talking Cure”

2020 ◽  
Vol 57 (6) ◽  
pp. 753-762
Author(s):  
Sophie Mills

It is often suggested that the Greek tragedians present clinically credible pictures of mental disturbance. For instance, some modern interpreters have compared the process by which Cadmus brings Agave back to sanity in Euripides’ Bacchae with modern psychotherapy. But a reading of medical writers’ views on the psychological dimension of medicine offers little evidence for believing that these scenes reflect the practices of late fifth-century Athenian doctors, for whom verbal cures are associated with older traditions of non-rational thought, and thus are scorned in favor of more “scientific cures” based on diet or medication. This paper will argue that Athenian tragedians, working from older traditions that advocated verbal cures for some mental ailments, do understand the potential psychological effects that their work can have on audiences, since tragedy requires psychological interaction with its audience in order to be effective. From a close reading of select scenes in Euripidean tragedy, this paper suggests that the experiences of the characters who experience suffering in Euripides’ Heracles and Bacchae are analogues of the experiences undergone by the spectators of tragedy at large. Parallels are made between the way that Agave and Heracles are both talked back to sanity by looking upon what has happened, and the way that tragedians make their audiences observe lamentations and meditations that follow the central tragic act, to help them return from the intense emotion provoked, perhaps, by the violence they have seen.

2002 ◽  
Vol 4 (2) ◽  
pp. 127-139 ◽  
Author(s):  
Ian Patterson

This article addresses the increasingly popular approach to Freud and his work which sees him primarily as a literary writer rather than a psychologist, and takes this as the context for an examination of Joyce Crick's recent translation of The Interpretation of Dreams. It claims that translation lies at the heart of psychoanalysis, and that the many interlocking and overlapping implications of the word need to be granted a greater degree of complexity. Those who argue that Freud is really a creative writer are themselves doing a work of translation, and one which fails to pay sufficiently careful attention to the role of translation in writing itself (including the notion of repression itself as a failure to translate). Lesley Chamberlain's The Secret Artist: A Close Reading of Sigmund Freud is taken as an example of the way Freud gets translated into a novelist or an artist, and her claims for his ‘bizarre poems' are criticized. The rest of the article looks closely at Crick's new translation and its claim to be restoring Freud the stylist, an ordinary language Freud, to the English reader. The experience of reading Crick's translation is compared with that of reading Strachey's, rather to the latter's advantage.


2016 ◽  
Vol 44 (4) ◽  
pp. 10-18
Author(s):  
Nathan Rein

Caroline Schaffalitzky de Muckadell's 2014 article, "On Essentialism and Real Definitions of Religion," offers a comprehensive rationale for the use of real, essentialist definitions of religion in the field of religious studies. In this article, I examine her arguments and the proposed definition she supplies. I argue that a close reading of Schaffalitzky's piece, concentrating especially on the way she uses examples, helps to demonstrate that she and her anti-essentialist opponents view the field of religious studies in incommensurable ways. While Schaffalitzky views definitions as serving the analytical study of religion as an object, her opponents view definitions primarily rhetorically and seek to focus attention on the process of defining.


2017 ◽  
Vol 31 (1) ◽  
pp. 65-78
Author(s):  
Justin Nickel

Stanley Hauerwas and others argue that Luther’s understanding of justification denies the theological and ethical significance of the body. Indeed, the inner, spiritual person is the one who experiences God’s grace in the gospel, while the outer, physical (read: bodily) person continues to live under law and therefore coercion and condemnation. While not denying that Luther can be so read, I argue that there is another side of Luther, one that recognizes the body’s importance for Christian life. I make this argument through a close reading of Luther’s reflections on Adam and Eve’s Fall in his Lectures on Genesis (1545) and the sacramental theology in ‘Against the Heavenly Prophets’. For this Luther, disconnection from our bodies is not a sign of justification but rather the sin from which justification saves us. Accordingly, justification results in a return to embodied creatureliness as the way we receive and live our justification.


Nordlit ◽  
2017 ◽  
Author(s):  
Andreas Schönle

This article offers an analysis of the trope of ruin in the poetry of Aleksandr Kushner (born 1936), in particular through a close reading of two of his poems: “In a slippery graveyard, alone” and “Ruins”. The analysis of these poems is preceded by an overview of ruin philosophy from Burke and Diderot to Simmel and Benjamin, with particular emphasis on the way the trope of ruin contemplation stages a confrontation between the self and what transcends it (death, history, nature, etc.). This philosophical background serves as a heuristic tool to shed light on the poetry of Kushner. Through the trope of ruin, Kushner explores the legitimacy of poetic speech after the collapse of all meta-narratives. Kushner has no truck with Diderot's solipsism, nor with Hegel's bold narrative of progress, nor with Simmel's peaceful reconciliation with the creative forces of nature. Nor, really, does he intend to bear witness to history, the way Benjamin does in the faint anticipation of some miracle. Instead, Kushner posits the endurance of a community united not around a grand project, but around the idea of carrying on in the face of everything, muddling through despite the lack of hopes for a transformational future and making the most of fleeting moments of positivity that emerge out of the fundamental serendipity of history.


Author(s):  
Bracha Yaniv

The evolution of ceremonial synagogue textiles is closely related to that of the Torah scroll, particularly the way in which it was wrapped and the space in which it was stored. This process of evolution began during the Second Temple period and came to an end in the early fifth century, when the method of writing Torah scrolls was set; it was then that the tradition of writing the Pentateuch on parchment in the form of a scroll became accepted as the method of writing Torah scrolls....


Semiotica ◽  
2019 ◽  
Vol 2019 (228) ◽  
pp. 223-235
Author(s):  
Winfried Nöth

AbstractThe paper begins with a survey of the state of the art in multimodal research, an international trend in applied semiotics, linguistics, and media studies, and goes on to compare its approach to verbal and nonverbal signs to Charles S. Peirce’s approach to signs and their classification. The author introduces the concept of transmodality to characterize the way in which Peirce’s classification of signs reflects the modes of multimodality research and argues that Peirce’s classification of the signs takes modes and modalities in two different respects into consideration, (1) from the perspective of the sign and (2) from the one of its interpretant. While current research in multimodality has its focus on the (external) sign in a communicative process, Peirce considers additionally the multimodality of the interpretants, i.e., the mental icons and indexical scenarios evoked in the interpreters’ minds. The paper illustrates and comments on the Peircean method of studying the multi and transmodality of signs in an analysis of Peirce’s close reading of Luke 19:30 in MS 599, Reason’s Rules, of c. 1902. As a sign, this text is “monomodal” insofar as it consists of printed words only. The study shows in which respects the interpretants of this text evince trans and multimodality.


2013 ◽  
Vol 148 (1) ◽  
pp. 94-106 ◽  
Author(s):  
Johnny Milner
Keyword(s):  

While recent studies demonstrate a significant increase in the level of interest in the soundtracks of Australian cinema, very little attention has focused on the way soundtracks can convey the ‘gothic’ within an outback-cinematic context. This article attempts to begin to address this issue by providing a close reading of the Australian gothic Western The Proposition – looking specifically to its sonic dimensions, namely the amalgam of score, dialogue and sound effects. The article argues that the film's soundtrack draws from a range of Australian literary and cinematic tropes, and draws specifically on the aural and epistemological gothic traits of Australia, the outback and its perception as unfamiliar space during the time of settlement. Following this discussion, the focus shifts to ways in which The Proposition's soundtrack foregrounds significations that offer new, and complex, articulations of a specifically ‘Australian gothic’.


2012 ◽  
Vol 16 (4) ◽  
pp. 357-380 ◽  
Author(s):  
Lachlan Brown

AbstractThis essay undertakes a close reading of Kevin Hart’s poem “The Voice of Brisbane” alongside three pertinent voices. The first voice belongs to Yves Bonnefoy and concerns his translation of the French termévidence. Taking into account Hart’s own admiration of Bonnefoy, this essay contrasts the kinds of experiential and poetic claims that the two poets make. The second voice belongs to St. John of the Cross. Hart’s poem owes much to the kinds of mystical meditation that St. John advocates. The third voice belongs to Synesius of Cyrene, a fifth-century Platonist and bishop, whose poem “Awake My Soul” bears an uncanny resemblance to the pattern of Hart’s work.


2018 ◽  
Vol 70 (4) ◽  
pp. 369-391
Author(s):  
Nimrod Reitman

Abstract The article reads Sigmund Freud and Claudio Monteverdi’s understanding of musicality, its affinity with rhetoric, and the way this relation informs their individual oeuvres. Both Monteverdi and Freud, each in his own way, were condemned to live with an aversion to musicality that strengthened their hermeneutics of psychic and discursive disturbance. Through the specific rhetorical figure of the musical lament found in psychoanalytical discourse, the article demonstrates the way dissonances implicate opera, the madrigal, and the talking-cure, making aporetic claims, especially in the face of Freud’s self-attestation—his resolute conviction that he was “ganz unmusikalisch”—which astonishingly matches Monteverdi’s own resistance to music.


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