The Return Of The Repressed

Did James Joyce, that icon of modernity, spearhead the dismantling of the Cartesian subject? Or was he a supreme example of a modern man forever divided and never fully known to himself? This volume reads the dialogue of contradictory cultural voices in Joyce’s works—revolutionary and reactionary, critical and subject to critique, marginal and central. It includes ten essays that identify repressed elements in Joyce’s writings and examine how psychic and cultural repressions persistently surface in his texts. Contributors include Joseph A. Boone, Marilyn L. Brownstein, Jay Clayton, Laura Doyle, Susan Stanford Friedman, Christine Froula, Ellen Carol Jones, Alberto Moreirias, Richard Pearce, and Robert Spoo.

Fowler exposes psychic conflicts that drive Faulkner's fiction and posits from them an underlying tension between the desire for difference and wholeness, between the mother and the father, between the living body and death.

Destroy All Monsters were an influential Detroit group that made music, art, zines and an elaborate junk-based self-mythology. Two of its members have become renowned artists: Mike Kelley and Jim Shaw. But aside from the zines, the actual output by the members has never been examined as independent art objects. This is the first retrospective of the artwork itself, as opposed to the zines and memorabilia produced. Nearly all of this work has never been published. Included are dozens of candid photographs of the group, offering a snapshot of a proto-punk unit.

Drawing on the shared mythic narratives of the Pseudepigrapha, Pirqe de-Rabbi Eliezer is understood as a revolutionary midrashic text, both in form and content, taking motifs from cosmogony and recapitulating them in a vision of the End of Days.

A lively, richly illustrated study of iconic caricatures, showing the interrelationship between art, satire and politics in the Romantic period.

Since 1989 neo-nationalism has grown as a volatile political force in almost all European societies in tandem with the formation of a neoliberal European Union and wider capitalist globalizations. Focusing on working classes situated in long-run localized processes of social change, including processes of dispossession and disenfranchisement, this volume investigates how the experiences, histories, and relationships of social class are a necessary ingredient for explaining the re-emergence and dynamics of populist nationalism in both Eastern and Western Europe. Featuring in-depth urban and regional case studies from Romania, Hungary, Serbia, Italy and Scotland this volume reclaims class for anthropological research and lays out a new interdisciplinary agenda for studying identity politics in the intensifying neoliberal conjuncture.

Simone Weil - philosopher, religious thinker, mystic, social/political activist - is notoriously difficult to categorize, since her life and writings challenge traditional academic boundaries. As many scholars have recognized, she set out few, if any, systematic theories, especially when it came to religious ideas. In this book, A. Rebecca Rozelle-Stone and Lucian Stone illuminate the ways in which Weil stands outside Western theological tradition by her use of paradox to resist the clamoring for greater degrees of certainty. Beyond a facile fallibilism, Simone Weil's ideas about the super-natural, love, Christianity, and spiritual action, and indeed, her seeming endorsement of a sort of atheism, detachment, foolishness, and passivity, begin to unravel old assumptions about what it is to encounter the divine.

Robin Wood’s writing on the horror film, published over five decades, collected in one volume. Robin Wood—one of the foremost critics of cinema—has laid the groundwork for anyone writing about the horror film in the last half-century. Wood's interest in horror spanned his entire career and was a form of popular cinema to which he devoted unwavering attention. Robin Wood on the Horror Film: Collected Essays and Reviews compiles over fifty years of his groundbreaking critiques. In September 1979, Wood and Richard Lippe programmed an extensive series of horror films for the Toronto International Film Festival and edited a companion piece: The American Nightmare: Essays on the Horror Film — the first serious collection of critical writing on the horror genre. Robin Wood on the Horror Film now contains all of Wood's writings from The American Nightmare and nearly everything else he wrote over the years on horror—published in a range of journals and magazines—gathered together for the first time. It begins with the first essay Wood ever published, "Psychoanalysis of Psycho," which appeared in 1960 and already anticipated many of the ideas explored later in his touchstone book, Hitchcock's Films. The volume ends, fittingly, with, "What Lies Beneath?," written almost five decades later, an essay in which Wood reflects on the state of the horror film and criticism since the genre's renaissance in the 1970s. Wood's prose is eloquent, lucid, and convincing as he brings together his parallel interests in genre, authorship, and ideology. Deftly combining Marxist, Freudian, and feminist theory, Wood's prolonged attention to classic and contemporary horror films explains much about the genre's meanings and cultural functions. Robin Wood on the Horror Film will be an essential addition to the library of anyone interested in horror, science fiction, and film genre.

This book presents a reinterpretation of Freud to show how language can be expressive and repressive.