Dominique Hecq – författare

The papers collected together in this volume laid the groundwork for contemporary psychoanalytic women's studies and gender theory. They cover a period from June 1917, when Johan van Ophuijsen presented his paper on the masculinity complex in women to the Dutch Psycho-Analytical Society, to April 1935, when Ernest Jones read a paper on early fem

The papers collected together in this volume laid the groundwork for contemporary psychoanalytic women's studies and gender theory. They cover a period from June 1917, when Johan van Ophuijsen presented his paper on the masculinity complex in women to the Dutch Psycho-Analytical Society, to April 1935, when Ernest Jones read a paper on early female sexuality to the Vienna Psycho-Analytical Society.Although these papers are often referred to in discussions of female sexuality, and although some individual papers have been reproduced elsewhere, they have never before appeared together as a collection. Anyone who has read these papers will be aware of their importance to the topic of female sexuality. But it is not the theme alone that unifies the collection. There are two further considerations of equal importance: the dialogue and debate that take place between the papers, from first to last; and the considerable impact they had on the development of certain of Freud's key themes. The papers have a clear historical interest but rereading them today will also show their continuing relevance to debates within and outside psychoanalysis on female sexuality.This collection contains papers by Karl Abraham, Marie Bonaparte, Ruth Mack Brunswick, Helene Deutsch, Otto Fenichel, Karen Horney, Ernest Jones, Melanie Klein, Jeanne Lampl de Groot, Josine Muller, Carl Muller-Braunschweig, Johan H. W. van Ophuijsen, Joan Riviere, and August Starcke.

This book offers an in-depth study of the poetics of creative writing as a subject in the dramatically changing context of practice as research, taking into account the importance of the subjectivity of the writer as researcher. It explores creative writing and theory while offering critical antecedents, theoretical directions and creative interchanges. The book narrows the focus on psychoanalysis, particularly with regard to Lacan and creative practice, and demonstrates that creative writing is research in its own right. The poetics at stake neither denotes the study or the techniques of poetry, but rather the means by which writers formulate and discuss attitudes to their work.

This book offers an in-depth study of the poetics of creative writing as a subject in the dramatically changing context of practice as research, taking into account the importance of the subjectivity of the writer as researcher. It explores creative writing and theory while offering critical antecedents, theoretical directions and creative interchanges. The book narrows the focus on psychoanalysis, particularly with regard to Lacan and creative practice, and demonstrates that creative writing is research in its own right. The poetics at stake neither denotes the study or the techniques of poetry, but rather the means by which writers formulate and discuss attitudes to their work.

This book focuses on creative writing both as a subject in universities and beyond academia, with chapters arranged around three organising sub-themes of practice, research and pedagogy. It explores the ‘creative’ component of creative writing in the globalised marketplace, making the point that creative writing occurs in and around universities throughout the world. It examines the convergence of education, globalisation and economic discourses at the intersection of the university sector and creative industries, and foregrounds the competing interests at the core of creativity as it appears in the neo-liberal global discourse in which writers are enmeshed. The book offers case studies from the UK, the USA, Canada, Australia and Singapore that are indicative of the challenges faced by academics, postgraduate students and creative industry professionals around the world.

This book focuses on creative writing both as a subject in universities and beyond academia, with chapters arranged around three organising sub-themes of practice, research and pedagogy. It explores the ‘creative’ component of creative writing in the globalised marketplace, making the point that creative writing occurs in and around universities throughout the world. It examines the convergence of education, globalisation and economic discourses at the intersection of the university sector and creative industries, and foregrounds the competing interests at the core of creativity as it appears in the neo-liberal global discourse in which writers are enmeshed. The book offers case studies from the UK, the USA, Canada, Australia and Singapore that are indicative of the challenges faced by academics, postgraduate students and creative industry professionals around the world.