"FUNNY GAMES. Spielräume des Sadomasochismus in Film und Medien" ist der Versuch, eine Geschichte medialer Schmerzlust zu rekonstruieren – in etwa von 1789 bis heute. Neben klassischer SM-Literatur sind es Spielfilme wie VIDEODROME (1983), FALSCHER BEKENNER (2005), THE HURT LOCKER (2008) oder SHORTBUS (2006), in denen modernes Schmerzlust-Empfinden und -Begehren offenbar wird. Die Untersuchung richtet sich dabei auf Konzepte technoimaginärer Wunsch- und Höllenmaschinen, dynamisierte Ich-Apparate, wie sie Donatien-Alphonse-François de Sade, Leopold und Wanda von Sacher-Masoch, Ernst Kapp, Sigmund Freud, Daniel Paul Schreber, Jacques Lacan, Gilles Deleuze und Félix Guattari, David Cronenberg, Michael Haneke, Kathryn Bigelow u.v.a. im Medienumfeld ihrer Zeit individuell erleben und auf ihre je eigene Art – meist sehr fantasiereich – bearbeiten. Der vorliegende Entwurf, medienarchäologische Spurensicherung und gleichsam Test-Spiel, ist vor allem eine Einladung zum Mitmachen: Beim obsessiven Durchschreiten virtueller (Alptraum-)Welten und realer Körper negative und positive Lust zu erfahren, sich neuen Sinnesreizqualitäten zu öffnen, um schließlich Mehr-Lust und -Wissen zu erwerben. Anti-Ödipus als interaktives Video(bei)spiel. Als Analysetools haben sich Erkenntnisse aus der (strukturalen) Psychoanalyse, der (technischen) Medienwissenschaft, (Film-)Philosophie, der Gender-, Gewalt-, Fetisch- und (kulturwissenschaftlichen) Spieltheorie als hilfreich erwiesen, um dem Geheimnis und Rätsel sadomasochistischer Schmerzlust – und ihrer crash-Medien – ein wenig näher zu kommen. / "FUNNY GAMES. Spielräume des Sadomasochismus in Film und Medien" aims to reconstruct a history of pleasure and gratification through pain in the media since the end of the eighteenth century. In addition to classical sado-masochistic literature, the thesis focuses on movies in which modern forms of experiencing and desiring pain such as VIDEODROME (1983), I AM GUILTY (2005), THE HURT LOCKER (2008) and SHORTBUS (2006) manifest themselves. Central to the study are concepts of techno-imaginary wish machines and infernal devices, dynamised ego-apparatuses, that are experienced and expressed through the media of their time by writers, philosophers, psychoanalysts and film directors such as Donatien-Alphonse-François de Sade, Leopold and Wanda von Sacher-Masoch, Ernst Kapp, Sigmund Freud, Daniel Paul Schreber, Jacques Lacan, Gilles Deleuze and Félix Guattari, David Cronenberg, Michael Haneke and Kathryn Bigelow. The present study, an attempt to secure the medial evidence and try it out at the same time, is meant most of all as an invitation to participate: to experience positive desire and lust while obsessively progressing through virtual worlds of dreams and nightmares and the real world of the human body, to open oneself to new experiences in order to gain both new knowledge and new desires. Anti-Oedipus as a textual videogame. The analytical tools employed in this study include findings from (structural) psychoanalysis, media sciences, (movie) philosophy, gender theory, the theory of violence, fetish theory and game theory as applied in cultural studies. They have proven to be very helpful in illuminating at least some aspects of the mystery that is the sado-masochist desire for pain.

Al Qaeda killings, posttraumatic stress, and the Gothic together triangulate a sizable space in recent American fiction that is still largely uncharted by critics. This thesis maps that shared territory in four novels written between 2005 and 2007 by writers who were born in America, and whose protagonists are the survivors in New York City after the World Trade Center falls. Published in the city of their tragedy and reviewed in its media, the novels surveyed here include Don DeLillo’s _Falling Man_ (2007), Jonathan Safran Foer’s _Extremely Loud and Incredibly Close_ (2005), Lynne Sharon Schwartz’s _The Writing on the Wall_ (2005), and Jess Walter’s _The Zero_ (2006). The thesis issues a challenge to the large number of negative and dismissive reviews of the novels under consideration, making a case that under different criteria, shaped by trauma theory and psychoanalysis, the novels succeed after all in making readers feel what it was to be alive in September 2001, enduring the posttraumatic stress for months and years later. The thesis asserts that 9/11 fiction is too commonly presented in popular journals and scholarly studies as an undifferentiated mass. In the same critical piece a journalist or an academic may evaluate narratives in which unfold a terrorist's point of view, a surviving or a dying New York City victim's perspective, and an outsider's reaction set thousands of miles away from Ground Zero. What this thesis argues for is a separation in study of the fictive strands that meditate on the burning towers, treating the New York City survivor story as a discrete body. Despite their being set in one of the most known cities of the Western world, and the terrorist attack that they depict being the most- watched catastrophe ever experienced in real-time before, these fictions have not yet been critically ordered. Charting the salient reappearing conflicts, unsettling descriptions, protagonist decay, and potent techniques for registering horror that resurface in this New York City 9/11 fiction, this thesis proposes and demonstrates how the peculiar and affecting Gothic tensions in the works can be further understood by trauma theory, a term coined by Cathy Caruth in Unclaimed Experience (1996: 72). Though the thesis concentrates on developments in trauma theory from the mid 1990s to 2015, it also addresses its theoretical antecedents: from the earliest voices in the late nineteenth and early twentieth centuries that linked mental illness to a trauma (Charcot, Janet, Breuer, Freud), to researchers from mid-twentieth century (Adler, Lindemann) who studied how catastrophe affects civilian minds not previously trained to either fight war or withstand cataclysm. Always keeping at the fore the ancient Greek double-meaning of trauma as both unhealing “wound” and “defeat,” the thesis surveys tenets of the trauma theorists from the very first of those who studied the effects on civilian survivors of disaster (of what is still the largest nightclub fire in U.S. history, which replaced front page coverage of World War II for a few days: the Cocoanut Grove blaze in Boston, 1942) up to those theorists writing in 2015. The concepts evolving behind trauma theory, this thesis demonstrates, provide a useful mechanism to discuss the surprising yearnings hiding behind the appearance of doppelgängers, possession ghosts, terrorists as monsters, empty coffins, and visitants that appear to feed on characters’ sorrow, guilt, and loneliness within the novels under discussion. This thesis reappraises the dominant idea in trauma studies of the mid-1990s, namely that trauma victims often cannot fully remember and articulate their physical and psychic wounds. The argument here is that, true to the theories of the Caruthian school, the victims in these novels may not remember and express their trauma completely and in a linear fashion. However, the victims figured in these novels do relate the horrors of their memory to a degree by letting their narration erupt with the unexpectedly Gothic images, tropes, visions, language, and typical contradictions, aporias, lacunae, and paradoxes. The Gothic, one might say, becomes the language in which trauma speaks and articulates itself, albeit not always in the most cogent of signs. One might easily dismiss these fleeting Gothic presences that characters conjure in the fictions under consideration as anomalous apparitions signalling nothing. However, this thesis interrogates these ghostly traces of Gothicism to find what secrets they hold. Working from the insights of psychoanalysis and its post-Freudian re-inventers and challengers, it aims to puzzle out the dimensions of characters’ mourning in its “traumagothic” reading of the texts. Characters’ use of the Gothic becomes their way of remembering, a coded language to the curious. This thesis holds that unexpressed grief and guilt are the large constant in this grouping of novels. Characters’ grief articulation and guilt release, or the desire for symbolic amnesia, take paths that the figures often were suspicious of before 9/11: a return to organized religion, a belief in spirits, a call for vengeance, psychotherapy, substance abuse, splitting with a partner, rampant sex with nearby strangers, torture of suspects, and killing. All the earnest attempts through the above means by the characters to express grief, vent rage, and alleviate survivor guilt do so without noticeable success. True closure towards their trauma is largely a myth. No reliable evidence surfaces from the close reading of the texts that those affected by trauma ever fully recover. However, as this thesis demonstrates, other forms of recompense come from these searches for elusive peace and the nostalgic longing for the America that has been lost to them.

My visual art practice explores the point at which a sense of bodily humour and revulsion may intersect in the world of the monstrous-feminine: the female grotesque, presented as my own obese (and post-obese) body. This exegesis is a written elucidation of my visual art practice as research. As an artist I create performative photographic images featuring taboo or otherwise 'inappropriate' subject matter, situations, materials and behaviours including bodily fluids, offal, internal organs and my own post-obese body. Through these modes of working, I establish and investigate the subjectivity of flesh: Why are we repulsed by the female grotesque? How can this flesh be used to subvert readings of the female body? My research is informed by those understandings of the female body, sexuality and difference described in the work of feminist theorists including Julia Kristeva, Helene Cixous, Ruth Salvaggio and Elizabeth Grosz. I explore the work of influential artists such as Eleanor Antin, Carolee Schneeman, Cindy Sherman and Sarah Lucas. In this context, I present my own visual art practice as a point from which the monstrous-feminine can be given voice as sentient, intelligent flesh.

The time period during which the Surrealist Group in Czechoslovakia and during which Vítězslav Nezval was creating surrealistic works has several theoretical bases in psychology and philosophy. The purpose of this thesis is to list these bases and interpret them in connection with Nezval's surrealistic works. Sources used comprise of fictional and theoretical literature and also period press and publications about surrealism.

This thesis explores the diverse and intricate ways the psychological horror game genre can characterise a narrative by blurring the boundaries of reality and imagination in favour of storytelling. By utilising the Freudian uncanny, four video game fictions are dissected and analysed to perceive whether horror needs a narrative to be engaging and pleasurable. A discussion will also be made if video game fictions should be considered in the literary field or its own, and how it compares to written fiction in terms of interactivity, engagement, and immersion.

ANNOTATION: The work The Mirror of Reality in the Imagery of Dreams of the 19th and 20th Centuries - Creative Individuality versus the Chaos of the Time is based on the assumption that dreams are inseparably linked to the concept of existence in human life (Michel Foucault). The study touches on the ways in which dreams are depicted in visual culture that does not coincide with chronologically organized historical events, but is an expression of a free alliance between artists in the European space and centuries of common experience. These works are generally socially critical, exposed to unimaginable pressure from public censorship. The artist must pretend it is only an innocent game, a crazy idea, a whim. At the same time, these paintings are not an expression of boundless imagination, but they are subject to the firm rules of spatial construction of the painting. This is due to the traditional delimitation of dark depths - the underworld of Virgil's Saturn myth of pre-Roman culture, alternating with the vertically felt open heavens as variants of the original Plato's The Myth of Er, which in the 20th century paintings is replaced by the idea of an open landscape with illumination on the low horizon. The work deals with the work of Albrecht Dürer, his copperplate Melancholia I (1514) and his so-called...

This dissertation examines how Philippine (or Filipino) authors emphasise the need for articulating or “re/membering” cultural identity. The researcher mainly draws from the theory of Caribbean critic, Stuart Hall, who views cultural identity as an articulation which allows “the fragmented, decentred human agent” to be considered as one who is both “subject-ed” by power but/and one who is capable of acting against those powers (Grossberg 1996 [1986]: 157, emphasis mine). Applied to the Philippine context, this writer argues that, instead of viewing an apparent fragmented Filipino identity as a hindrance to “defining” cultural identity, she views the “damaged” (Fallows 1987) Filipino history as a the material itself which allows articulation of identity. Instead of reducing the cultural identity of a people to what-they-could-have-been-had-history-not-intervened, she puts forward a vision of identity which attempts to transfigure these “damages” through the efforts of coming-to-terms with history. While this point of view has already been shared by other critics (such as Feria 1991 or Dalisay 1998:145), the author’s contribution lies in presenting re/membering to describe a specific type of articulation which neither permits one to deny wounds of the past nor stagnate in them. Moreover, re/membering allows one to understand continuous re-articulations of “new” identities (due to current migration), while putting an “arbitrary closure” (Hall) to simplistic re-articulations which may only further the “lines of tendential forces” (such as black or brown skin bias) or hegemonic practices. Written as such (with a slash),“re/membering” encapsulates the following three-fold meaning: (1) a “re-membering”, to indicate “a putting together of the dismembered past to make sense of the trauma of the present” (Bhabha 1994:63); as (2) a “re-membering” or a re-integration into a group and; as (3) “remembering” which implies possessing “memory or … set [ting] off in search of a memory” (Ricoeur 2004:4). As a morphological unit, “re/membering” designates, the ways in which Filipino authors try to articulate cultural identity through the routes of colonisation, migration and dictatorship. The authors studied in this thesis include: Carlos Bulosan, Bienvenido Santos, N.V.M. Gonzalez, Nick Joaquin, Frank Sionil José, Ninotchka Rosca, Jessica Hagedorn, and Merlinda Bobis. Sixty-years separate Bulosan’s America is in the Heart (1943) from Hagedorn’s Dream Jungle (2003). Analysis of these works reveals how articulation is both difficult and hopeful. On the one hand, authors criticize the lack of efforts and seriousness towards articulation of cultural identity as re/membering (coming to terms with the past, fostering belonging and cultivating memory). Not only is re/membering challenged by double-consciousness (Du Bois 1994), dismemberment and forgetting, moreover, its necessity is likewise hard to recognize because of pain, trauma, phenomena of splitting, escapist attitudes and preferences for a “comfortable captivity”. On the other hand, re/membering can also be described as hopeful by the way authors themselves make use of literature to articulate identity through research, dialogue, time, reconciliation and re-creation. Although painstaking and difficult, re/membering is important and necessary because what is at stake is an articulated Philippine cultural identity. However, who would be prepared to make the effort? ------ Cette thèse démontre que, pour les auteurs philippins, l’articulation ou « re/membering » l'identité culturelle, est nécessaire. Le chercheur s'appuie principalement sur la théorie de Stuart Hall, qui perçoit l'identité culturelle comme une articulation qui permet de considérer l’homme assujetti capable aussi d'agir contre des pouvoirs (cf. Grossberg 1996 [1986]: 157). Appliquée au contexte philippin, cet auteur soutient que, au lieu de la visualisation d'une identité fragmentée apparente comme un obstacle à une « définition » de l'identité culturelle, elle regarde l’histoire philippine «abîmée» (Fallows 1987) comme le matériel même qui permet l'articulation d’identité. Au lieu de réduire l'identité culturelle d'un peuple à ce qu’ ils auraint pû être avant les interventions de l’histoire, elle met en avant une vision de l'identité qui cherche à transfigurer ces "dommages" par un travail d’acceptation avec l'histoire. Bien que ce point de vue a déjà été partagé par d'autres critiques (tels que Feria 1991 ou Dalisay 1998:145), la contribution de l'auteur réside dans la présentation de « re/membering » pour décrire un type d'articulation sans refouler les plaies du passé, mais sans stagner en elles non plus. De plus, « re/membering » permet de comprendre de futures articulations de « nouvelles » identités culturelles (en raison de la migration en cours), tout en mettant une «fermeture arbitraire» (Hall) aux ré-articulations simplistes qui ne font que promouvoir des “lines of tendential forces” (Hall) (tels que des préjugés sur la couleur brune ou noire de peau) ou des pratiques hégémoniques. Rédigé en tant que telle (avec /), « re/membering » comporte une triple signification: (1) une «re-membering », pour indiquer une mise ensemble d’un passé fragmenté pour donner un sens au traumatisme du présent (cf. Bhabha, 1994:63); (2) une «re-membering» ou une ré-intégration dans un groupe et finalement, comme (3)"remembering", qui suppose la possession de mémoire ou une recherche d'une mémoire »(Ricoeur 2004:4). Comme unité morphologique, « re/membering » désigne la manière dont les auteurs philippins tentent d'articuler l'identité culturelle à travers les routes de la colonisation, les migrations et la dictature. Les auteurs inclus dans cette thèse sont: Carlos Bulosan, Bienvenido Santos, NVM Gonzalez, Nick Joaquin, Frank Sionil José, Ninotchka Rosca, Jessica Hagedorn, et Merlinda Bobis. Soixante ans séparent America is in the Heart (1943) du Bulosan et le Dream Jungle (2003) du Hagedorn. L'analyse de ces œuvres révèle la façon dont l'articulation est à la fois difficile et pleine d'espoir. D'une part, les auteurs critiquent le manque d'efforts envers l'articulation en tant que « re/membering » (confrontation avec le passé, reconnaissance de l'appartenance et cultivation de la mémoire). Non seulement est « re/membering » heurté par le double conscience (Du Bois 1994), le démembrement et l'oubli, en outre, sa nécessité est également difficile à reconnaître en raison de la douleur, les traumatismes, les phénomènes de scission, les attitudes et les préférences d'évasion pour une captivité "confortable" . En même temps, « re/membering » peut également être décrit comme plein d'espoir par la façon dont les auteurs eux-mêmes utilisent la littérature pour articuler l'identité à travers la recherche, le dialogue, la durée, la réconciliation et la re-création. Bien que laborieux et difficile, « re/membering » est important et nécessaire car ce qui est en jeu, c'est une identité culturelle articulée des Philippines. Mais qui serait prêt à l'effort?

This dissertation examines how Philippine (or Filipino) authors emphasise the need for articulating or “re/membering” cultural identity. The researcher mainly draws from the theory of Caribbean critic, Stuart Hall, who views cultural identity as an articulation which allows “the fragmented, decentred human agent” to be considered as one who is both “subject-ed” by power but/and one who is capable of acting against those powers (Grossberg 1996 [1986]: 157, emphasis mine). Applied to the Philippine context, this writer argues that, instead of viewing an apparent fragmented Filipino identity as a hindrance to “defining” cultural identity, she views the “damaged” (Fallows 1987) Filipino history as a the material itself which allows articulation of identity. Instead of reducing the cultural identity of a people to what-they-could-have-been-had-history-not-intervened, she puts forward a vision of identity which attempts to transfigure these “damages” through the efforts of coming-to-terms with history. While this point of view has already been shared by other critics (such as Feria 1991 or Dalisay 1998:145), the author’s contribution lies in presenting re/membering to describe a specific type of articulation which neither permits one to deny wounds of the past nor stagnate in them. Moreover, re/membering allows one to understand continuous re-articulations of “new” identities (due to current migration), while putting an “arbitrary closure” (Hall) to simplistic re-articulations which may only further the “lines of tendential forces” (such as black or brown skin bias) or hegemonic practices.<p><p>Written as such (with a slash),“re/membering” encapsulates the following three-fold meaning: (1) a “re-membering”, to indicate “a putting together of the dismembered past to make sense of the trauma of the present” (Bhabha 1994:63); as (2) a “re-membering” or a re-integration into a group and; as (3) “remembering” which implies possessing “memory or … set [ting] off in search of a memory” (Ricoeur 2004:4). As a morphological unit, “re/membering” designates, the ways in which Filipino authors try to articulate cultural identity through the routes of colonisation, migration and dictatorship. <p><p>The authors studied in this thesis include: Carlos Bulosan, Bienvenido Santos, N.V.M. Gonzalez, Nick Joaquin, Frank Sionil José, Ninotchka Rosca, Jessica Hagedorn, and Merlinda Bobis. Sixty-years separate Bulosan’s America is in the Heart (1943) from Hagedorn’s Dream Jungle (2003). Analysis of these works reveals how articulation is both difficult and hopeful. On the one hand, authors criticize the lack of efforts and seriousness towards articulation of cultural identity as re/membering (coming to terms with the past, fostering belonging and cultivating memory). Not only is re/membering challenged by double-consciousness (Du Bois 1994), dismemberment and forgetting, moreover, its necessity is likewise hard to recognize because of pain, trauma, phenomena of splitting, escapist attitudes and preferences for a “comfortable captivity”. <p><p>On the other hand, re/membering can also be described as hopeful by the way authors themselves make use of literature to articulate identity through research, dialogue, time, reconciliation and re-creation. Although painstaking and difficult, re/membering is important and necessary because what is at stake is an articulated Philippine cultural identity. However, who would be prepared to make the effort?<p>------<p><p>Cette thèse démontre que, pour les auteurs philippins, l’articulation ou « re/membering » l'identité culturelle, est nécessaire. Le chercheur s'appuie principalement sur la théorie de Stuart Hall, qui perçoit l'identité culturelle comme une articulation qui permet de considérer l’homme assujetti capable aussi d'agir contre des pouvoirs (cf. Grossberg 1996 [1986]: 157). Appliquée au contexte philippin, cet auteur soutient que, au lieu de la visualisation d'une identité fragmentée apparente comme un obstacle à une « définition » de l'identité culturelle, elle regarde l’histoire philippine «abîmée» (Fallows 1987) comme le matériel même qui permet l'articulation d’identité. Au lieu de réduire l'identité culturelle d'un peuple à ce qu’ ils auraint pû être avant les interventions de l’histoire, elle met en avant une vision de l'identité qui cherche à transfigurer ces "dommages" par un travail d’acceptation avec l'histoire. <p><p>Bien que ce point de vue a déjà été partagé par d'autres critiques (tels que Feria 1991 ou Dalisay 1998:145), la contribution de l'auteur réside dans la présentation de « re/membering » pour décrire un type d'articulation sans refouler les plaies du passé, mais sans stagner en elles non plus. De plus, « re/membering » permet de comprendre de futures articulations de « nouvelles » identités culturelles (en raison de la migration en cours), tout en mettant une «fermeture arbitraire» (Hall) aux ré-articulations simplistes qui ne font que promouvoir des “lines of tendential forces” (Hall) (tels que des préjugés sur la couleur brune ou noire de peau) ou des pratiques hégémoniques.<p><p>Rédigé en tant que telle (avec /), « re/membering » comporte une triple signification: (1) une «re-membering », pour indiquer une mise ensemble d’un passé fragmenté pour donner un sens au traumatisme du présent (cf. Bhabha, 1994:63); (2) une «re-membering» ou une ré-intégration dans un groupe et finalement, comme (3)"remembering", qui suppose la possession de mémoire ou une recherche d'une mémoire »(Ricoeur 2004:4). Comme unité morphologique, « re/membering » désigne la manière dont les auteurs philippins tentent d'articuler l'identité culturelle à travers les routes de la colonisation, les migrations et la dictature. <p><p>Les auteurs inclus dans cette thèse sont: Carlos Bulosan, Bienvenido Santos, NVM Gonzalez, Nick Joaquin, Frank Sionil José, Ninotchka Rosca, Jessica Hagedorn, et Merlinda Bobis. Soixante ans séparent America is in the Heart (1943) du Bulosan et le Dream Jungle (2003) du Hagedorn. L'analyse de ces œuvres révèle la façon dont l'articulation est à la fois difficile et pleine d'espoir. D'une part, les auteurs critiquent le manque d'efforts envers l'articulation en tant que « re/membering » (confrontation avec le passé, reconnaissance de l'appartenance et cultivation de la mémoire). Non seulement est « re/membering » heurté par le double conscience (Du Bois 1994), le démembrement et l'oubli, en outre, sa nécessité est également difficile à reconnaître en raison de la douleur, les traumatismes, les phénomènes de scission, les attitudes et les préférences d'évasion pour une captivité "confortable" .<p><p>En même temps, « re/membering » peut également être décrit comme plein d'espoir par la façon dont les auteurs eux-mêmes utilisent la littérature pour articuler l'identité à travers la recherche, le dialogue, la durée, la réconciliation et la re-création. Bien que laborieux et difficile, « re/membering » est important et nécessaire car ce qui est en jeu, c'est une identité culturelle articulée des Philippines. Mais qui serait prêt à l'effort? <p> / Doctorat en Langues et lettres / info:eu-repo/semantics/nonPublished