Naomi Segal – författare

This book makes a powerful and somtimes contentious contribution to current debates in gender, feminist, and queer theory. Tracing the hydraulic image in a range of theoretical texts on pedagogy, pederasty, reproductive fantasy, and the anthropology of body fluids, Naomi Segal goes on to examine this imagery in the writings of André Gide. Gide's sexuality was explicitly central to everything he wrote, but it was complex and diverse, motivated as much by undesire as by curiosity and the chase. The ventriloquism of the female voice, versions of triangularity, the potentially endless male chain, the desire of sun on skin, a sideways genealogy, and the gratuity of crime, education, virtue, or playthese mobile patterns are found throughout his fiction and non-fiction. In Gide's polemic, it is always better to be loved by an uncle than an aunt; but all love is motivated by the fluidity of the swerve.

This book, featuring contributions from some of the world’s most eminent Freud scholars, marks the fiftieth anniversary of Freud’s arrival in London as an exile from occupied Austria—an event regarded by many as a decisive turning point in modern cultural history [or for psych. media: in the history of psychoanalysis]. Based on a broad range of documentation, and using illustrations from the Freud archives (many of them reproduced here for the first time), this volume demonstrates how Freud’s exile stimulated the growth of psychoanalysis in the English-speaking world and provides an important reassessment of Freud’s contribution to twentieth-century thought.

Scarlet Letters explores the fascination exerted by adultery throughout the long history of western cultures. Critics from the UK, USA and Australia, working in a variety of specialisms, have contributed to this substantial new collection of close readings and wider contextualisations. As well as focusing on the bourgeois nineteenth century as the high age of representations of adultery, the book offers historicist and psychoanalytic analyses of texts ranging from the Amphitryon myth to Fatal Attraction and The Piano.

This collection looks from a variety of angles at the human body as it resists the determinations of gender, sexuality, socialisation and history. Ranging from classical hermaphrodites, Bruegel's blind faces and Weimar transgender surgery, via "Gentlemen Prefer Blondes", state socialist sport and Proust, to Barbie, Lari Pittman, "American Psycho", IVF and video dance, the 16 essays question the relationship between politics, culture and desire. This illustrated book also features the original work of two young photographers and a theatre director.

This 1986 study of Manon Lescaut draws on various debates in the fields of psychoanalysis, feminism and literary criticism. It has two principal aims: to analyse this story of a young man's passion for a femme fatale as it is presented by the narrator; and to suggest ways in which feminist criticism can help explain how the text operates. The volume is in three parts. In Part I, Dr Segal offers a close reading of Manon Lescaut in which the narrator's relationship with language is the key issue. Part II considers four central themes which are present in the text's language and structure: money, the image of the woman, the concept of the double, and fatality. In the final part the author presents a feminist critique of Freud and Lacan, and develops thereby a fascinating version of the Oedipus Complex which is brought to bear on Manon Lescaut.

Researchers in the new field of literary-and-cultural studies look at social issues – especially issues of change and mobility – through the lens of literary thinking. The essays range from cultural memory and migration to electronic textuality and biopolitics.

Researchers in the new field of literary-and-cultural studies look at social issues – especially issues of change and mobility – through the lens of literary thinking. The essays range from cultural memory and migration to electronic textuality and biopolitics.

Ranging from classical hermaphrodites, Bruegel's blind faces and Weimar transgender surgery, via Gentlemen Prefer Blondes , state-socialist sport and Proust, to Barbie, Lari Pittman, American Psycho , IVF and video dance, the sixteen essays question the relationship between politics, culture and desire.

Has Queer Theory 'grown out' of Feminism - in both senses? If it has, is that process a coming-out story?

Has Queer Theory 'grown out' of Feminism - in both senses? If it has, is that process a coming-out story?

This book is an interdisciplinary study of the human drama of replacement. On Replacement consists of 24 essays divided into seven sections: What is replacement?, Law & society, Wayward women, Lost children, Replacement films, The Holocaust and Psychoanalysis.

Dwelling is both an action and a location; it combines the spatial idea of habitation (dwelling in) with the temporal idea of lingering (dwelling on). We live not only in bricks and mortar, a tent, a hut or a spaceship, but also in that most changeful of forms, our body, or in a remembered or virtual home. Especially since COVID-19 we have seen changes in the topography of everyday life. In this multi-disciplinary collection, a complex of meanings is approached from a variety of specific, often personal angles.Framed by two longer essays which theorise how the psychology of home may change under sudden pressure and how social relations are embodied in windows, doors, walls and stairs, the book includes 18 further essays. Part I, ‘Informal settlements’, shows how a slum, urban development or nomadic life may create a self-sustaining identity; in Part II, ‘Huts and bridges’, impermanence shapes the state of dwelling, while Part III, ‘Liminal bodies’, presents bodies suspended at thresholds of change. Movement in time and space characterises the last three sections: Part IV, ‘Moving home’, depicts transitions and arrivals, Part V, ‘Dwelling in Memory’, focuses on recollections of past places and Part VI, ‘Are we there yet?’, points the way to a future in which the consulting-room changes to 2D, a family is exiled onto the small screen or we imagine breaking away altogether into outer space.

Dwelling is both an action and a location; it combines the spatial idea of habitation (dwelling in) with the temporal idea of lingering (dwelling on). We live not only in bricks and mortar, a tent, a hut or a spaceship, but also in that most changeful of forms, our body, or in a remembered or virtual home. Especially since COVID-19 we have seen changes in the topography of everyday life. In this multi-disciplinary collection, a complex of meanings is approached from a variety of specific, often personal angles.Framed by two longer essays which theorise how the psychology of home may change under sudden pressure and how social relations are embodied in windows, doors, walls and stairs, the book includes 18 further essays. Part I, ‘Informal settlements’, shows how a slum, urban development or nomadic life may create a self-sustaining identity; in Part II, ‘Huts and bridges’, impermanence shapes the state of dwelling, while Part III, ‘Liminal bodies’, presents bodies suspended at thresholds of change. Movement in time and space characterises the last three sections: Part IV, ‘Moving home’, depicts transitions and arrivals, Part V, ‘Dwelling in Memory’, focuses on recollections of past places and Part VI, ‘Are we there yet?’, points the way to a future in which the consulting-room changes to 2D, a family is exiled onto the small screen or we imagine breaking away altogether into outer space.

This book is an interdisciplinary study of the human drama of replacement. On Replacement consists of 24 essays divided into seven sections: What is replacement?, Law & society, Wayward women, Lost children, Replacement films, The Holocaust and Psychoanalysis.

Replacement is always dramatic. How does one thing or person appearing in the place of another – the second baby, the new lover, the maternity cover or ‘surrogate’ mother – constitute a threat to the earlier occupant of that place? Or is the superseding figure haunted by the one for whom they substitute? What happens psychologically or socially to the pair-structure which is thus up-ended? Whom do we blame, whom do we hate, when we find ourselves in this drama? What do we want when we imagine ourselves to be irreplaceable? How might the idea of uniqueness lead to an unstoppable chain of repetitions?