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The Narration of Collective Trauma: The “True Story” of Jasper, Texas — Kalina Brabeck and Ricardo Ainslie

“Two Brotherless Peoples”: On the Constitutive Traumas of Class Struggle — Akis Gavriilidis

Psychotherapy and Political Activism: Examining The Israeli–palestinian Case — Nissim Avissar

Other Pasts: Family Romances of Pan’s Labyrinth — Janet Thormann

The Notion of the Work of Culture in Freud’s Writings — Eric Smadja

An interview with a sociologist who blames Nietzsche, Freud and Rorty!

Jodi Dean has a number of posts on Laclau and Copjec

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Editorial Introduction: Politics and Psychoanalysis — Henry Krips

The Masquerade, the Veil, and the Phallic Mask — Ellie Ragland

The Masquerade, The Veil, and The Phallic Mask: Commentary — Marilyn Charles

The Hijab, the Veil, and Sexuation — Henry Krips

The Case of the Missing Signifier — Todd McGowan

The Next Step for APCS: Organizing Social Action Task Forces — Mark Bracher

The Citizen Psychoanalyst and the Psychoanalytic Social Activist — Karl Figlio

Too Close For Comfort: Psychoanalytic Cultural Theory and Domestic Violence Politics — Janice Haaken

Narcissism, Personal Life and Identity: The Place of the 1960s in the History of Psychoanalysis — Eli Zaretsky

Link

The University of Utah has many Tanner lectures available on pdf.

Of possible interest: Appiah, Benhabib, Cavell, Foucault, Fraser, Geertz, Habermas, Honneth, Lear, Nussbaum, Rorty, and many more.

Link

When Sophie Fiennes approached me with the idea to do a "pervert's guide" to cinema, our shared goal was to demonstrate how psychoanalytic cinema-criticism is still the best we have, how it can generate insights which compel us to change our entire perspective. The "pervert" from the title is thus not a narrow clinical category; it rather refers to perverting - turning around - our spontaneous perceptions.

The usual reproach to psychoanalytic criticism is that it reduces everything to family complexes: whatever the story, it is "really about" Oedipus, incest, etc. Instead of trying to prove that this is not true, one should accept the challenge. The films which are furthest from family dramas are catastrophe films, which cannot but fascinate the viewer with a spectacular depiction of a terrifying event of immense proportions. This brings us to the first psychoanalytic rule of how to read catastrophe movies: we should avoid the lure of the "big event" and re-focus on the "small event" (familial relations), reading the spectacular catastrophe as an indication of the family trouble. Take Steven Spielberg: the secret motif than runs through all his key films - ET, Empire of the Sun, Jurassic Park, Schindler's List - is the recovery of the father, of his authority. One should remember that the family to whose small boy ET appears was deserted by the father (as we learn in the very beginning), so that ET is ultimately a kind of "vanishing mediator" who provides a new father (the good scientist who, in the film's last shot, is already seen embracing the mother) - when the new father is here, ET can leave and "go home."

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My good friend Alex has sent this interesting link.

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Beyond totem and idol, the sexuate other — Luce Irigaray, Karen I. Burke

From nature in love: The problem of subjectivity in Adorno and Freudian psychoanalysis — Sara Beardsworth

The errant name: Badiou and Deleuze on individuation, causality and infinite modes in Spinoza — Jon Roffe

The practical absolute: Fichte’s hidden poetics — Anthony Curtis Adler

A ravaged site: on time and the law — Peg Birmingham

Richard Polt: The Emergency of Being: On Heidegger’s Contributions to Philosophy — Stuart Elden

Stuart Elden, Speaking Against Number: Heidegger, Language and the Politics of Calculation — Richard Polt

Alan Paskow, The Paradoxes of Art: A Phenomenological Investigation — Robert J. Dostal

We invite abstracts or complete manuscripts on psychoanalysis and world literature and critical readings of psychoanalytic literary theory for a collection that arose from the 2006 “Literature and Psychoanalysis” conference at the University of California, Berkeley (www.berkeleypsychoanalysis.com). The collection will be published by Cambridge Scholars Press. The collection seeks to provide an advanced introduction to various psychoanalytical approaches to literature and film and to explore the theoretical tensions of psychoanalysis as literary and critical theory.

The collection seeks to explore the tensions of psychoanalysis within gender, race, film, and postcolonial studies of literature and film. In particular, the volume will address critical contexts that remain in antagonism to psychoanalytic interventions. The collection aims to dispel
the essentialist or reductive critiques of psychoanalytic readings and theory while also offering a collection of beautiful readings of literature and theory.

As a volume intended for advanced undergraduate and graduate courses, the coverage of the volume will address multiple areas often overlooked in studies of literature and psychoanalysis. Thus, the collection will be divided into five sections that cover:
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