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Copyright of Gli Argonauti is the property of Padova University Press and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Quaderni della Rivista di Psicologia Clinica is the property of Quaderni di Psicologia Clinica and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Quaderni della Rivista di Psicologia Clinica is the property of Quaderni di Psicologia Clinica and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Enthymema is the property of Enthymema, International Journal of Literary Criticism, Literary Theory & Philosophy of Literature and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Enthymema is the property of Enthymema, International Journal of Literary Criticism, Literary Theory & Philosophy of Literature and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

The paper proposes a comparative analysis of the question of limit in its connections with the work of the Negative (Le Travail du négatif, A. Green) in two great proses of the 20th Century: Samuel Beckett's Company (1980) and Franz Kafka's Der Bau (The Burrow, 1923/24). The contribution articulates in two main moments: within the specificity of a psychoanalytical approach, I reconsider the problem of the Work of the Negative in literature, discussing how, in Kafka's and Beckett's works, the Negative represents a radical alterity to a philosophical perspective. In a second moment of the paper, I analyse the complexity of the representational strategy of the limit in Kafka's and Beckett's writings, investigating thus the question of subjectivity and the relationship with an Otherness through the writing, the question of memory, its construction processes by means of writing, the work of mourning, and the development of poetics of irreducibility and unrepresentability towards an ethics of literature.

In questo paper si intende inquadrare i rapporti dell’attivista italiano Mario Mieli con la psicoanalisi, per definirlo come “filosofo queer-freudiano”, nonché raffinato e innovativo interprete del testo di Freud: a questo fine, bisogna innanzitutto chiarire gli elementi di queerness contenuti nei Tre saggi sulla teoria sessuale, genialmente riletti negli Elementi di critica omosessuale di Mieli. Articolerò dunque la teoria dell’ermafroditismo psichico e della bisessualità costituzionale con quella dell’omoerotismo “educastrato”, filtrata dalla lente marcusiana del freudo-marxismo che media la ricezione del Freud di Mieli. La seconda via perseguita riguarda la de-patologizzazione della schizofrenia e l’indagine sulle sofferenze sintomatiche a partire dal nesso omosessualità-suicidio, visto dalla lente psicoanalitica, in un percorso che lega i tre “casi clinici” di Mario Mieli, dell’omosessuale freudiana Dora e dell’Herculine foucaultiana.

This paper examines the second novel by Mario Spinella, distinguished Marxist intellectual founder of the magazine «Utopia» (1971-1973), and aims to investigate the ways in which the conventions of dystopic literature are assumed in an ironic key (in line with the author's experimental poetics) without renouncing the vehement denunciation of the social order of the neo-capitalist polis (an ideological position in dialogue with the elaboration, by the exponents of the Frankfurt School, of a radical critique of the System). Spinella's inclination for the human sciences pushes him in Conspiratio oppositorum to bring into play the psychoanalytic categories (from Freud to Lacan: Spinella was among the animators of the magazine «Il piccolo Hans»), political (the book, written from 1968 to 1971, attempts to verify the topicality of the concept of class conflict) and divergent thinking (the ‘unreliable’ perspective of the insane, common to the contemporary novels of Volponi and Malerba, is made to interact with Foucaultian theories on the total institution).

In questo contributo offro una mappa degli studi sul personaggio della critica anglo-americana. L’obiettivo di questo saggio è di aprire un nuovo dibattito critico, ma soprattutto dialettico, sul personaggio in Europa e negli Stati Uniti: attraverso una rassegna dei lavori più importanti su questo aspetto pubblicati dal 2003 al 2016, mostrerò la distanza tra una visione analitica e una continentale sul personaggio ed evidenzierò i limiti e i vantaggi delle teorie prese in esame.In this paper I will offer a map of the Anglo-American scholarship on literary character. My aim is to open a new critical, but foremost dialectic, debate on character both in Europe and in the United States: through a reading of the most works published on this topic between 2003 and 2016, I will show the distance between the analytical and continental approaches on character, and I will outline the limits and the advantages of these theoretical models.

In this paper the author discusses the problem about fruition of art from the book edited by Sergio Givone and Graziella Magherini Listening to Art. Figural Arts, Literature, Music (in English translation: Nicomp, Firenze 2014). It deals with the theme of listening – a code which certainly characterizes very well both the world of art, in all its diverse forms, and the world of psychoanalysis. In both sectors, the term “listening” is understood in its broadest sense, as a disposition and openness towards the other and their opacity: opacity of the artistic creation, and the "opacity" characterizing the analyst-patient relationship and the relationship between a work of art and its public.

This paper aims at investigating the rhetorical strategies used by some contemporary audiovisual products in order to describe the birth of the pornographic film industry. In particular, through the analysis of three neo-Victorian key texts – Bram Stoker’s Dracula, Ripper Street (episode I Need Light) and Penny Dreadfull (episode Séance) –, the goal is to detect the “conditions of possibility” of pornography, considered as a cultural form, in the context of mass entertaiment related to mainstrem cinema and Anglo-American television series. The notion of fantasy, mainly studied in the field of psychoanalysis, is taken as a theoretical reference point in order to frame audiovisual pornography in terms of ideology (the codification of a cultural phenomenon), dispositif (its perceptual structuring) and narration (the grammar underlying it). The texts analyzed operate according to some historiographical “conceptualizations” extremely significant in terms of both historical and cultural understanding of the phenomenon investigated.

Copyright of International Journal of Psychoanalysis & Education is the property of International Journal of Psychoanalysis & Education and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

The current paper explores the practice of case writing in educational and pedagogical work, focusing on its use by education professionals as a research and self-reflective strategy. This analysis of the pedagogical case write-up (Riva, 2007) as a clinical research procedure (Demetrio, 2008) is theoretically informed by the hermeneutic phenomenological approach (Van Manen, 1990; 2002) and by the psychoanalytical tradition of clinical case writing (Barbieri, 2005; Ferro, 1999; Semi, 1992). Both approaches provide valuable resources for professionals engaging in case writing, a practice that requires a research stance and a reflective and critical outlook, including and indeed all the more so when it involves telling educational stories.

Sublimation is an idea often used to give a psychoanalytic interpretation of artistic creativity. Focusing on the lyric speaker within the poem and considering the text as a mise-en-scène of poetic creation, the paper intends to investigate why sublimation could not be the right key to understanding the phenomenon. The subject’s dynamics, in modern poetry, show themselves as a continuous failure in the repeated attempt to possess the object. The speaker’s affective and cognitive desire is produced and constantly renewed by the impossibility of possessing the object (above all in its representation). But it is only in such a gap that the subject can exists. In order to feel desire, there should be an illusion of possession and representation. Subject and object create each other in lyric poem, and the former comes to coincide with the desire for the latter, it does not exist outside that desire. Since lyric poetry shows itself as the unfolding of a subject that voices itself and is always involved in an object relation, it can be a privileged field of investigation for this kind of phenomena. Two poets will be taken into consideration: Thibaut de Champagne, a late trouvère who summons up the Provençal tradition, and Charles Baudelaire, one of the modern poets that have most deeply investigated the reality lack of sense.

The paper illustrates the metamorphosis as a limit’s figure, as a petrifaction. Metamorphic myth, passed on occidental culture thanks to the great poem of Ovid’s Metamorphoses, concerns, indeed, more than the transformational variety of its figurations, the fundamental structure of a subjectivity. The study presupposes the psychoanalytic fantasy’s perspective (Freud, Lacan) that considers metamorphosis not as a magic or fantastic anomaly but, beyond its paradoxical, teratological or astonishing phenomenology, as the fantasy’s essential bond which constitutes a being. Metamorphosis represents the paradigmatic figure of a Subject who places himself upon a limit or who overcomes it, venturing his life, in order to obtain the possession of an inaccessible object. Metamorphosis corresponds to a fate different from death, characterized by that entre-deux, by the limen between the living and the dead which is the only shelter for those who are in difficulties. The metamorphic hero is actually punished with a mutation but, at the same time, he escapes from death or intolerable sufferings. So metamorphosis turns out as a subjectivity form suspended between life and death, like (for choosing just one of the numerous examples of transformations disseminated all over the literature and art from time immemorial) in Daphne’s metamorphic adventures in which a nymph is transformed in a tree under the pressure of a desire that is impossible to avoid anymore.