Daniel Rancour-Laferriere – författare

In his 1889 novella "The Kreutzer Sonata", Lev Tolstoy declared war on human sexuality. Having fathered 13 children by his wife and at least two by peasant women, the great Russian writer suggested that people should stop having children. Psychoanalysis of Tolstoy's diaries and other private materials in this text shows that Tolstoy's anti-sex position was grounded in a sadistic attitude towards women (including his wife Sonia) and a punishing, masochistic attitude towards himself. These feelings, in turn, were related to the trauma of maternal loss in Tolstoy's early childhood.

The religious dimension of Tolstoy's life is usually associated with his later years following his renunciation of art. In this volume, Daniel Rancour-Laferriere demonstrates instead that Tolstoy was preoccupied with a quest for God throughout all of his adult life. Although renowned as the author of War and Peace, Anna Karenina, The Death of Ivan Ilych, and other literary works, and for his activism on behalf of the poor and the downtrodden of Russia, Tolstoy himself was concerned primarily with achieving personal union with God.Tolstoy suffered from periodic bouts of depression which brought his creative life to a standstill, and which intensified his need to find comfort in the embrace of a personal God. At times he was in such psychic pain he wanted to die. Yet Tolstoy felt that he deserved to suffer, and he learned to welcome suffering in masochistic fashion. Rancour-Laferriere locates the psychological underpinnings of Tolstoy's suffering in a bipolar illness that led him actively to seek suffering and self-humiliation in the Russian tradition of "holy foolishness." With voluntary suffering, and Jesus Christ as his model, Tolstoy advocated "nonresistance to evil," and in his daily life he strove never to return evil actions or words with physical or verbal resistance. On the other hand, being bipolar, Tolstoy in some situations would drift in a manic direction, indulging in delusions of grandeur. Indeed, the aging Tolstoy occasionally went so far as to equate himself with God, as can be seen from his diaries and personal correspondence.The pantheistic world view which Tolstoy achieved at the end of his life meant that God was within himself and within all people and all things in the entire universe. By this time Tolstoy was also utilizing images of a mother to represent his God. With this essentially maternal God so conveniently available, there was nowhere Tolstoy could be without Her. For, in the end, Tolstoy's quest for God was a compensatory search for the mother who died when he was barely two years old. Tolstoy's Quest for God is an original and penetrating contribution to the study of one of the world's supreme writers.

What makes one reader look for issues of social conformity in Kafka's Metamorphosis while another concentrates on the relationship between Gregor Samsa and his father?Self-Analysis in Literary Study investigates how the psychoanalytic self-analysis enables readers to gain a deeper understanding of literature as well as themselves.In the past scholars have largely ignored self-analysis as an aid to approaching literature. The contributors in Self-Analysis in Literary Study boldly explore how the psyche affects intellectual intellectual discovery in the realm of applied psychoanalysis.Jeffrey Berman confronts a close friend's suicide through Camus and his student's diaries, kept for an English class. Language, family history, and an attachment to Kafka are addressed in David Bleich's essay. Barbara Ann Schapiro writes of her attraction to Virginia Woolf during her emotional senior year of college. Other essayists include Daniel Rancour-Laferriere, Norman N. Holland, Bernard J. Paris, Steven Rosen, and Michael Steig.Written for both scholars in the fields of psychology and literature and for a general audience intrigued by self- analysis as a tool for gaining insight, Self-Analysis in Literary Study answers traditional questions about literature and raises challenging new ones.

Why, asks Daniel Rancour-Laferriere in this controversial book, has Russia been a country of suffering? Russian history, religion, folklore, and literature are rife with suffering. The plight of Anna Karenina, the submissiveness of serfs in the 16th and 17th centuries, ancient religious tracts emphasizing humility as the mother of virtues, the trauma of the Bolshevik revolution, the current economic upheavals wracking the country-- these are only a few of the symptoms of what The Slave Soul of Russia identifies as a veritable cult of suffering that has been centuries in the making.Bringing to light dozens of examples of self-defeating activities and behaviors that have become an integral component of the Russian psyche, Rancour-Laferriere convincingly illustrates how masochism has become a fact of everyday life in Russia. Until now, much attention has been paid to the psychology of Russia's leaders and their impact on the country's condition. Here, for the first time, is a compelling portrait of the Russian people's psychology.

Why, asks Daniel Rancour-Laferriere in this controversial book, has Russia been a country of suffering? Russian history, religion, folklore, and literature are rife with suffering. The plight of Anna Karenina, the submissiveness of serfs in the 16th and 17th centuries, ancient religious tracts emphasizing humility as the mother of virtues, the trauma of the Bolshevik revolution, the current economic upheavals wracking the country-- these are only a few of the symptoms of what The Slave Soul of Russia identifies as a veritable cult of suffering that has been centuries in the making.Bringing to light dozens of examples of self-defeating activities and behaviors that have become an integral component of the Russian psyche, Rancour-Laferriere convincingly illustrates how masochism has become a fact of everyday life in Russia. Until now, much attention has been paid to the psychology of Russia's leaders and their impact on the country's condition. Here, for the first time, is a compelling portrait of the Russian people's psychology.

In 1888, Leo Tolstoy mysteriously declared that sexual intercourse should no longer exist. Years later he would admit to being "horrified" by this pronouncement, but still remained an ardent believer in sexual abstinence. Frequenter of brothels in his youth, father of thirteen children by his wife and at least two children by peasant women before he was married, Tolstoy now had the audacity to suggest that people should stop having sex. How can such a repudiation be explained? Beginning with Tolstoy's Kreutzer Sonata-his first written "declaration of war on human sexuality"--Tolstoy on the Couch takes us on a sweeping psychoanalytic tour of Tolstoy's diaries and other private materials, revealing that behind his campaign for celibacy lay a painful and complicated drama of early childhood. Rooting Tolstoy's polarized feelings about women and sexuality in his uncontrollable rage toward the mother who died when he was a toddler, Rancour-Laferriere offers profound psychobiographic insights into Tolstoy's lifelong animosity toward women--and into the women he loved to hate.

This book presents a unique effort to create a new understanding of the Christian sign of the cross. At its core, it traces the conscious and unconscious influence of this visual symbol through time. What began as the crucifixion of a Jewish troublemaker in Roman-occupied Judea in the first century eventually gave rise to a broad spectrum of readings of the instrument used to accomplish such a punishment, a cross.The author argues that Jesus was a provocative, grandiose masochist whose suffering and death initially signified redemption for believers. This idea gradually morphed into a Christian sense of freedom to persecute and wage war against non-believers, however, as can be seen in the Crusades ("wars of the cross"). Many believers even construed the murder of their savior as a crime perpetrated by "the Jews," and this paranoid notion culminated in the mass murder of European Jews under the sign of the Nazi hooked cross (Hakenkreuz).Rancour-Laferriere's book is expertly written and argued; it will be readable to a large audience because it touches on many areas of controversy, interest, and scholarship. The work is critical, but not unfair; it employs psychoanalysis, art history (the study of the symbol of the cross in works of art), religion and religious texts, and world history generally. The interweaving of these various themes is what gives this work its ability to draw in readers and will ultimately be what keeps the reader interested through the conclusion.

The religious dimension of Tolstoy's life is usually associated with his later years following his renunciation of art. In this volume, Daniel Rancour-Laferriere demonstrates instead that Tolstoy was preoccupied with a quest for God throughout all of his adult life. Although renowned as the author of War and Peace, Anna Karenina, The Death of Ivan Ilych, and other literary works, and for his activism on behalf of the poor and the downtrodden of Russia, Tolstoy himself was concerned primarily with achieving personal union with God.Tolstoy suffered from periodic bouts of depression which brought his creative life to a standstill, and which intensified his need to find comfort in the embrace of a personal God. At times he was in such psychic pain he wanted to die. Yet Tolstoy felt that he deserved to suffer, and he learned to welcome suffering in masochistic fashion. Rancour-Laferriere locates the psychological underpinnings of Tolstoy's suffering in a bipolar illness that led him actively to seek suffering and self-humiliation in the Russian tradition of "holy foolishness." With voluntary suffering, and Jesus Christ as his model, Tolstoy advocated "nonresistance to evil," and in his daily life he strove never to return evil actions or words with physical or verbal resistance. On the other hand, being bipolar, Tolstoy in some situations would drift in a manic direction, indulging in delusions of grandeur. Indeed, the aging Tolstoy occasionally went so far as to equate himself with God, as can be seen from his diaries and personal correspondence.The pantheistic world view which Tolstoy achieved at the end of his life meant that God was within himself and within all people and all things in the entire universe. By this time Tolstoy was also utilizing images of a mother to represent his God. With this essentially maternal God so conveniently available, there was nowhere Tolstoy could be without Her. For, in the end, Tolstoy's quest for God was a compensatory search for the mother who died when he was barely two years old. Tolstoy's Quest for God is an original and penetrating contribution to the study of one of the world's supreme writers.

In his 1889 novella The Kreutzer Sonata Lev Tolstoy declared war on human sexuality. Psychoanalysis of Tolstoy's diaries and other private materials reveals that Tolstoy's anti-sex position was grounded in a sadistic attitude towards women (including his wife Sonia) and a punishing, masochistic attitude towards himself.

This book presents a unique effort to create a new understanding of the Christian sign of the cross. At its core, it traces the conscious and unconscious influence of this visual symbol through time. What began as the crucifixion of a Jewish troublemaker in Roman-occupied Judea in the first century eventually gave rise to a broad spectrum of readings of the instrument used to accomplish such a punishment, a cross.The author argues that Jesus was a provocative, grandiose masochist whose suffering and death initially signified redemption for believers. This idea gradually morphed into a Christian sense of freedom to persecute and wage war against non-believers, however, as can be seen in the Crusades ("wars of the cross"). Many believers even construed the murder of their savior as a crime perpetrated by "the Jews," and this paranoid notion culminated in the mass murder of European Jews under the sign of the Nazi hooked cross (Hakenkreuz).Rancour-Laferriere's book is expertly written and argued; it will be readable to a large audience because it touches on many areas of controversy, interest, and scholarship. The work is critical, but not unfair; it employs psychoanalysis, art history (the study of the symbol of the cross in works of art), religion and religious texts, and world history generally. The interweaving of these various themes is what gives this work its ability to draw in readers—and will ultimately be what keeps the reader interested through the conclusion.