*IPSA** *Institute for Psychological** *Study of the Arts** *IPSA ABSTRACTS AND BIBLIOGRAPHY IN LITERATURE AND PSYCHOLOGY** *Number 10 $8.00 May 1995 Inst. for Psychological Study of the Arts 4008 Turlington Hall (904) 392-7332, 392-0777 University of Florida FAX: (904) 392-0860 Gainesville, Florida 32611-2036 BITNET: nnh@nervm INTERNET: nnh@nervm.nerdc.ufl.edu (c) Copyright 1994, Institute for Psychological Study of the Arts. All rights reserved. TABLE OF CONTENTS About IPSA ............................................. ii IPSA ABSTRACTS AND BIBLIOGRAPHY IN LITERATURE AND PSYCHOLOGY .......................... 1 Abstracts. Articles and Books forthcoming after 1 March 1995 ......................................................... 3 Bibliography -- Books published between January 1994 and March 1995 ........................................................ 11 Bibliography -- Articles published between January 1994 and March 1995 ......................................................... 21 Index to the Book and Article Bibliographies ........ 58 Announcements ........................................... 64 *ABOUT IPSA** Located at the University of Florida, IPSA (the Institute for Psychological Study of the Arts) was founded in 1984 by Norman N. Holland and is currently directed by Andrew Gordon. Other members from the University of Florida include Molly Harrower (Clinical Psychology); Anne Jones, David Leverenz, Marie Nelson, Scott Nygren, Bernard Paris, Maureen Turim (English); Daniel Moors (French); Bertram Wyatt-Brown (History); Anne Wyatt-Brown (Linguistics); Roger Blashfield and Ross McElroy (Psychiatry); and Franz Epting (Psychology). A number of other people, including several local clinicians, are informally associated with IPSA, as well as faculty from the Universities of North Florida and Central Florida. IPSA sponsors a variety of activities in addition to the _Abstracts and Bibliography__. We conduct the Group for the Application of Psychology (GAP), which meets monthly for dinner and the discussion of a pre-circulated paper (usually work in progress). GAP members are concerned with the application of psychology to other fields: literature, for example, or the arts, anthropology, law, or sociology. Topics range from the history of psychoanalysis to case presentations to the showing of psychologically-oriented films. GAP meets jointly with the Tampa Psychoanalytic Study Group once a year. Programs for 1994-95 were as follows: September: Norman Holland (English, University of Florida), "The Internet Regression" October: Al and Peggy Tilley (English; Counseling, University of North Florida, "Life Stories and Therapy" November: Andrew Gordon and Hernan Vera (English; Sociology, University of Florida), "The Unbearable Whiteness of Being: Sincere Fictions of the White Self in the American Cinema" December: Bertram Wyatt-Brown (History, University of Florida), "The Desperate Imagination: Writers and Melancholy in the Modern American South" January: Cynthia Griffin Wolff (Humanities, M.I.T.), "Time and Memory in Cather's _Sapphira and the Slave Girl__: Sex, Abuse, and Art" February: Eric Rabkin (English, University of Michigan), "Forbidden Fruit: The Thematics of Eating in Science- Fiction" March: Stephanie Ortega (German, SUNY at Buffalo), "Object Relations and Violence: Margarethe von Trotta's Response to the Question `Where Do Lady Terrorists Come From?'" April: Lawrence Friedman (History, Indiana University), "Erik H. Erikson's Critical Themes and Voices: The Task of Synthesis" IPSA is one of the sponsors of the annual International Conference on Literature and Psychology. The Twelfth has just been held at the Albert-Ludwigs Universitat in Freiburg, Germany, June 21-24. Over eighty papers were presented with scholars coming from France, Germany, Hungary, Israel, Italy, the Netherlands, Portugal, South Africa, Taiwan, the U.K., and the U.S. IPSA also maintains PSYART, an online list-conference on BITNET and INTERNET. This list-conference offers discussion and announcements dealing with literature-and-psychology, the psychological study of the arts, and psychoanalysis in general. Its 450 subscribers span the globe, and topics range from recommended reading lists to the discrepancies between psychological research and literary theory. Information on how to subscribe to this free service will be found in the Announcements section, page 64 below. IPSA is the research component of the Graduate Program in Literature and Psychology in the Department of English. The program is eclectic and clinically grounded. It provides Ph.D. candidates with a background in various schools of psychological theory and criticism. Currently, the program offers instruction and dissertation direction in psychoanalytic psychology, third- force psychology, reader-response criticism, psycholinguistics, and cognitive psychology. We offer the following graduate courses under the general heading: Psychological Approaches to Literature Psychoanalytic Psychology and Criticism Andrew Gordon Norman Holland Peter L. Rudnytsky Third-Force Psychology and Criticism Bernard Paris Reader-Response Criticism Norman Holland Lacanian Psychoanalysis and Criticism Maureen Turim Feminist Theory and Criticism Peter L. Rudnytsky Maureen Turim Cognitive Psychology and Criticism Norman Holland Finally, the Literature and Psychology Program offers fellowships to qualified Ph.D. students. There is the Marston- Milbauer Fellowship in Literature and Psychology and several Teaching Assistantships with stipends up to $11,000, including the teaching of one summer course. There is also the possibility of a Research appointment for the position of Managing Editor of _IPSA ABSTRACTS AND BIBLIOGRAPHY__. Applicants for support should write to Mrs. Sonja Moreno at the IPSA address for information. *IPSA ABSTRACTS AND BIBLIOGRAPHY IN LITERATURE AND PSYCHOLOGY** Managing Editor Frank Hering Editor Norman N. Holland Production Asssistant Sonja Moreno _________________________________________________________________ We intend _IPSA ABSTRACTS AND BIBLIOGRAPHY__ to provide as comprehensive a covering of recent work done in literature-and- psychology as possible. To that end, each annual issue of _IPSA ABSTRACTS AND BIBLIOGRAPHY__ includes the following: _Abstracts__ of forthcoming work. (Number 10 includes abstracts of work accepted for publication as of 1 April 1995 but not yet published.) A _Bibliography__ of books published during the previous year. (Number 10 includes books published between 1 January 1995 and 1 March 1995, with a few extras.) A _Bibliography__ of articles published during the previous year. (Number 10 includes articles published between 1 January 1995 and 1 March 1995, with a few extras.) _Indexes__ to the bibliographies. _Announcements__ of conferences, publications, and other matters of interest to the profession. This year, we have prepared IPSABIB almost entirely by computer searches. As a result, one should try several searches when using the index. The objective of _IPSA ABSTRACTS AND BIBLIOGRAPHY__ is to speed the dissemination of current research in literature and psychology, to facilitate correspondence and the exchange of manuscripts among ourselves, and in general to promote our field of study within the profession and among our students. Thus, we _urge__ you to submit abstracts of your forthcoming works in psychoanalytic, Lacanian, Third Force, psycholinguistic, cognitive, and reader-response criticism or in any other psychological or psychology-related criticism. In an effort to make our bibliography comprehensive, we also urge you to submit your bibliographic entries of work published in the current year. We shall be publishing issue number 11 of _IPSA ABSTRACTS AND BIBLIOGRAPHY__ in the spring of 1996. For this forthcoming issue, we ask you to submit (1) abstracts of works that will have been accepted for publication by 1 March 1996 but not yet published by that date, (2) bibliography entries for articles and books that have appeared in print between 1 January 1995 and 1 March 1996, _including several index terms__, and (3) announcements of interest to the profession. We look forward to your participation. In sending us abstracts and bibliographies, please help us in our indexing by including the names of relevant literary and psychological authors and key psychological and aesthetic terms. *Please send your entries and abstracts to Mrs. Sonja Moreno, Department of English, University of Florida, Gainesville, Florida 32611-2036, e-mail: smoreno@nervm.nerdc.ufl.edu.** The editors of _IPSA ABSTRACTS AND BIBLIOGRAPHY__ and the members of the Institute for Psychological Study of the Arts are grateful to the Office of Graduate Research of the University of Florida for financial support. We also thank Ms. Sonja Moreno for her valuable secretarial assistance and Dr. John Van Hook of the University of Florida Libraries. _IPSA ABSTRACTS AND BIBLIOGRAPHY IN LITERATURE AND PSYCHOLOGY__ is published with the generous support of the Division of Sponsored Research of the University of Florida and Norman Holland's Marston-Milbauer Chair. Though that support initially allowed us to distribute this publication free of charge to members of the Psychological Approaches to Literature Division of the MLA and to other MLA members who requested it, the size and complexity of the _IPSA ABSTRACTS AND BIBLIOGRAPHY__ has grown dramatically since its inception, and we are now incurring a significant deficit. As a result, we must now request recipients to help defray our costs by contributing $8.00, the amount that we are charging institutions and those who are not members of MLA. Please make your check payable to GAP- IPSA and send it to Andrew Gordon, Director, IPSA, Department of English, University of Florida, Gainesville, Florida 32611-2036. If you cannot contribute $8.00, we shall keep you on our mailing list as long as possible; but if you do not find this publication useful, please let us know so that we can reduce costs by trimming our list. *As one step in reducing our costs, we will stop mailing the _BIBLIOGRAPHY__ to people outside normal U.S. postage rates. We will, however, continue to distribute the bibliography electronically, over PSYART. We hope to reach a stage where we can distribute it _only__ electronically, and we would appreciate your opinion of this plan.** ABBREVIATIONS U = University or Universities P = Press or Presses Names of the United States are abbreviated according to the two- letter U. S. Postal Service system: AL = Alabama; AK = Alaska; AZ = Arizona; CA = California, and so on. ABSTRACTS Articles and Books Forthcoming after 1 March 1995 BOKAT, NICOLE S. _The Freudianism Behind Margaret Drabble's Fatalism: Repetition Compulsion and the Attempt at Resolution in Her Fiction__. Dissertation Abstracts International 54-02, 1993. Order number: AAC 9317563. Margaret Drabble has been widely recognized both for her preoccupation with fate, luck, and coincidence and for her belated, "Victorian" vision. While other critics have constructed thorough studies of Drabble's philosophy of fatalism, they have not delved into the psychology behind the author's philosophy. What is not assessed in these previous texts is the ways in which the author's theories of psychological determinism effect her heroines' lives and, in many cases, are compatible with much of Freudian psychoanalytic thinking. The purpose of this study, then, is to build on other critics' discussions of Drabble's fatalism by investigating the ways in which her vision resembles the Freudian tradition, either in theory or outcome, despite the author's claim to the contrary. In his 1914 essay "Remembering, Repeating and Working- Through," Freud observes that several of his analysands compulsively returned to unpleasant experiences. Freud's theories attest to a psychological determinism; he believes that internal issues of one's childhood establish a person's life and that only through the difficult process of psychoanalysis can one change. However, in _Beyond the Pleasure Principle __(1920), Freud himself conceded that, even for the normal person, repetition serves an impulse to work over in the mind an unpleasurable experience in order to master it. Drabble, by reiterating the same themes for decades, has exhibited her desire to resolve obsessive problems which are rooted in her own unhappy childhood: notably, her wish for more accessible parents and for a less rejecting older sister. We can discern how the author transfers her most ardent wishes into her fiction; each heroine feels the need to resolve her neurotic conflicts and troubled relationships with her family. Through the constant repetition of themes, the author discovers solutions--often "magical" ones-- to help each character relieve her angst and live within her own limitations, if not analytically to solve her problems. BRUCATO, MARIA JOAN VIRGINA. _Dichotomies of Vision and Desire:Juxtapositions of Imagery in the Surrealist Poetry of Vicente Aleixandre__. Dissertation Abstracts International 55- 09, 1995. Order number: AAC 9433332. In this thesis I explore how "desire" and "union" are manifested in several of Aleixandre's poems from his Surrealist texts _Espadas como labios__ (1935). These notions are woven throughout the study and are manifested through various dichotomies. Chapter 1 expounds upon desire for erotic union through destruction, while Chapter 2 underscores a yearning for the life giving forces of light in contrast to an impotent darkness which then leads to a search for unity of man's anima/animus. Chapter 3 develops the concept of union through the desire for fruitful communication even though the poet is often faced with an insufficient system of language. Finally, I emphasize Aleixandre's vision of psychic union with the cosmos and his desire to embrace the universe's opposing forces. The introduction focuses upon four areas: Surrealism, its tenets and the movement in Spain; conventional and postmodern dream theory; Lacan's theory of language; and the Surrealist cinema and arts. Chapter I highlights the notions of desire, passion, and violence manifested in the dichotomies liberty/repression, dream/reality, and erotic love/death. Dream studies, in particular Freudian psychoanalysis and Lacanian poststructuralist criticism, provide the underlying theory. Myth and the desire for unity are central notions in Chapter II, where the dichotomies light/dark, surface/depth, and masculine/feminine are underscored. Mythological creations and the Jungian theory of archetypes, inherent in the dichotomy anima/animus, are elucidated here. In Chapter III, I discuss language and the poet's preoccupation with unity through communication resulting in Existentialist overtones. The dichotomies vacuity/fullness and abstract/concrete encountered in Aleixandre's poems are discussed along with a comparison of Cesar Vallejo's poem Trilce "V." Lacan's theory of language and the unconscious expounded in _Ecrits __are central to this chapter. The dichotomies destruction/creation as well as the notion of psychic unity in the "squaring of the circle" are emphasized in Chapter IV. Here, I comment upon the importance of the Romantic tradition in Aleixandre's poetry as well as in the Surrealist movement, the concept of libido and dynamism in Freud and Jung, "unus mundus" and the Jungian concepts of the mandala and synchronicity, Finally, I interpret "El vals" from the perspective of the Jungian concept of the circle. DEVER, CAROLYN MARIE. _The Lady Vanishes: Psychoanalysis, Victorian Fiction, and the Anxiety of Origins__. Dissertation Abstracts International 54-06, 1993. Order number: AAC 9330895. Psychoanalytic theory and the Victorian novel alike represent "mothers" as dead, absent, or inexplicably lost. I argue that the representation of a missing mother signifies anxity about causality: as the figure of physical and psychological origins, the mother stands as the source of subjectivity and the logic of cause and effect. Her absence represents a crisis regarding the conditions of individual identity, agency, and sexual desire. When Freud describes the _fort-da__ game in_ Beyond the Pleasure Principle__, he institutionalizes a structure in which symbolic language stands in a direct relationship to maternal absence: the boy playing the game achieves mastery over the mother's desertion through the use of language. Psychoanalysts from Melanie Klein to Lacan and Kristeva have suggested the various implications of this structure for theories of gender and subjectivity. I argue that psychoanalytic object-relations theory, particularly Klein and D. W. Winnicott, challenges maternal marginalization through mother-centered theories of infantile development. Victorian domestic fiction frequently considers the implications of maternal loss, and eventually maternal return. In Dickens's _Bleak House__, the autobiographical narrative of Esther Summerson demonstrates the function of maternal absence for the construction of an authorial voice and a speaking subject. In Collins's _The Woman in White__, characters constructing a detective plot rely on the dead mother as the locus of personal origins, the source of information, and the site of purity; the connection of the mother with the novel's "Secret" problematizes the ideal constructed in and by her absence. In Eliot's _Daniel Deronda__, all structures of desire are organized around the figure of a missing mother. When she returns at the end of the novel, she demonstrates the implications of women's resistance to the objectification of the "mother." Finally, I argue that as a narrative of personal origins, Charles Darwin's _Autobiography__ demonstrates assumptions about gender implicit in such influential texts as _The Origin of Species__. Darwin articulates a phantasy of parthenogenetic reproduction reflected in theories of development and knowledge from the myth of Athena's birth to psychoanalytic theories of cannibalism. EIDE, TOM. "Psychoanalysis, Literature, and Ethics." _Proceedings from the Eleventh International Conference in Psychoanalysis and Literature__. Lisbon, 1995. Questions concerning the relationship between ethics and a psychoanalytic approach to literature are discussed. Distinctions are made between the ethics of criticism and the ethics of literture, and between four different aspects of each one of these. I argue for the primacy of ethics in literary criticism and that both the ethics of criticism and the ethics of literature in general should be taken into account when practising psychoanalytic literary criticism. ELAM, HEIDE KARST. _Narcissus and Hermes: The Intersection of Psychoanalysis and Myth in the Fiction of Saul Bellow__. Dissertation Abstracts International 55-04, 1994. Order number: AAC 9425378. This study identifies two recurrent character types in early and middle Bellow. The protagonist, or "Narcissus," is viewed from the perspective of Heinz Kohut's psychology of the self. "Hermes" refers to a mythological trickster who complicates as well as advances the hero's progress. The complementarity of the two characters and the intersection of psychoanalytic and the mythological materials are explored. The psychoanalytic principles are outlined and the main characters explained as suffering from Kohutian self-disorder. The mercurial figure's intervention is then traced, along with his impact on the hero's career and on the outcome of the novels. This study tries to show the endings as strongly affected by the mercurial agent. The trickster is represented in minor form in Bellow's first novel, _Dangling Man__, wherein the hero does not transcend his stasis and spatial limitation. Although these limitations do not detract from this existentialist book's achievement, Bellow would have had difficulty recreating the isolated hero in successive works. As _Dangling Man__ reveals, the trickster appealed to him early on, and he subsequently developed it fully and remained faithful to the device throughout his works. The Kohutian analysis shows us a hero in a state of acute anxiety, who yearns to merge with the archaic omnipotent figure as represented by the psychological trickster. Although the latter offers him insights, he is too self-seeking and unempathic to heal the enfeebled protagonist. As the narcissistic heros tend to be self-referential and alienated from work and society, the interaction with the mythological trickster helps to overcome a possible stalemate, leading to a more dynamic conclusion of the narrative. The Bellovian trickster as surrogate father, brother, or friend is expected to compensate for the selfobject failure. Like the mytholigical Hermes, he appears as spellbinder, magician, hypnotist, crafty rhetorician, or psychopomp, embodying both good and evil. Although his prototype appears most dramatically in _Seize the Day__, he is also prominent in the role of the beast in _Henderson the Rain King__, the swindler in _Herzog__, the giver of gifts in _Humboldt's Gift__, the shapeshifter in _Augie March__, and the doppelganger or shadow in _The Victim. FEAL, ROSEMARY GEISDORFER AND CARLOS FEAL. _Painting on the Page: Interartistic Approaches to Modern Hispanic Texts__. New York: SUNY Press, 1995. __Painting on the Page__ devises criticial strategies that combine psychoanalysis, feminism, semiotics, and philosophy as they may be applied to late nineteenth- and twentieth-century Spanish and Spanish-American literature in relation to painting and to larger questions of art theory and literary history. Key psychoanalytic concepts treated: the mirror stage and its relations to mirrors and art; desire, primarily in Freudian, Lacanian, and object-relational terms; oedipal themes; language and art as fantasy. Authors studied are Pardo Baz/an, Valle- Incl/an, Salinas, Mart/in-Santos, Ayala, Donoso, Vargas Llosa, and Cabrera Infante. Visual artists whose works are analyzed include Bosch, Fra Angelico, Titian, El Greco, Jordaens, Goya, Ingres, Boucher, Klimt, Dal/i, Magritte, Duchamp, and Bacon. The book concludes with a dialogue between the co-authors. GILLOOLY, EILEEN. _Smile of Discontent: Feminized Humorous Discourse in Nineteenth-Century British Fiction__. Dissertation Abstracts International 54-07A, 1993. Drawing upon cultural, gender, and psychoanalytic theory, this study argues that the humor of Jane Austen, Elizabeth Gaskell, and George Eliot is gender-marked: It betrays frustration particular to their narrators' status as middle-class British women; it criticizes representations of femininity popular in nineteenth-century culture; and it covertly attacks internalized cultural assumptions about female behavior while defending against the pain of such assumptions by turning them into jest. Following a prefatory discussion of the terms "feminized" and "humorous" (rather than "female" and "ironic") to describe the discourse analyzed, the first chapter theorizes a humor that is rhetorically and affectively distinct from traditional varieties. Rather than an expression of aggression against a sexual or ethnic other, "feminine" humor acts--through "passive" tropes like meiosis and periphrasis--to defend the self against the frustration of the paternal principle. Subsequent chapters discuss the humorous strategies of particular novels. In _Mansfield Park__ and _Persuasion__, humor subverts the dominant textual construction of femininity by, for example, mocking in other characters those "feminine virtues" prized in the heroines. In _Cranford__, the young female narrator's humor defends her from internalized expectations of daughterly selflessness even as it retaliates--through tropes of mutilation--against figures of authority who enforce such expectations. In _The Mill on the Floss__, humor forms a materal bond between narrator and heroine, protecting the latter from the demands of the law and offering itself as an interpretive alternative to Maggie's childish frustrations; once Maggie is eroticized, however, the humorous bond ruptures, and the narrator maternally abandons her to her lawful fate. The richly dispersed occurrences of humor in each text together comprise evidence for a dialogically distinct discourse. In effect, the "feminized humorous discourses" of these texts sabotages the authority of their sober expression, thereby conveying--even as it disguises--a "feminine" critique of nineteenth-century British middle-class culture. GOODMAN, LAWRENCE F. _Oscar Wilde's Literature: Masking Narcissistic Anxiety.__ Dissertation Abstracts International 55- 08, 1995. Order number: AAC 9501497. Wilde's literary career was shaped by his narcissistic needs and his texts reflect his efforts to develop a cohesive sense of self. Consistently, critics have collapsed the components of Wilde's literature and his literary identity--aestheticism, transgression, and dandyism--producing a vision of his art as static and homogeneous. I argue against this by differentiating the components of Wilde's literary identity. Defining his relationships to aestheticism, transgression, and dandyism as period specific, I describe his career developmentally. I argue that Wilde had a narcissistic personality disorder and that through his art he constructed a series of compensatory structures that addressed his narcissistic needs. These structures, coincident with the components of his literary identity, form "masks" that Wilde dons to replace his enfeebled sense of self with a cohesive one. I account for both Wilde's initial attraction to aestheticism and the resistance to it manifest in his art. He used the rhetoric of aestheticism to forge a cohesive sense of self during his American lecture tour. This sense of self began to break down due to increasing narcissistic anxiety. I connect this anxiety to Wilde's homosexual activity, and trace its literary representation in _The Happy Prince__. After the aesthete mask, Wilde used the criminal mask. What begins as a character sketch in "Pen, Pencil and Poison," becomes a prototype for Wilde and his characters. The criminal mask was Wilde's atempt to derive psychological strength from his transgressive sexuality. From Dorian's fate in _Dorian Gray__, however, we know that this mask also failed. The shame that forces Dorian's suicide illustrates the debilitating backlash to the mask. In his plays, Wilde develops the third mask, the dandy. It is the contrapositive of the criminal mask--denying historical reality rather than seeking affirmation from that reality. I trace the development of the dandy mask from "Lady Windermere's Fan" and "An Ideal Husband" to "The Importance of Being Earnest," reading this last as a "utopia of denial." After Wilde's incarceration, he developed the mask of the Christ-figure. This last mask permeates Wilde's final two works, "De Profundis" and "The Ballad of Reading Gaol." GORDON, ANDREW. "`Close Encounters': Unidentified Flying Object Relations." _Psychoanalytic Review__ (1995). Applies Christopher Bollas's notion of "the transformational object" to the UFOs in Steven Spielberg's film _Close Encounters of the Third Kind__. The hero regresses back to infancy in search of a maternal object that will totally transform his psychic world. The fundamental appeal of the film is regressive, a search for a "special affect." GORDON, ANDREW. "Shame in Saul Bellow's `Something to Remember Me By.'" _The Saul Bellow Journal__ (1995). A study of shame as a predominant element in Saul Bellow's comic fiction, using his novella "Something to Remember Me By" as a paradigmatic example. The Bellow hero typically is a vain shlemeiel who undergoes a comic scourging, which is intended to teach him a lesson. In "Something to Remember Me By," the elderly narrator tells a story from his adolescence as a legacy for his only child. It is a comic _rite de passage__ in which the teenage hero learns the facts of sex and death through humiliation. Yet the shame ultimately has a reparative effect; shame is shown to be both a necessary and an instructive human emotion. JOHNSON, GEORGE M. "`The Caged Skylark;: A Psychobiographical Portrait of G. M. Hopkins." _Biography__ 18.2 (Spring 1995). A timely psychobiographial reevaluation of Gerard Manley Hopkins (1844-1889) reveals that he suffered from manic- depression, with its accompanying characteristics. Through his poetry, Hopkins attempted to adapt creatively to this condition, a strategy nowhere more evident than in the "dark" sonnets of 1885. KAHANE, CLAIRE. _Passions of the Voice: Hysteria, Narrative, and the Figure of the Speaking Woman, 1850-1915__. Baltimore: Johns Hopkins UP, 1995. This book explores a breakdown in the conventional sufficiencies of narrative voice in late Victorian texts, a breakdown provoked by hysterical gender conflict, but subsequently recuperated as modernist praxis. Beginning with the presmise that Victorian delineations of gender were increasingly undermined by the women's movement and its promotion of the woman who claims discursive authority, especially as figured by the feminist orator, I explore the disruptive effects of that figure, both as an external social reality and a disquieting internal imago, on narrative voice. The figure of the woman with a potent voice not yet subverted by a gendered narrative syntax that defined the speaking subject as masculine, and thus the narrator's ability to tell a coherent story, but more generally augured a sexual anarchy in representation that preceded and prepared for modernism. Because the voice itself is psychically construed as a fetishistic object, the speaking woman was apprehended as a vocal Medusa, fascinating and fearsome to the very narrative voice that imagined listening to her. Hysteria as exemplified in Freud's proto-modernist narration of the Dora case is my critical paradigm for reading that apprehension and its effects in problematic texts by Florence Nightingale, Alice James, Charlotte Br nte, Olive Schreiner, Henry James, Virginia Woolf, Joseph Conrad, and Ford Madox Ford. A timely contribution to an ongoing current dialogue about the effects of the New Woman on _fin-de-si`ecle__ sexuality and the rise of modernist narrative praxis, this book is set apart by its foregrounding of voice, its construction of a psychoanalytic anatomy of hysteria for reading particular voices, and for its analysis of male- as well as female-authored texts. NEVELDINE, ROBERT BURNS. _Unsafety: Bodies at Risk From Wordsworth to Wojnarowicz__. Dissertation Abstracts International 54-08, 1994. Order number: AAC 9401464. Roughly since the time of the Romantics, the body, designated as "queer" or otherwise, has placed itself at risk both discursively and physically, in order to question dominant notions of what it is to be a human subject in Western society. This body has pitted itself against competing forces, whether material or "virtual," in the arenas of artistic endeavor, playing out conflicts in various texts from Romanticism to postmodernism in order to demonstrate the operations of competition and contestation without strict recoure to the dialectical model. Lacanian psychoanalysis, Foucauldian archaeology, and Deleuze/Guattarian schizoanalysis provide a syncretic method for discussing the obsessive, convulsive body-- in Wordsworth's pastoral poetry, in William Godwin's and Mary Shelley's gothic romances, in musical and fictional minimalism, and finally during the AIDS pandemic. What results is a human subject which has recreated itself in terms of extreme forms of experience through the flesh, as well as new forms of textuality embodying that subject. RANDLE, GLORIA THOMAS. _Good-Enuf Mothering: The African- American Woman in 19th- and 20th-Century Literature__. Dissertation Abstracts International 55-08, 1995. Order number: AAC 9501539. My study concerns the role of the mother, and the psychology of mothering, in five African-American women's texts written between 1861 and 1987: Harriet Jacobs's _Incidents in the Life of a Slave Girl__, Pauline Hopkins's _Contending Forces__, Nella Larsen's _Passing__, Gwendolyn Brooks's _Maud Martha__, and Toni Morrison's _Beloved__. I undertake a close reading of each narrative within the context of the social and political climate of its era in order to underscore both the internal and external forces that create the unique and complex conditions facing African-American mothers at particular historical moments. My analysis of the mother's psychic state is underpinned by psychoanalytic theory that helps to clarify my approach. Major theorists whose work I reference are Frantz Fanon, Anna Freud, Sigmund Freud, Melanie Klein, Heinz Kohut, and D. W. Winnicott. At the same time, I examine both the usefulness and the limitations of psychoanalytic theory in the interpretation of African-American women's literature. The adaptation, in my title, of D. W. Winnicott's term "good- enough mother," which characterizes the adequate maternal nurturer, reflects my special concern with the psychological implications of mothering in an oppressive and antagonistic environment, particularly with regard to the race and gender issues that psychoanalysis typically does not address. Throughout, I examine not only the extent to which each text approaches, but also the manner in which it complicates, the traditional definition of "good -enough" mothering. REED, GAIL S. "Clinical Truth and Contemporary Relativism: Meaning and Narration in the Psychoanalytic Situation." _Journal of the American Psychoanalytic Association__ (Slated for issue number 3 of 1995). REED, GAIL S. _Clinical Understanding__. Northvale, NJ: Jason Aronson, 1995. The collected papers by Dr. Reed on applied psychoanalysis will range from such hard to come by papers as a 1976 paper entitled "Dr. Greenacre and Captain Gulliver," published in _Literature and Psychology__; a paper entitled "The Antithetical Meaning of the Term 'Empathy' in Psychoanalytic Discourse"; an unpublished contribution to a 1984 panel on applied psychoanalysis at the New York Psychoanalytic Institute entitled "On the Discipline of Applied Psychoanalysis"; a 1983 paper on _Candide__ entitled "Radical Simplicity and Impact of Evil"; two important articles in _Psychoanalytic Quarterly__, one in 1981, "Toward a Methodology for Applying Psychoanalysis to Literature," the other, in 1985, "Psychoanalysis, Psychoanalysis Appropriated, Psychoanalysis Applied." More clinical writings include "Rules of Clinical Understanding in Classical Psychoanalysis and in Self Psychology: A Comparison" (_JAPA__, 1987); "On the Value of Explicit Reconstruction" (_Psac Quarterly__, 1993); "`The Transference Perversion': Meaning and Narration in the Psychoanalytic Situation" (_JAPA__, Forthcoming); and two cases describing the uncovering of the unconscious meaning of the formal characteristics of the patient's way of free associating: "On the Communicative Form of Severely Inhibited Associations;" and "On the Communicative Form of Profuse, Sexualized Associations." SMITH, VICTORIA L. _Loss and Narration in Modern Women's Fiction__. Dissertation Abstracts International 55-08, 1995. Order number: AAC 9500550. This dissertation examines the relationship between loss and narration in twentieth-century women's novels. I show that the investigation and reevaluation of the figural and material processes of women's loss enable a representational system for women. Fictional narration of specific losses offers a way to reconceive loss as a gain, by turning narration into a monument to loss, a (re)claiming of history, even a seduction of the other--woman or reader. Opening with questions of feminism, psychoanalysis, narration, and postmodernism in and through critical texts, I stress not only how loss--a kind of dereliction--might be figured differently for women than for men, but also how issues of race and sexual orientation stand as blind spots in feminist theory and in the literary debates around postmodernism. Turning form these overtly theoretical considerations to their performance in fictional texts, I discuss, in the second chapter, the (re)telling of history and the creation of self in Toni Morrison's _Beloved__ and Gayl Jones's _Corregidora__. In chapter three, I read Virginia Woolf's _Orlando__ through an idea of autobiography, arguing that woman's history is only available to her through the story of another. Woolf's writing enacts a seduction and foregrounds an idea of language at a "loss." Chapter four considers the rules of narrative structure and the space that woman occupies within that structure through a reading of Jeanette Winterson's _Sexing the Cherry__. The following chapter examines the rhetorical structure of narration in Djuna Barnes's _Nightwood__. Here, Barnes's narration acts as a mode of (re)telling history for those who have been systematically written out of discourse. The final chapter takes up an idea of writing as performance and seduction in Bertha Harris's _Lover__. Overall, this study aims to introduce and articulate the notion of melancholia with a difference--that is, to show how narrating loss can be a strategy of resistance, empowerment and recuperation. _ STEWART, ELIZABETH. _Destroying Angels: Messianic Rhetoric in Benjamin, Scholem, Psychoanalysis, and Science Fiction__. Dissertation Abstracts International 55-09, 1995. Order number: AAC 9502302. This dissertation uncovers the covertly analogical rhetorical structures of Jewish _merkabah__--mystical theories of creation, Walter Benjamin's theological historical materialism, psychoanalytic theories of creativity, and New Wave science fiction and "cyberpunk." The texts I examine are all characterized by a speculative esoterism that foregrounds the trope of paradox, of the "stormy" and indeterminate origin and that insists on a rigorous injunction against images through the ethical trope of the "face-to-face." The dissertation's theoretical grounding is circumscribed by the thought of Walter Benjamin; Gershorm Scholem (and his appropriation of kabbalistic esoterism); Harold Bloom (and his appropriation of Scholem and Freud); the psychoanalysts D. W. Winnicott, Marion Milner, and Wildred Bion; SF theorists Darko Suvin, Fredric Jameson, and Scott Bukatman; the radically "stormy" and "gender-troubling" thought of Judith Butler; the apocalypticism of Derrida; and the strong, ethically grounding framework of Emmanuel Levinas. Binding the three parts--Jewish Messianism and Theories of Language, Psychoanalytic Theories of Creativity, and the Rhetoric of Science Fiction--together is their common use of irony and paradox as a rigorous critical tool. The messianic rhetoric that the dissertation attempts to uncover (while messianism simultaneously makes revelation impossible) is presented as an "alternate epistemology" (as regards the "dialectic of enlightenment"), a "transitional area" lying outside of hierarchy and thus also outside of the "oppressor/oppressed" dialectic, and is, in this scense "positive." The psychoanalytic chapter, for example, deals mostly with the realm in between the subject and his/her other, a fluid space in which creation of the subject and of the world occur simultaneously and which is the murky origin of both ideology and ideological transformation. My concentration falls on such "transitional areas" as source for an "alternate epistemology" and on their ethical implications. Reading Benjamin's work in terms of Relation as I do and bringing texts from such disparate fields into an oscillating constellation of relationships on a variety of different discourses sheds new light on these texts while also presenting a case for interdisciplinarity. ST. PIERRE, CHERYL ANN. _Short Stories: A Verbal and Visual Process of Interpretation.__ Dissertation Abstracts International 53-12A, 1992. Norman Holland stresses the importance of the reader's identity as a factor in the process of interpretation. This study attempts to apply Holland's theory and method to the analysis of responses to short stories expressed visually as well as verbally. The researcher (an artist) and a second artist were asked to respond to selected stories by Virginia Woolf, Katherine Mansfield, William Trevor, and Ruth Rendell. We responded by writing protocols and by painting our perceptions of the themes, main characters, and interrelationships of characters for each story. In addition, both responders employed Hope Conte's and Robert Plutchik's "Circumplex Model for Interpersonal Personality Traits" (1981) to describe the personality traits of selected characters from the stories. Because Holland did not analyze visual materials, two additional steps were required for this research. First, each artist wrote descriptions of her paintings, based on Eugene Kaelin's "Four Postulates for Phenomelogical `Aesthetic Judgment'" (1981). Second, each artist rated her own and the other artist's paintings employing methods developed by Berlyne's and Ogilvie's "Factor Analyses (P Technique)" (1974). Insights about the responders' identity themes and their influence on the process of interpretation of the literary works were also drawn from psychohistories we wrote. All visual and verbal data were analyzed using Holland's concepts of "Four Principles of Literary Experience" (1973, 1975) and his "Dictionary of Fantasy" (1968). The major findings of this study are: (1) identity themes were manifest in both verbal and visual responses; (2) because visual materials were analyzed, Holland's usual methods were modified; (3) the combined model was useful for describing the relationship between each individual's identity theme and the visual and verbal responses to the fiction. ZSCHOKKE, MAGDALENA. _The Other Woman, From Monster to Vampire: The Figure of the Lesbian in Fiction__. Dissertation Abstracts International 55-08, 1995. Order number: AAC 9500559. This dissertation establishes a topography of the narrative construction of female, and specifically lesbian, desire. Because fictional narratives and psychoanalytic (so-called non- fictional) accounts often mirror each other, I present psychoanalysis and literature as intersecting discourses rather than prescriptive representations of separate realities. In Chapter 1, I read Charlotte Br nte's 1848 novel _Jane Eyre__ against Rhys's 1966 "prequel" _The Wide Sargasso Sea__. The two novels together represent a paradigmatic moment of female subjectivity and offer a model for independent female desire. Chapter 2 expands further on the developmental options for female individuation. Moving from Freud to Lampl-de Groot, Deutsch, and Horney, I demonstrate the real difficulties of a "normal" heterosexual adjustment for the woman, in psychoanalysis's own terms. Chapter 3 analyzes the character of the invert or butch as a contemporary form of female resistance to compulsory heterosexuality. Beginning with the archetypal "butch" image as incarnate in Radcliffe Hall's Stephen Gordon, I move on to trace the type through Bannon's Beebo Brinker and end with the story of Feinberg's Jess Goldbert. I argue that the butch, as the most visible lesbian image, emblematizes the strongest refusal of heterosexual patterning, thereby becoming a powerful icon of female subjectivity and autonomy. In Chapter 4, I read the lesbian as detective, a figure of assured self- reliance for the Eighties and Nineties. Since the lesbian detective can function not only as a rescuer, friend, companion, and inspiring role model, but also as a potential lover, the romantic aspect is central to the lesbian mystery, along with other secondary plots such as coming out, familial rejection, or internalized homophobia. Chapter 5 culminates the argument by presenting the lesbian appropriation of the vampire narrative, reclaiming the figure as an embodiment of lesbian pleasure, sexulity, or endurance. The dissertation thus claims "the other woman" as the resistor, the untameable third term in the dichotomous heterosexual economy of male/female, and shows that lesbian writing creates a different narrative of female desire-- excessive, autonomous, and self-determined. BIBLIOGRAPHY -- BOOKS 1. Aberbach, David. _Realism, Caricature, and Bias: The Fiction of Mendele Mocher Sefarim.__ London: Littman Library of Jewish Civilization; Washington, DC: Distributed by B'nai B'rith Book Service, 1993. 2. Abraham, Nicolas. _The Shell and the Kernel: Renewals of Psychoanalysis.__ Chicago: U of Chicago P, 1994- . 3. Abraham, Nicolas. _Rhythms: On the Work, Translation, and Psychoanalysis of Nicolas Abraham.__ Collected and presented by Nicholas T. Rand and Maria Torok; Translated by Benjamin Thigpen and Nicholas T. Rand. Stanford: Stanford UP, 1995. 4. Alcorn, Marshall W., Jr. _Narcissism and the Literary Libido: Rhetoric, Text, and Subjectivity.__ New York: New York UP, 1994. 5. Ancona, Ronnie. _Time and the Erotic in Horace's Odes.__ Durham, NC: Duke UP, 1994.