ellauri030.html on line 899: Tendentious jokes are jokes that contain lust, hostility, or both. William Shakespeare’s Falstaff would be an example of Freud's "comic," generating laughter by expressing previously repressed inhibition.
ellauri073.html on line 174: This bestselling book examines childhood trauma and the enduring effects it has on an individual's management of repressed anger and pain.
ellauri080.html on line 777: But Gandhi was also a puritan and a misogynist who helped ensure that India remains one of the most sexually repressed nations on earth – and, by and large, a dreadful place to be born female.
ellauri083.html on line 338: Hendershot recalls that, in the Schreber case, God was believed to manifest his creative and destructive power as celestial rays (Freud 22). As with spider-webs and hedgehogs quills, this radial pattern describing dilation and contraction, movement back and forth from center to circumference and from circumference to center, is the essential figure for the paranoid narcissism of a subject who feels threatened by the world and guilty for having taken "his own body [...] as his love-object" (Freud 60). Signaling Fistule's repressed homosexuality, the rays of his intelligence had first been focused on the masochistic annihilation of his genitals, which he denies were the original object of his love ("organes hideux," "vomitoires de dejections"), and then had been used in reconstructing a sexless new reality. Insisting on his exemption from the Naturalist law of biological determinism, Fistule denies his human parentage and maintains that he was born of a star, which, shining like the rays of his genius, had inseminated him and allowed him to be the father of himself, causa sui. Homosexual guilt initially projected as the corruptibility of matter is overcome by Fistule's principle of Stellogenesis, which turns flesh into radiance and bodies into starlight. As Hendershot concludes: "In Freud's theory, the paranoiac withdraws from the world (decathexis), directs his or her cathectic energy to the ego resulting in self-aggrandizement, and then attempts to reestablish a cathectic relationship with the world in the form of a delusional system"
ellauri107.html on line 244: Claggart’s repressed, closeted attraction to Billy finds parallels with some interpretations of Hawthorne’s evident spurning of Melville’s too intimate attentions and Hawthorne’s character in The Blithedale Romance Coverdale’s similar rejection of the invitation from Holingsworth to be his “friend of friends, forever.” For Melville, Hawthorne’s Arthur Dimmesdale’s agonizing acknowledgement of adultery must have seemed a stunning parallel with what later generations would term “coming out of the closet.” Whether Hawthorne himself were a closeted gay man, it is clear that Melville was relatively open in his affections for the senior author and that those affections were somehow turned away and seem to have left a wound that never fully healed. The evils of the closet constitute a subtext in Billy Budd that may well have brought to its author’s mind the sad sundering of his closeness with Nathaniel Hawthorne.
ellauri133.html on line 446: The scene first surfaces as a repressed memory within Bev—she remembers during another sex scene with the adult Bill:
ellauri203.html on line 648: Martin, a respected doctor (huoh), his wife Karin, Karin's seventeen year old brother Minus, and widowed father David of Karin and Minus' have convened at the family's summer home on an island off the coast of Sweden to celebrate David's return from the Swiss Alps, where he was substantially completing his latest novel (huoh). The family has long lived a fantasy of they being a loving one, David's extended absences which are the cause of many of the family's problems. Without that parental guidance, Minus is at a confused and vulnerable stage of his life where he is a bundle of repressed emotions, most specifically concerning not feeling loved by his father and concerning the opposite sex (huoh). He is attracted to females as a collective but does not know how to handle blatant female sexuality, especially if it is directed his way. A month earlier Karin was released from a mental institution (huoh). Her doctor has told Martin that the likelihood that she will fully recover from her illness is low, her ultimate fate being that her mental state will disintegrate totally, although she has functioned well since her release. In his love for her, Martin has vowed to himself to see her through whatever she faces. As Karin begins to lose grip on reality, Minus is the one most directly affected, although it does bring out the issues all the men are facing with regard to their interrelationships.
ellauri270.html on line 302: The irony in “The Daemon Lover” is that the female protagonist becomes suspect as she hunts for the mysterious young man “who promised to marry her” (DL 23). Everywhere she searches, she encounters couples who mock her with not-so-subtle insinuations that she is crazy. Indeed, at the end of the story she may well have become insane; the narrative is ambiguous on this point. Significantly, however, if the nameless woman has indeed lost her mind, it is James who is responsible. Although some critics speculate that the disruptive male figure—both in this story and in the others in the collection—is a hallucination of a sexually repressed character, the epilogue to The Lottery, a ballad entitled “James Harris, The Daemon Lover,” suggests otherwise: He is, in fact, the devil himself.
ellauri374.html on line 183: We will also be joined by Ana Sazonova, a Ukrainian-American, who is a tireless advocate for the people of Ukraine and Ukraine’s Jewish community. Learn more about Ana in her bio below. This event is free and open to the public, but registration is required. Featuring Speaker Ana Sazonov. Ana is a remarkable woman with an engaging story about her Ukrainian upbringing and her repressed Jewish identity. After the fall of the Soviet Union, her family made Aliyah. Ana will share her story of embracing Judaism and her Israeli identity.
ellauri374.html on line 185: Ana Sazonova was born in Ukraine to a non-Jewish mother and a father who repressed his Jewish identity. Her family became Ukrainian in every way, which helped them to survive Anti-Semitic attacks and the Holocaust. Ana grew as a Ukrainian girl with no knowledge of Judaism or Israel. After the Soviet Union collapsed, the Jewish Agency sprang into action, promoting the Law of Return, and offered her family the chance to make Aliya and start a new life in the Promised Land.
ellauri382.html on line 524: The impact of repressed anger can include the following:
ellauri382.html on line 579: She shows few (if any) signs of repressed anger.
xxx/ellauri068.html on line 213: I said some of this yesterday, but it wasn’t easy: in one interview, the first question I was asked was about Borges’s sexuality. Infrequent, they said, unusual, like in his stories. The first thing that came to mind was an article on Hans Christian Andersen, published in his own centenary in 2005, which doesn’t say a word about Andersen’s oeuvre and instead is dedicated to providing a pathetic portrait of the repressed homosexual, the vindictive upstart, the complicated and ugly man, like the duckling, which was Andersen. I’m intentionally omitting who wrote it and where it can be found.
xxx/ellauri120.html on line 64: No, Freud was rong! Many basic tenets of Freud’s theory have been completely disproved. To name several: Psychosexual stages. The Oedipal complex. Belief that repressed memories from the first year of life can be unearthed. Sexual fantasy about intercourse with a parent is responsible for hysteria. Even more damning, his methods and procedures cannot be called scientific, his evidence lacks scientific credibility, and what is offered as evidence was sometimes fudged, if not outright fabricated. Not surprisingly, Freud is absented from contemporary psychological pedagogy, theory, and research. Claiming, “Freud is right!” is akin to shouting, “Long live the king!”; historical curiosities, both.
xxx/ellauri225.html on line 271: Several scholars have commented that Le Guin´s writing was influenced by Carl Jung, and specifically by the idea of Jungian archetypes. In particular, the shadow in A Wizard of Earthsea is seen as the Shadow archetype from Jungian psychology, representing Ged´s pride, fear, and desire for power. Le Guin discussed her interpretation of this archetype, and her interest in the dark and repressed parts of the psyche, in a 1974 lecture. She stated elsewhere that she had never read Jung before writing the first Earthsea books. Other archetypes, including the Mother, Animus, and Anima, have also been identified in Le Guin´s writing.
xxx/ellauri225.html on line 362: Bloom still teaches (well, used to, he was carried out of the classroom in a huge black bodybag in 2019) at Yale and claims he has finally learned to better listen to his students. He tells them to select a piece of writing they love, sit under a tree and chant the lines to truly “possess” it. He does this himself at night when sleep fails him. The practice sparks repressed memories: “Vividly I saw myself, a boy of three, playing on the kitchen floor, alone with [my mother] as she prepared the Sabbath meal. She was born in a Jewish village, and I was happiest when we were alone together. As she passed me in her preparations I would reach out and touch her bare toes, and she would rumple my hair and murmur her affection for me.” Tädin pienet ruskeat amputoidut varpaat ihastuttivat myös Ursulaa hänen kirjassaan Kahdesti haarautuva puu (Don´t tell mama, kz. Fig. 2).
xxx/ellauri225.html on line 374: Recently, chanting Walt Whitman to himself at night—he describes Whitman as “our repressed voice,” a loosener and liberator whose fearlessness embraces every living moment—Bloom brought forth an almost feverish recollection from over 70 years ago. There was a young lady of 17 with lustrous long red hair. They were students at Cornell and took long walks together, picking apples that she would transform into a delicious applejack. And then, as with his mother, Bloom stops. We learn nothing else about the girl, what transpired, did he score, or what this memory meant to him on this restless night. He has already moved on, to his infatuation with Proust’s “privileged moments” and “sudden ecstasies of revelation,” which bring back to Bloom his dead parents whom he misses dearly.
xxx/ellauri380.html on line 381: repressed against watery cabbage soup and an unmovable totalitarian State,
xxx/ellauri388.html on line 54: Tietoisuus siitä, että joka hetki saattoi joutua puolustamaan kunniaansa vihollista vastaan, oli omiaan kasvattamaan pojissa itseluottamusta, päättäväisyyttä ja rohkeutta. Mutta kauna jäi elämään, salainen katkeruus ja piiloviha (repressed anger).
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