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Seeing the self in the other : narcissism and the double in Joseph Conrad's fiction /Kim, Jong-Seok, January 1998 (has links)
Thesis (Ph. D.)--University of Missouri-Columbia, 1998. / Typescript. Vita. Includes bibliographical references (leaves 182-190). Also available on the Internet.
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Seeing the self in the other narcissism and the double in Joseph Conrad's fiction /Kim, Jong-Seok, January 1998 (has links)
Thesis (Ph. D.)--University of Missouri-Columbia, 1998. / Typescript. Vita. Includes bibliographical references (leaves 182-190). Also available on the Internet.
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Narcissistic elements in Lermontov's workBuchman, Ilan Leon 12 January 2015 (has links)
No description available.
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On reading narcissistic texts : an object relations theory view of the life and works of Soren KierkegaardGreenhalgh, Kenneth January 2008 (has links)
This thesis is concerned with the psychoanalytical concept of narcissism, and the effect that texts written by narcissistic writers have upon their readers. I use Søren Kierkegaard as an example of a narcissistic writer who produced narcissistic texts. In order to follow through the logic of the thesis, it is necessary to explain first the Freudian idea of narcissism, and then narcissism as considered by one post-Freudian school called Object Relations theory. It is also necessary, second, to summarise a psychoanalytic model of what happens when we read any kind of text. The methodology of this thesis is usually called psychobiography, the systematic application of psychodynamic principles to the study of a life, and so, third, both the principles and some of the issues of this methodology are presented. Having established an operational definition of narcissism, the thesis looks first at Kierkegaard’s life, identifying a series of key events or stages that can be re-interpreted on the assumption that Kierkegaard was narcissistic. Three of his key texts are considered next - Fear and Trembling, Works of Love and The Sickness Unto Death. Each of these can be interpreted to show how his narcissism influenced his writing. Two substantial appendices are included. The first is a comment upon the relationship between God and psychoanalysis, presented primarily to introduce the ideas of Donald Winnicott. The second is on the concept of psychopathology, a difficult topic, since it is at once both heavily value laden, but is also persistent in any analysis of psychological difference. In conclusion I refer to several key Kierkegaardian themes, emphasising their narcissistic origins, and ask the reader to reflect upon their own responses to these issues, to consider how Kierkegaard’s narcissism influences their own emotions, and how these in turn affect any cognitive understanding of Søren Kierkegaard.
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Female Pygmalion figures in French literatureDeVries, Vicki Lee. January 2006 (has links)
Thesis (Ph. D.)--Michigan State University. Dept. of French, Classics, and Italian, 2006. / Title from PDF t.p. (viewed on Nov. 17, 2008) Includes bibliographical references (p. 184-190). Also issued in print.
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Zwischen Narzissmus und Selbsthass das Bild des ästhetizistischen Künstlers im Theater der Jahrhundertwende und der Zwischenkriegszeit /Stauss, Sebastian. January 1900 (has links)
Thesis (doctoral)--Universität München, 2008. / Description based on print version record. Includes bibliographical references (p. 245-251).
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Reflets narcissiques dans l oeuvre de Jack-Alain Leger / Narcissistic reflections in the life of Jack-Alain LegerStaebler, Marie-Anne 12 1900 (has links)
Thesis (PhD)--Stellenbosch University, 2014. / ENGLISH ABSTRACT: Jack-Alain Léger committed suicide on 17 July 2013 at the age of 66, leaving behind him a large
amount of work that has not formed the object of any academic study, not even partially. Many
articles have been written about the author but none about his novels. Léger was especially
known for his multitude of pseudonyms, his manic-depressive tendencies, his conflicts with all
his editors, his homosexuality, the controversy linked to the alias Paul Smaïl or for his
Islamophobia, his hatred towards his biological father and towards an alleged brother who died
before his birth but also for his literary talent, his wide erudition and his brilliant and provocative
mind. Underneath these characteristics hides an author whose work, that appears incoherent at
first sight, reflects a profound reflection on the aesthetic, the essence and the ultimate purpose of
art. Although Léger’s art involves the domain of aestheticism, it is also intended to subvert and
oppose a society that limits imagination and individual potential by imposing a uniform identity.
In this way, Léger illustrates in all his works the separation and alienation of the self through the
dead child motive, emphasizing his refusal to acknowledge having been born as an alienated self.
Lost in the ambiguity of an image that had not been received by society, Léger wanders in the
infinite game of mirrors like Narcissus searching for an ideal self and an ideal beauty in the
lake’s waters where he gazes upon his reflection.
In this multidisciplinary research, I will study the entirety of Léger’s work in the light of the
notion of narcissism and the multiple reflections that it includes. The narcissistic force that
serves as a fermenting agent for the creation of Léger’s work is developed through a literary,
sociological, psychoanalytical and philosophical interpretation. The final chapter discusses the
elements these different perspectives have in common and they are drawn together in the concept
of tertiary narcissism, as a mechanism of self-protection and self-recreation which is, however,
not without danger as revealed in the tale of Narcissus. / AFRIKAANSE OPSOMMING: Jack-Alain Léger het op 17 Julie 2013 in die ouderdom van 66 selfmoord gepleeg. Hy laat ‘n
talryke oeuvre agter wat nog nie die onderwerp gevorm het van ‘n akademiese ondersoek nie,
selfs nie gedeeltelik nie. Die skrywer word wel dikwels genoem in artikels en tekste maar nie sy
werk nie. Léger was veral bekend vir sy verskeidenheid pseudonieme, sy bipolêre tendense,
gedurige konflik met sy uitgewers, sy homoseksualiteit, die polemiek rondom die gebruik van
die pseudoniem Paul Smaïl of sy Islamofobie, die haat vir sy pa en vir ‘n putatiewe broer wat
voor geboorte dood is – maar ook vir sy literêre talent, sy uitgebreide kennis en sy briljante
uitdagende gees. Onder al hierdie eienskappe is daar egter ook ‘n skrywer waarvan die oeuvre
met die eerste oogopslag onsamehangend mag voorkom maar in werklikheid ‘n diep besinning
inhou oor estetika, die essensie en die einddoel van kuns. Alhoewel Léger se kuns raak aan die
veld van estetika, is die bedoeling daarvan ook subversief en gemik teen ‘n samelewing wat die
verbeelding probeer hok slaan en die individu se potensiaal beperk deur die oplegging van ‘n
eenvormige identiteit. Só illustreer Léger in sy werk die afsondering en die vervreemding van die
self deur die motief van die dooie kind ; die versinnebeelding van sy weiering om gebore te word
as ‘n vervreemde self. Verlore in die dubbelsinnigheid van ‘n beeld wat nie deur die samelewing
ontvang kon word nie, dwaal Léger tussen die oneindige spel van spieëls soos Narcissus wat ‘n
ideaal soek van homself en van skoonheid in die water van die meer waarin hy staar na sy beeld.
Hierdie multidissiplinêre studie ondersoek Léger se oeuvre in sy geheel in die lig van die begrip
van narcissisme en die veelvoudige weerspieëlings daarvan. Die narcissistiese krag as gis vir
Léger se kreatiewe werk word ingeknie in ‘n literêre, sosiologiese, psigoanalitiese en filosofiese
ontleding. In die laaste hoofstuk, bespreek ek dit wat hierdie verskillende perspektiewe in
gemeen het en verwerk dit deur die konsep van ‘n tersiêre narcissisme, ‘n meganisme van
beskerming en selfherskepping want nietemin ook sy eie gevaar inhou, soos dit onthul word in
die verhaal van Narcissus. / RESUME: Jack-Alain Léger qui s’est donné la mort le 17 juillet 2013 à l’âge de 66 ans laisse derrière lui
une oeuvre considérable qui n’a pas - même partiellement - fait l’objet d’études. Bien des articles
ont été écrits sur l’auteur même mais aucun sur ses romans. Léger était surtout connu pour sa
multitude de pseudonymes, sa tendance maniaco-dépressive, ses conflits avec tous ses éditeurs,
son homosexualité, les controverses liées au pseudonyme de Paul Smaïl ou à son islamophobie,
sa haine de son géniteur et d’un frère putatif mort avant sa naissance mais aussi pour son talent
littéraire, son érudition, son esprit brillant et provocateur. Au-delà de ces attributs se dissimule
un écrivain dont l’oeuvre qui paraît au premier abord incohérente reflète une réflexion profonde
sur l’esthétique, sur l’essence et les finalités de l’art. Si l’art de Léger touche au domaine de
l’esthétisme, il se veut aussi subversif et s’oppose à une société qui restreint l’imagination et les
potentialités de chacun en imposant une uniformisation de l’identité. Léger illustre ainsi dans
toute son oeuvre la séparation et l’aliénation du moi par le motif de l’enfant mort soulignant son
refus de naître à un moi aliéné. Perdu dans l’ambiguïté d’une image qui n’a pas été capturée par
le social, Léger erre dans le jeu infini des miroirs tel Narcisse qui cherche un idéal de soi et de
beauté dans l’eau du lac où il se mire.
Cette recherche multidisciplinaire explore l’intégralité de l’oeuvre de cet auteur à la lumière de la
notion du narcissisme et des multiples reflets que celui-ci englobe. La force narcissique en tant
que ferment du travail de création de Léger sera mise en valeur par l’interprétation littéraire,
sociologique, psychanalytique et philosophique. Au chapitre final, je relèverai ce que ces
différentes perspectives analytiques ont soulevé de commun et synthétiserai cela par le concept
du narcissisme tertiaire, un mécanisme de protection et de recréation de soi qui n’est cependant
pas sans danger comme nous le révèle le conte de Narcisse.
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