Suchergebnisse

'Hans-Dieter König analysiert mit Hilfe der von Alfred Lorenzer entwickelten Methode der tiefenhermeneutischen Kulturforschung Ausschnitte aus einer Rede von George W. Bush zum fünften Jahrestag des 11. September. Die psychoanalytische Rekonstruktion zeigt exemplarisch, wie Bushs charismatische Selbstinszenierungen als Prediger eine doppelbödige Wirkung entfalteten: Der manifeste Sinn der Rede lautete, dass ein apokalyptischer Krieg gegen 'das Böse' zu führen sei, das sich in den Terroranschlägen des 11. September offenbart habe. Der latente Sinn bestand hingegen darin, alle Gefühle der Anteilnahme und der Trauer um die Opfer unbewusst zu machen, die zu Märtyrern stilisiert wurden, auf die Amerika stolz sein könnte. Der Beitrag steht in der Tradition von Freuds sozialpsychologischen Schriften und der von Adorno begründeten Autoritarismusforschung. Der Autor gelangt in Anschluss an Lyotard zu dem Schluss, dass Bush durch eine bunte Vielfalt heterogener Inszenierungen auf einen 'postmodernen Autoritarismus' gesetzt hat, der seinen Zuhörern signalisierte, dass 'anything goes'.' (Autorenreferat)

In 'Nursing Civil Rights', Charissa J. Threat investigates the parallel battles against occupational segregation by African American women and white men in the U.S. Army. As Threat reveals, both groups viewed their circumstances with the Army Nurse Corps as a civil rights matter

In 'Nursing Civil Rights', Charissa J. Threat investigates the parallel battles against occupational segregation by African American women and white men in the U.S. Army. As Threat reveals, both groups viewed their circumstances with the Army Nurse Corps as a civil rights matter.

Solo exhibition, touring to Eastside Projects (Birmingham, Nov 2010 - Jan 2010), Cornerhouse (Manchester, Feb - April 2011), mima (Middlesbrough, April - July 2011). The exhibition offered a survey of ten years of the artist's practice and included a major new video commission, entitled 'Memento Park'. Exhibition press release: Eastside Projects proudly presents the debut of Memento Park, a major touring solo show by Carey Young commissioned in conjunction with Cornerhouse, Manchester and mima, Middlesbrough. A new video commission, Memento Park (2010), is central to the exhibition, which surveys a decade of the artist's practice, including a number of key video works and recent photographic and text works. Carey Young's internationally renowned work focuses on the interconnections between economic systems, legal language and contemporary culture. Using a variety of media and settings she often uses found tools, language and training processes from the worlds of the multinational corporation and global law firm, altering them to create fictional and absurd scenarios which explore notions of performance, autonomy, criticality and imagination. Positioning herself as an insider to these predominant systems, she takes a stance between complicity and resistance as she criticizes them playfully through the use of their own methods and language. Key to the exhibition, Memento Park was shot in a statue park in Budapest containing a large collection of monumental, socialist realist Soviet statues in poses of 'suspended animation'. We see the figures surrounded by bustling contemporary life passing by outside the park, which undercuts the statues' historical importance and impressive physical impact by giving them a provisional, peripheral context reminiscent of the works of the late post-minimal artist Robert Smithson. Nevertheless, the seductive lushness of the surrounding greenery, shot mainly at the beginning and end of the day, gives these icons of propaganda a strange and beautiful serenity, as if we are witnessing the dusk and dawn of an idyll. This subtle and nuanced new work expands and laterally shifts the focus of Young's ongoing interests in performance, politics and rhetoric. Many of the recent works have not been seen in the UK before, including a new image from the artist's Redshift series (2010), a series of cameraless photographs created in the darkroom by exposing light through translucent meteorite fragments as if they were photographic negatives, presented with a text relating to experimental ideas in copyright, and its relation to time and the distribution of images; and Obsidian Contract (2010), a legal text proposing the exhibition space as a new area of publicly-owned land via a reversed text reflected in a black mirror, a device which has a long tradition within witchcraft and the occult in many cultures, and is also associated with the Romantic landscape tradition in painting. Eastside Projects has been altered to form three cinema rooms housing the videos Memento Park (2010), Uncertain Contract (2009) and Product Recall (2007). In Uncertain Contract, we see an actor interpret a script composed of legal terms from a commercial contract, the white backdrop of his rehearsal space referencing the 'white cube' of the gallery as well as the appearance of contractual documents. The specific terms of the contract have been omitted, leading to an 'uncertain' contract in which the meaning is open to interpretation. For Product Recall, we see Carey Young undergoing a psychoanalysis session in which she is asked to remember a series of advertising slogans belonging to global companies, all whom are active as art sponsors and which brand themselves around 'imagination' or 'inspiration'. It remains ambiguous whether the point of the exercise is for the artist to remember the slogans, or to forget them. The rooms reform gallery space through a sequence of finished and unclad stud walls providing spaces for monitor based video works Terms & Conditions (2004), I am a Revolutionary (2001), and Everything You've Heard is Wrong (1999) and works from the photographic series Body Techniques (2007). Terms and Conditions is a short video that features a female presenter speaking to camera in a welcoming tone whilst standing in an idyllic agricultural landscape. Her speech appears to discuss the 'site' but the text is actually a composite of disclaimers from corporate websites, within the rural setting, the speech seems both absurd and curiously apt. I am a Revolutionary sees the artist within the stage-like environment of an empty office space, undergoing a presentation skills training session with her own personal trainer. Together they work hard at perfecting a line from what appears to be a larger speech—"I am a revolutionary"—words which could equally come from heroic 'business leadership' rhetoric as from the words of political or anti-globalisation agitators. Everything You've Heard is Wrong is a video of a performance held at Speakers' Corner, London, in which Young, dressed in a smart business suit, delivers a skills workshop on successful corporate-style communication in the midst of the traditional Sunday mayhem of speakers and onlookers. Body Techniques is a new series of eight photographs that considers the interrelationships between art and globalized commerce. The title of the series refers to a phrase originally coined by Marcel Mauss and developed by Pierre Bourdieu as habitus, which describes how an operational context or behavior can be affected by institutions or ideologies. Set in the vast building sites of Dubai and Sharjah's futuristic corporate landscape, the series sees the artist alone and dressed in a suit, reworking some of the classic performance-based works associated with Conceptual art, including pieces by Richard Long, Bruce Nauman, Dennis Oppenheim and Valie Export. In recasting earlier works centered around the physicality of the body in time and space, it is ambiguous whether the artist is molding herself to the landscape or exploring ways of resisting it. Three further text works complete the exhibition, including Cautionary Statement (2007), a text piece based on 'forward looking statements', a type of corporate disclaimer allowing firms to discuss the future whilst not being held to account if such statements do not come to pass; and a new version of Inventory (2007), which declares the current total value of the chemical elements that make up the artist's body on the exterior billboard of Eastside Projects. A new major monographic publication will accompany the exhibition, with texts by Jennifer Allen, Raimundas Malasauskas and Jill Magid and Carey Young. Memento Park tours to Cornerhouse, Manchester (4 Feb – 20 March 2011) and mima, Middlesbrough (31 March – 10 July 2011). Each venue will present a different selection of works by the artist, allowing a variety of themes to emerge across her diverse and ambitious practice. Research Profile: Carey Young is a Senior Lecturer in Photography in the Faculty of Media at LCC. Having completed an MA in Photography at the Royal College of Art in 1997, her artistic work employs a variety of media, including photography, video, text and performance, and has gained a national and international reputation. She often explores themes such as portraiture, landscape and the sublime by using found tools and language from the worlds of the multinational corporation or global law firm. Her solo exhibitions include the solo show Memento Park, touring to Eastside Projects, Birmingham, Cornerhouse, Manchester and mima, Middlesborough in 2010-2011; Contracting Universe, Paula Cooper Gallery, New York (2010); Carey Young: Uncertain Contracts, Museum of Art, Rhode Island School of Design (2009); Speech Acts, Contemporary Art Museum St. Louis (2009); Counter Offer, The Power Plant, Toronto (2009); and Business as Usual, John Hansard Gallery & tour (2001.) She has participated in the British Art Show 6, the Moscow Biennale, Sharjah Biennale, Tirana Biennale and Taipei Biennale, and been included in many significant group exhibitions at venues including MoMA/PS1 (New York, the New Museum (New York), Hayward Gallery (London), ICA (London), Whitechapel Gallery (London), Frieze Projects at the Frieze Art Fair (London) and Secession (Vienna). Her works are in the collections of Arts Council England, Tate and the Centre Pompidou and she is represented by Paula Cooper Gallery, New York.

Σε όλες τις εποχές ο άνθρωπος ενδιαφέρθηκε για τη θεραπεία των ασθενειών με κάθε δυνατό τρόπο. Στον Ελληνικό κόσμο, που θεωρείται πνευματικός πρόγονος της νεότερης Ευρώπης, κατά τον 6 ° και 5 ° αι. π.Χ. υπήρχαν γενικά δυο διακριτές παραδόσεις: η μια είχε καθαρά ιερουργική καταγωγή και ασκειτο από μια συντεχνία θεραπευτών-ιερέων, που ονομάζονταν Ασκληπιάδες. Η δεύτερη, η Βακχική θεραπευτική, προέρχεται από αυτόχθονους πληθυσμούς του ανατολικού Αιγαίου περίπουτη 2η χιλιετηρίδα π.Χ. Κατ' αυτήν, οι ασθενείς επεδείκνυαν την «ιερή μανία», δηλαδή με χορό, μουσική ή και σωματική καταπόνηση έμπαιναν σε μια άλλη διευρυμένη διάσταση συνείδησης απ' όπου, όταν έβγαιναν, επεδείκνυαν μια «ειρήνευση» και νέαταυτότητα πάλι με βάση την ηθικοπλαστική αντίληψη. Η πρώτη απεμπλοκή από ιερουργίες πραγματοποιείται (στην αρχαία Ελλάδα) από τον Ιπποκράτη (460-370 π.Χ.). Γίνεται η πρώτη τομή προς την επιστημονική ιατρική που έχει ως βάση την κοσμική συντεχνία θεραπευτών. Ο Ιπποκράτης πίστευε στην «αυτο-θεραπευτική δύναμη της φΰσης» που έπρεπε να λαμβάνεται υπ'όψιν, καθώς η ιατρική απορρέει από τη διαταραχή της ισορροπίας ανθρώπου- περιβάλλοντος. Μετά τον Ιπποκράτη παρουσιάζεται ένα κενό 7 περίπου αιώνων (μέχρι τον 3° αι. μ.Χ.) όπου, όμως, μεσολαβούν σημαντικές εξελίξεις που καθορίζουν και τη μετέπειτα πορεία της ιατρικής: 1. Τον 1 ° αι. μ.Χ. ο Διοσκουρίδης στην Αλεξάνδρεια και τον 2° αι. μ.Χ. ο Ασκληπιάδης και ο μεγάλος θεραπευτής και χειρουργός Γαληνός από την Πέργαμο (130-201 μ.Χ.) μετέφεραν την «απόλυτη ιατρική ορθοδοξία» στη Ρώμη, όπου παρέμεινε δόγμα μέχρι τον 16° αι. αιώνα. Αυτή συμπίπτει και με την Αραβική ιατρική και γενικότερα και με τη σύγχρονη ευρωπαϊκή ιατρική. Οι αντιλήψεις του Ιπποκράτη και του Γαληνού έχουν, όμως, και πολλά κοινά στοιχεία με την ανάπτυξη της ιατρικής στην Κίνα και την Ινδία. 2. Αραβες φιλόσοφοι και ιατροί (1038μ.Χ.) ανασυνδέουν την πολιτική και την ιατρική με βασική έννοια την υγιή κοινωνία. 3. Με την επίδραση του Χριστιανισμού στο Μεσαίωνα απαξιώνεται η αξία του σώματος και απαγορεύονται παντελώς η χειρουργική και η ανατομία. Το 1130 μ.Χ. απαγορεύεται η άσκηση από μονάχους της ιατρικής και αυτή αποδίδεται μόνο στον «κοσμικό κλήρο» απ' όπου τελικά πηγάζουν και οι πρώτες σχολές (10-12 μ.Χ. αιώνες) και το σύγχρονο Πανεπιστήμιο (Paris, Oxford, Bologna, Montpellier). Με την Αναγέννηση αρχίζει και η αμφισβήτηση της θεωρίας του Γαληνού. Το αρχέτυπο, όμως, του αναγεννησιακού γιατρού ήταν αναμφίβολα ο Παράκελσος. Ο Παράκελσος επαναφέρει τους συσχετισμούς και την ηθική συμπεριφορά σε σχέση με τα ιατρικά συμπτώματα και η όλη προσέγγιση του ήταν «οικοσυστηματική» ή «ψυχοσωματική». Οι θεραπευτικές αντιλήψεις και πρακτικές του αρχαίου, μεσαιωνικού και ανατολικού κόσμου είναι πολλές και ετερόκλητες και χωρίς να αποτελούν ταυτόσημο φιλοσοφικό μοντέλο, όμως, έχουν τα εξής κοινά σημεία, τα οποία τελικά άλλαξε η «επιστημονική ιατρική» που γεννήθηκε μετά την καρτεσιανή ρήξη: α) αντιστοιχία σώματος και ψυχής β) αλληλεπίδραση οργανισμού και περιβάλλοντος γ) αμοιβαιότητα και ισότητα μεταξύ ασθενούς και θεραπευτή. Οι σημαντικές εξελίξεις μεταξύ 17-18ου αιώνα (ανακάλυψη του μικροσκοπίου, ανάπτυξη των εργαστηρίων και των κλινικών) θα δώσουν τεράστια ώθηση προς την επιστημονική ιατρική που θα επιτρέψει να δοθεί μεγαλύτερη έμφαση στον ασθενή ως άτομο ολοκληρωμένο χάριν της διάγνωσηςκαι του χειρισμού «νόσων και συνδρόμων». Μια ακόμη αναταραχή της ιατρικής επέρχεται με την ανάδυση της βιολογίας ως διακριτής επιστήμης, η οποία επέφερε και την αναζωπύρωση των γνωστών βιταλιστικών αντιλήψεων που τον 18° αιώνα δεν παύουν τελείως να υπάρχουν (G. Stahl, - anima, S. Hahneman- ομοιοπαθητική). Όμως, λόγω της θετικιστικής κατεύθυνσης που έδωσε ο μέγας φυσιολόγος του 19ου αιώνα, ο C. Bernard (1813-1878) - που επέβαλε την ποσοτικοποίηση κατά το πρότυπο των θετικώνεπιστημών και στην ιατρική - και τελεσίδικα επισφράγισε ο L. Pasteur (1822-1895) με την ανακάλυψη του ρόλου των βακτηρίων,τόνωσε πάλι την επιστημονική αυτοπεποίθηση της ιατρικής. Στον 20° αιώνα, η ιατρική αποκτά επιπλέον και εξουσίες καιεμπλέκεται κοινωνικά και μέσω της διογκούμενης φαρμακοβιομηχανίας. Όμως, παρ' όλα αυτά, αδυνατεί ακόμη να ανακουφίσειικανοποιητικά τις ψυχικές διαταραχές, ενώ η εξειδίκευση διευρύνε το φάσμα των ιατρικών εφαρμογών (μοριακή βιολογία, νευροχημεία, γενετική, κατανόηση ανοσοποιητικού -νευρικού -ενδοκρινολογικού μηχανισμού), που όμως, εντάσσονται στο ίδιο μηχανιστικό μοντέλο. Η νοσηρή απόκλιση του μοντέλου αυτοΰ έτεινε προς την εμπλοκή ιατρικής-πολιτικής σε ένα πρόγραμμα πουη πειραματική του εφαρμογή επιτεύχθηκε στα ναζιστικά στρατόπεδα. Όμως, και πάλι, τρία διαδοχικά κύματα υπονόμευσαν τηνιατρική ορθοδοξία σε όλον τον 20° αιώνα: Ο S. Freud (1856-1939) και η ψυχανάλυση, η φαινομενολογική (υπαρξιακή) ιατρική του E. Husserl (1859-1938) και οι σύγχρονες εναλλακτικές θεραπείες (ομοιοπαθητική, βελονισμός). ; At all times, man was interested in the therapy of diseases in any possible way. In the Hellenic world, that is generally regarded as the spiritual predecessor of recent Europe, two distinct traditions existed: the first had a true sacred origin and was practiced from a corporation or guild of healers/priests named zsAsklipiades. Asklipios, son of Apollo, was considered by them as their generic leader. The second, practiced by Vakhes, comes from indigenous populations of Eastern Aegean area approx. at 2000 B.C. During its practice patients went into a sacred mania ie., with dancing, music, or body exertion went into an extended consciousness from which, when they recovered, they showed a peaceful state and a new identity again due to moral comprehension. The first liberation from sacred ceremonies occurs in ancient Greece from Hippocrates and thus the first step towards scientific medicine occurs and it is practiced by cosmic healers. To Hippokrates we owe the meaning of "method" for the observation and development of the disease and its symptoms (there is a distinction between them). He believed in "the self healing capability of nature" that had to be taken into account, because medicine comes from the disruption of the balance between man and environment. After Hippocrates there is a gap of approx. 7 eons (till 3rd century D.C.) during which period important developments occur that will determine later the path of medicine: 1. During the 1st century B.C., Dioscouridis from Alexandria and in the 2ndcentury D.C. Asklipiadis and the great healer and surgeon from Pergamos, Galinos, transplanted the "absolute medical orthodoxy" in Rome where it remained as a dogma until the 16th century D.C. This is similar to Arab and recent European medicine. Hippocrates and Galinos beliefs have a lot in common with the growth of medicine in China and India. 2.Arab philosophers and healers reconnect medicine with politics and their base is the healthy society. 3. In Christianity, in the Middle Ages, the human body is discarded as not * worthy and surgery and anatomy are prohibited. In 1130 D.C. the practice of medicine by monks isprohibited and this is passed on to "cosmic clergy" from where the first schools of medicine and recent Universities originate (Paris, Oxford, Bologna, Montpellier). With Renaissance starts the questioning of the Galino's theory. The main archetype of the healer of this period was undoubtedly Paracelsus. He brings back the correlations of symptoms and moral attitude and his whole comprehension was "ecosystematic" and "psychosomatic". The healing ideas and practices of the Middle Ages and Eastern world are various and come from different origins without being an identical philosophical model, but they have the following similar points changed eventually by the "scientific medicine" born after the Cartesian debate: a) there is a bond between body and psyche, b) there is a bond of interaction between the human body and the environment, c) there is a mutual bond of equality and trust between the patient and the healer. The important developments between the 17th - 18th centuries (discovery of the microscope, growth of laboratories and clinics) will give a tremendous push to this scientific medicine and will allow to discard the patient as a whole person for the favour of the diagnosis and the manipulation of "diseases and syndromes". Another disruption from this course of scientific medicine occurs with the emergence of biology as a distinct science, which brought the uprising of the usual vitalistic beliefs that during in the 18th century did not totally stop to exist (G. Stahl-anima, S. Hahneman- homeopathy). However, due to the positivistic direction that the great physiologist of the 19th century, C. Bernard (who established in medicine the quantification according to the prototype of positive Sciences) and finally L. Pasteur established with the discovery of the bacterial role, strengthened again the self confidence of the classical/ scientific medicine. In 20th century, medicine gains also powers and is connected socially also with the growing pharmaceutical, but still is unable to heal satisfactory the mental / psychological illnesses; meantime, the recent specialization opened up a new horizon of medical applications (molecular biology, neurochemistry, clear understanding of the immunological-nervous-endocrinological mechanism) that are, however, part of the same mechanical model. The malpractice of this model involved attachment of medicine and politics in a programme that experimentally was performed in the Nazis camps. Again, three subsequent currents of developments questioned the medical orthodox theory during most of 20th century: S. Freud and psychoanalysis, the phenomenological medicine of E. Husserl and modern alternative medicines (homeopathy, acupuncture).

DON RIGOBERTO'S SEXUAL FANTASY IN MARIO VARGAS LLOSA IN PRAISE OF THE STEPMOTHER Dinda Anisa Larasati English Department, Language and Arts Faculty, State University of Surabaya dinda_kdy@yahoo.com Drs. Much. Khoiri M.Si. English Department, Language and Arts Faculty, State University of Surabaya much_choiri@yahoo.com Abstract Sexuality is seen as sinful thing which influences Christian to behave and act based on the society role. Some people tend to repress their sexual fantasy because sexual fantasy is a genre that can lend itself very easily to the sexual elements of life, the depraved, the debauched, or the downright saucy and controversial. The aim of this study is to describe how Don Rigoberto's sexual fantasy depicted in Mario Vargas Llosa In Praise of the Stepmotherand and to reveal how Don Rigoberto's sexual fantasy can impact on his wife. The data are in the form of quotation, fragments, and dialogues or monologues that indicated the thoughts and action concerning form of sexual fantasy.The data is applying the theory of fantasy by Jacques Lacan and supported with Baron. This study also uses the concept of anxiety and psychological trauma. Initially, Don Rigoberto obsessed with three things: Physical Hygiene, sex with his wife, and erotic paintings. He devotes a day a week for the care of a different member or organ.His love life with Lucrecia in a world more imaginary than real, of what he wishes she were than what she really is. He always lost in his dream which is imagined erotically things from some media and those can support his sexual fantasy. Don Rigoberto forced his wife (to have) sex with another man which can be deeply shocking for her. Those facts are proof that Don Rigoberto get his satisfaction from his obsession. Keywords: sexuality, fantasy, desire, anxiety, psychological trauma Abstrak Seksualitas dipandang sebagai hal yang berdosa yang mempengaruhi Kristen untuk bersikapdanbertindak berdasarkan peran masyarakat. Beberapa orang cenderung untuk menekan fantasi seksual mereka karena fantasi seksual adalah genre yang dapat menjatuhkan diri seseorang ke dalam unsur-unsurseksualkehidupan, buruk, yang tidak bermoral, dan kontroversial. Tujuan dari skripsi ini adalah untuk menggambarkan bagaimana fantasi seksual Don Rigoberto yang digambarkan di Mario Vargas Llosa In Praise of the Stepmother dan mengungkapkan bagaimana fantasi seksual Don Rigoberto yang berdampak pada istrinya. Di dalam data tersebut terdapat kutipan, fragmen, dan dialog atau monolog yang menunjukkan pemikiran dan tindakan mengenai bentukfantasi. Untuk data seksual menerapkan teori fantasi dari Jacques Lacan dan didukung dengan Baron. Analisis ini juga menggunakan konsep anxiety dan psychological trauma. Pada awalnya, Don Rigoberto terobsesi dengan tiga hal: Fisik higienis, seks dengan istrinya, dan lukisan erotis. Dia menjadikan satu hari dalam seminggu untuk melakukan perawatan pada anggota atau organ badan yang berbeda. Kehidupan cintanya dengan Lucrecia di dunia lebih kepada imajinasi daripada kenyataan, apa yang dia ingin adalah berada dari apa yang sebenarnya dia. Dia selalu terjebak dalam mimpinya, yaitu dengan membayangkan hal-hal erotis dari beberapa media dan mereka dapat mendukung fantasi seksualnya. Don Rigoberto memaksa istrinya untuk berhubungan seks dengan laki-laki lain dan hal itu sangat mengejutkan istrinya.Faktanya adalah bukti bahwa Don Rigoberto mendapatkan kepuasan melalui obsesinya. Kata kunci: sexuality, fantasy, desire, anxiety, psychological trauma Introduction Human cannot be separated with needs. There are three basic drives such as eating, sleeping, and sex. As a normal human being, sexuality is given from the beginning ourselves. Nietzche asserts that "we are not only rational out being, but we are also full of desire, with the drives and hidden longing, which formed, our ideas and views about the world" (O'Donnel, 2008: 41).In reality, sexuality describes a huge range of activities. This is half of dialectic, anything can be sex because sex has whatever meaning human experience moment by moment, and sex hasan infinite range of meanings because the scope of activities that can properly be called sexual is so vast. Lisa Downing says that sexuality is something that we ourselves create-it is our own creation, and much more than the discovery of secret side of our desire. Sex is not fatally, it is possible to creative life (Downing 2008:104). Sex can make people different. It means that sex is created because of love, relationship, and perhaps necesity or situation. Sex is not taboo anymore in this modern era, but sex can help viability in science. In psychoanalyticterms, sexuality plays an enormously influential rolein psychological development.From a veryearly age, how people experience their bodies in relation to the physical world as well as to the internal stimuli and feelings their bodies generate profoundly effects how they view the world and themselves.In particular,conscious and unconscious fantasies are about human's bodies and sexuality influence the development of stable patterns of sexual identity, and with that,sexual behaviors.(http://psychoanalysis101.org/psycho-sexual-development/). Sexual fantasies play a central role in mental life, despite – or rather: because of – the fact that they in particular meet the fate of repression, which is why Freud calls them "the weak spot in our psychical organization" (Freud, 1911: 223). This repression creates the psychic disposition towards neurosis in man, the conflict between unconscious desires and conscious control. That sexuality is actually the weak spot in man's psychical organization is proven by the fact that many (predominantly male) users of the Internet cannot resist the temptation to seek sexual pleasure via the computer screen. Sex is still the biggest business on the net, offering such a massive electronic hallucination of gratifying objects. In Praise of the Stepmother with Mario Vargas Llosa as the author, Mario Vargas Llosa, which reached worldwide recognition with his novels Pantoja and the Special Aunt Julia and the Scriptwriter, The War of the Worlds.In Praise of the Stepmother, made a foray into a genre that is emerging in many of his works, the erotic. Sex in the novels may offend, amuse, or worse. As this study has come toexpect of VargasLlosa as the author of this novel, he uses a precisely structured form to present the distinct components of his story. Structure can be invaded or skewed which is an interesting way to make point innocence and morality are strong themes which are compound in unusual ways. In Praise of the Stepmother with Mario Vargas Llosa as the author, Mario Vargas Llosa, which reached worldwide recognition with his novels Pantoja and the Special Aunt Julia and the Scriptwriter, The War of the Worlds.In Praise of the Stepmother, made a foray into a genre that is emerging in many of his works, the erotic. Sex in the novels may offend, amuse, or worse. As this study has come toexpect of VargasLlosa as the author of this novel, he uses a precisely structured form to present the distinct components of his story. Structure can be invaded or skewed which is an interesting way to make point innocence and morality are strong themes which are compound in unusual ways. Mario Vargas Llosa was born in Arequipa, the second city of Peru, in March 1936.In 1958 he travelled to Paristhanks to a prize won in a short story competition,and on his return to Lima he completed his higher education and received a grant to transfer to theUniversity of Madrid. A few months after arriving in the capital of Spain,he left his studies for the doctorate and settled in Paris, where he was to stay for seven years.In 1963 he published his first great novel, "La ciudad y los perros", with which he won several literary prizes, among them the "BibliotecaBreve" and "La Crítica".It has currently been translated into more than twenty languages. His second major work wastobe"La Casa Verde",published in 1966, the same year he moved to London, wherehewould teach at the university and contribute frequently to newspapers and magazines.Afterwritingone of his fundamental novels, "Conversación en la catedral", VargasLlosatravelled to Barcelona in 1970, where he was to stay for almost five years until in 1974 he put an end to his European exile and returned to Peru with the intention, for the first time, of settling down there. In 1973, his novel Pantaleóny lasvisitadoras, which was adapted for the cinema two years later, had come out.In 1975 he began a seriesof projects related with the cinema and in March of that year he was elected as numerary member of the Peruvian Academy of the Spanish Language. Two months later, he was appointed as president of Pen Club International, a post which he would hold until 1979. Mario Vargas Llosa began his political activity in 1987, due to the nationalization of thefinancial system in Peru. As candidate for the presidency of his country in 1989 with the centre-right coalition Frente Democrático, he was finally defeated in the ballot by Alberto Fujimori. Apart from the works mentioned above, the following works may be highlighted among the output of Mario Vargas Llosa: the novels "La tía Julia y el escribidor" (1977), "La Guerra del fin del mundo" (1981), "Historia de Mayta" (1984), "Quiénmató a Palomino Molero?" (1986), "El hablador" (1987) and "Elogio de la madrastra" (1988); in his facet as a playwright he has written "La señorita de Tacna" (1981), "Kathie y el hipopótamo" (1984) and "La Chunga" (1986) and as an essayist he has published important works such as "GarcíaMárquez: historia de un deicidio" (1971) and "La orgíaperpetua:Flauberty Madame Bovary" (1975)."In Praise Of The Stepmother" (1988). Mario VargasLlosa was a conservative candidate (Fredemo, the Democratic Front) for the Peruvian presidency in 1990.The development of his political convictions, from a sympathizer of Cuban revolution to the liberal right, has astonished his critics and has made it impossible to approach his work from a single point of view. Sabine Koellmann has noted that the publication of Vargas Llosa's La Fiesta del Chivo (2000, The Feast of the Goat) confirmed, "thatpolitics is one of the most persistent 'demons' which, according to his theory, provoke his creativity." (Vargas Llosa's Fiction & the Demons of Politics, 2002) Vargas Llosa was defeated by Alberto Fujimori, an agricultural engineer of Japanese descent, also a political novice, but who had a more straightforward agenda to present to the voters. Anunexpected twist in the plot of this political play occurred in 2000, when President Fujimori escaped to his ancestral homeland Japan after a corruption scandal. From 1991 to 1992 Mario Vargas Llosa worked as a visiting professorat Florida International University, Miami and Wissdens chafts kolleg, Berlin. In addition to the Nobel Prize, the author has received many other honors. Among other distinctions, he has received the "Ramón Godoy Lallana" Journalism Prize, the LiteraryPrize of the Italo-American Institute, the "Pablo Iglesias "LiteraturePrize, the "Hemingway"Prize, the Gold Medal of the Americas and the Max Schmidheiny Foundation Liberty Prize. Already a classic due to the scope and quality of his work, he is one of the Spanish-American writers who has most consistently and determinedly brought theresources of the 20th century literary avant-garde inour language. In Praise of the Stepmother is one literary work by Mario Vargas Llosa. In this novel, there are found many expressions by the characters Don Rigoberto is an art connoisseur and erotic explorer night by night as well as man obsessively devoted to the care of his own body. Lucrecia as a second wife of Don Rigoberto, she is a beautiful and passionate woman, and then his son Alfonso, known as Fonchito.The first character introduced to us in the novel In Praise of the Stepmother, Vargas Llosa takes on an expedition through the mind of Don Rigoberto, day by day an insurance executive, by night a pornographer and sexual enthusiast. Don Rigoberto is a member of Lima's well-heeled bourgeois society. He is the kind of man one sees at board meetings and cocktail parties. But by night Don Rigoberto sheds his conventional skin to pursue his true passions: erotic art and sexual fantasy. Rigoberto's love for Lucrecia is an addiction of her body parts, a revere or an objectification of her physical persona. This way of looking at love and people and considers women as their property, rather than primarily enjoying her body is part of her. He loves her as a compilation of body parts. In the novel In Praise of the Stepmother signals the historical endpoint to the popularity of the 1960s liberationist sexuality, especially female sexuality as a carrier of a symbolic charge of social freedom. This novel is a thought-provoking fantasia on innocence, sex, and art. It opens with a portrayal of a liberated sexual woman, Lucrecia, who is adored by her husband, Rigoberto. Don Rigoberto's and Lucrecia's erotic exploits which are modeled after paintings that are actually printed in the book. Through this story, Mario Vargas Llosa explores the ideas of the erotic imagination. Rigoberto creates erotic fantasies, the erotic and sexual lives of Rigoberto and Lucrecia, much of which is driven by Rigoberto's fantasies formulated from paintings. In this Story, Fonchito seems to corrupt innocence, live a harmonious sexual fantasy with her stepmother. Nothing inhibits them or stops them. Dona Lucrecia and stepson Fonchito are revealed in every detail. There is erotic novel. Sexual Fantasy of Rigoberto, a harmonious sexual fantasy of Alfonso to his stepmother, and sexual attraction Lucrecia to Alfonso. Sexual Fantasy is chosen where this study is taken because of the interesting case and the impact which make the wife had anxiety and psychological trauma. From the reading, the study can be interested in focus on the sexual fantasy experienced by the main character. In the novel In Praise of the Stepmother, this study would like to learn more, how Don Rigoberto's sexual fantasy. What are the activities of Don Rigoberto's Sexual Fantasy, what are the factors,the causes and the theory, which is matching discuss those cases istheory of Fantasy of Jacques Lacan, supported theory fantasy of Baron. Many kinds of Sexuality, there are Sexualization, Sexual health and Reproduction. Sexual identity, sensuality and intimacy. Sensuality involves human's level of awareness, acceptance and enjoyment of men's own or others bodies. In the circle of sexuality, fantasy is part of sensuality. Sensuality is match with Don Rigoberto's Sexual Fantasy. In the novelIn Praise of the Stepmother, Many statements which can prove that Don Rigoberto have an extreme sexual fantasy. One night, he said that Lucrecia is his fantasy not his wife. He imagined that Lucrecia is Venus, a person who is his fantasies. For the tittle of my thesis is "Don Rigoberto's Sexual Fantasy.DonRigoberto has an extreme sexual fantasy, he obsesses of three things: Personal Hygiene, sex with Lucrecia, and erotic paintings. His sexual fantasy actually impact on his wife, according to me that's so interesting.Because of those, thus this study directed to more examine about Don Rigoberto's sexual fantasy. In analyzing Don Rigoberto's sexual fantasy and Don Rigoberto's sexual fantasy impact on his wife, it is used some related concept and two theories. In this thesis, the problem statement is divided into two. The first problem statement deals with Don Rigoberto's sexual fantasy reflected in this novel. While the second problem deals with How does Don Rigoberto's sexual fantasy impact on his wife in Mario Vargas Llosa"In Praise of the Stepmother. Those problems can be analysed by using the theory fantasy of Jacques Lacan, supported with Baron and also using concept of anxiety and psychological trauma. The first statement is how Don Rigoberto's sexual fantasy reflected in In Praise of the Stepmother. This statement will use theory fantasy of Jacques Lacan and suppoeted with theory fantasy of Baron. Through fantasy, the subject attempts to sustain the illusion of unity with the other and ignore his or her own division. Fantasy originates in "auto-eroticism" and the hallucinatory satisfaction of the drive. Fantasies are the way in which subjects, structure or organize their desire: it is the support of desire. Then the second statement isHow does Don Rigoberto's sexual fantasy impact on his wife in Mario Vargas Llosa"In Praise of the Stepmother. This statement will also apply the theoryof fantasy of Jacques Lacan and also apply the concept of anxiety and psychological trauma. Actually, there are two impacts of Don Rigoberto's sexual fantasy. Methods Research methodolgy that used in this analysis here must be qualified as an applying in literary appreciation. The thesis is regarded as a descriptive-qualitative study and uses a library research.The data obtained to answer research question study. This study uses novel of Mario Vargas Llosaentitled In Praise of the Stepmother that published in 1988 as the data source of this study. The datas are in the form of direct and indirect speech of the characters, dialogues, epilogues and quotations which indicate and represent aspect of infidelity and love and will which is experienced by the main character. This thesis is using the library method in collecting the data. It does not use the statistic method. That is why it is not served in numbering or tables. Library research used an approach in analyzing this study. The kind of library research which is used here is intensive or closely reading to search quotations or phrases. It also used to analyze the literary elements both intrinsic and extrinsic. The references are taken from library and contributing ideas about this study from internet that support the idea of analyzing. Some steps of how the data is analyzed will be described as follows: Classification based on the statement of the problems. This classification is used to avoid the broad discussion. There are two classifications in this study. They are sexual fantasy and the main factor that lead to his sexual fantasy. Describing Don Rigoberto's sexual fantasywhich is stated from the quotations or statements by using theory of fantasy to be applied to the data.Describing Don Rigoberto's sexual fantasy impact on his wife which is stated from the quotations or statements by using theory of fantasy and the concept of anxiety and psychological trauma will to be applied to the data. RESULT 3.1 Reflection of Don Rigoberto's Sexual Fantasy Based on theory of fantasy of Baron, fantasy can be a kind of activity that permits the subject to escape, however briefly from the stresses and boredom of the subject's life. Schaefer and Millman support this theory by stating that fantasies provide "a strong feeling of satisfaction in comparison to the bedroom of everyday activities" as an escape of the continued failure of difficulties in their everyday life". (Baron, 1995: 31-32) Fantasy is used as an escape from responsibility or a harsh home or work situation. Then the person needs to begin to pray for favor on the job or at home, asking God to open hearts to each other's needs and binding out demonic forces. We have had great reports from this kind of prayer. Then as the stress is lifted and the relationships are made stronger, the desire to escape lifts as well. The fantasies are no longer a problem. 3.1.1.1 Fantasy escape Don Rigoberto from stresses and boredom of his life Don Rigoberto is the dull though the prosperous manager of a Lima insurance company. His life represented in the eyes of others, that routine existence as the general manager of an insurance company, he has many activities. Well-earned that he stress or bored with some of his activities as an insurance executive. He had found in his solitary hygienic practiced and all in the love of his wife appeared to him to be sufficient compensation for his normalcy. He creates erotic fantasies, and Lucrecia lives out the character she has been chosen to be. "Just a pinch of wisdom to use as a momentary antidote to the frustrations and annoyances that seasoned existence. He thought: Fantasy gnaws life away, Thank God" (Llosa, 1988: 104) From the statement above, Rigoberto seems like indeed the power of wisdom can be used as a momentary antidote to the frustrations and annoyances that seasoned existence, but it just can be a momentary antidote now the make frustrations and annoyances gnaws away. As a manager of a Lima insurance company, it is definitely that he has 1many activities so he needs something which can release him from the frustrations and annoyances. The word "Fantasy gnaws life away, Thank God", it shows that Don Rigoberto thinks that fantasy helped him out of the frustrations and annoyances thing which is part of being an insurance executive. He was thankful, fantasy make he enjoyed or even suspected as happiness. There is proof that Fantasy can escape from the stresses and boredom of life "[.] as though happy to rid itself of the policies and the detritus of the day's bussiness.Ever since, in the most secret decision of his life-- so secret that probably not even Lucrecia would ever be privy to it in its entirity-he had resolved to be perfect for a brief fragment of each day. (Llosa, 1988: 54) Rigoberto is obsessed with Personal Hygiene, he assumes that is the part of his sexual fantasy to get pleasure. According to him, the nightly ritual can as a though happy to a rid himself from detritus bussiness day. He had resolved to be perfect for a brief fragment of each day through nightly ritual. 3.2 Don Rigoberto's Sexual Fantasy impact on his wife In the novel In Praise of the Stepmother, Don Rigoberto focuses so completely on hisrich fantasy life - a fantasy life,multiplyed by his reproductions of smutty nudes by the likes of Titian and Jordaens (left), that he doesn't notice the risks that cause Dona Lucrecia anxiety. In this novel, there is no communication between Don Rigoberto and Dona Lucrecia about sexual fantasy, Don Rigoberto's intend for his wife disrupts into his fantasies—at times he is too impaired by sorrow and desire to go on. "The queen sometimes awakens at night, overcome with terror in my arms, for in her sleep the shadow of the Ethiopian has once again burst into flame on top of her." (Llosa, 1988: 20) This quotation above describes that Lucrecia feels anxiety, she always pictured events that foregoing Don Rigoberto forced Dona Lucrecia sex with Atlas, Don Rigoberto assumes that Atlas is the best endowed of his Ethiopian slaves. It can be explained through this statement : "One night-I was drunk-I summoned Atlas, the best endowed of my Ethiopian slaves, to my apartments, merely to confirm that this was so. I had Lucrecia bow down before him and ordered him to mount her.Intimated by my presence, or because it was too great a test of his strength, he was unable to do so. Again and again I saw him approach her resolutely, push, pant, and withdraw in defeat" (Llosa, 1988: 15) Fantasy is 'that thing is what can satisfy me' – objectivation of desire.This line of thought on perverse fantasy, that fixates desire onto a certain object and thus screens off from its infinity, make the interpretations understandable From the quotation above Don Rigoberto was fantasized and forced his wife into having sex with Atlas. There looks Rigoberto so rude to treat his wife, he made his wife as an object because he wanted to prove whether Atlas, the best endowed of my Ethiopian slaves can equals him and he merely to confirm that this was so. The Fantasy that is shown by Don Rigoberto occurs when he decided his wife sex with Atlas. Don Rigoberto feels satisfied and relieved after that incident. Because of that incident, he discovered that no one can equal him. Butitis notperceivedby Lucrecia, she feels not enjoy. "In order to fulfill my part of the offer, we were obliged to act with the greatest discretion. That episode with Atlas, the slave, had been deeply shocking to my wife. (Llosa, 1988: 19) In the statement above, He has also realized that the episode with Atlas makes Dona Lucrecia shock. In contrast, Don Rigoberto does not appreciate his wife. He just concerned with his fantasy and never regards Dona Lucrecia's pleasure. There is no communication between Don Rigoberto and Dona Lucrecia about sexual fantasy, Rigoberto just concerned with his fantasy and Dona Lucrecia only silent to face it. She did not attempt to revolt or reject command from her husband She never stated that she does not enjoy it. She feels anxiety until it can be said that she have psychological trauma. Lucrecia always awakens at night just because it was too painful for her. For Lucrecia it would be a deeply shocking. In the chapter twelve, Labyrinth of Love.Lucrecia expresses her feelings that she felt as fortunate victim, she just an inspiration. Until there show that she fantasized with herself "I know this because I have been the fortunate victim; the inpiration, the actress as well [.]. Myself, erupting and overflowing beneath your attentive libertine gaze of a male who has officiated with competence and is now contemplating and philoshopizing (Llosa,1988: 118) It shows that Dona Lucrecia feels that she just an actress who serve her husband for being another person, not being herself while they having sex. She was erupted and overflows, she wants to vent all her anxiety. Until she actually made masturbation to gained the power of magic, mystery and bodily enjoyment. "That woman is what I am, slave and master, you offering. Slit open like a turtledove by love's knife: I: cracked apart and pulsing. I:slow masturbation. I: flow of musk. I: labyrinth and sensation. I: magic ovary, semen, blood, and morning dew.That is my face for you, at the hour of the senses. I am that when, for you, I shed my everyday skin and my feast-day one. That may perhaps be my soul. Yours." (Llosa, 1988: 119) In the statement above, it is clear that Lucrecia uncomfortable with the sexual fantasy of his husband. She even feels the pleasure through masturbation. Because throughon masturbation, she could be herself, not as an actress or inspiration of her husband. Conclusions This last chapter is drawn to sun up the results of the analysis, which is presented in the form of summary. In this chapter, the conclusion will be divided into two, in line with the statement of problem. The first conclusion in terms of Don Rigoberto's sexual fantasy. For the second conclusion is Don Rigoberto's sexual fantasy impact on his wife. From the analysis that has been in the previous chapter, it can be conclude in the first conclusion that Don Rigoberto obsessed with three things, they are personal hygiene, sex with his wife and erotic paintings. Based on Don Rigoberto's it is found out that there are many habits and factors which are espouse his sexual fantasy. Besides, his character is his sexual fantasy done for his pleasure and cause of his desire. As aLima manager insurance, Rigoberto definitely has many activities, multiple frustrations and annoyances. So, the fantasy can help to escape him from that. In this study also reveal that Fantasy can make Rigoberto to be wise. He had rediscovered that wisdom all by himself, on his own and at his own risk. He did many habits like imagining erotically things about the media then sets the intent of those media into his mind.He reduces his wife as an object. He determines himselfbecome someone who is in the media, he proud of person in the paintings which can inflame his subject's imaginings then he changes himself as that person. In the novel In Praise of the Stepmother learn of the erotic and sexual lives of Rigoberto and Lucrecia, and which is driven by Rigoberto's fantasies formulated from paintings and other media. He showers her with affection, but the reader is left wondering if he truly knows her, or if he has created an illusion of her. Don Rigoberto's Sexual Fantasy happened because of any media, and he enjoyed his sexual fantasy by any media, like painting, poet and tried to take it into his mind, then reveal to his wife. His love life with Lucrecia in a world more imaginary than real, of what he wishes she were than what she really is. Don Rigoberto assumes that his wife is like another person who is in his mind, not the realism of his wife's self. He always lost in his dream which is imagined erotically things from some media and those can support his sexual fantasy. Don Rigoberto is compulsive about his personal cleanliness and his bodily functions. He appreciates them as impressive and necessary. He devotes a day a week for the care of a different member or organ: Monday, hands; Tuesday, feet; Wednesday, ears; Thursday, nose; Friday, hair; Saturday, eyes; Sunday, skin. Don Rigoberto is a sensualist of the highest order and, nightly, he and his wife have erotic heights. He did nightly ritual,all of those are the parts of his sexual fantasy. The pictures and roses of the painting are as an inspiration for him while having sex with his wife. Sexual fantasy can have a profound impact on a person's emotions. Sexual fantasy is articulated with anxiety and it is closest proximity to the psychological traumatic real, Lucrecia always be object of Rigoberto's sexual fantasy, she forced sex with Atlas, the best endowed of Ethiopian slaves. It shows that Don Rigoberto never worried about Lucrecia's anxiety. He actually lets Lucrecia having sex with another man, just for create pleasure Dona Lucrecia as his wife feel that she just an actress who serve her husband for being another person, not being herself while they having sex. She actually made masturbation to gained the power of magic, mystery and bodily enjoyment. She also did sexual attraction to her stepson, Fonchito. Because while having sex with her stepson, she feels splendid orgasm she is to be herself, she felt the pleasure and comfort thats he never got while having sex with Rigoberto, with Foncho, she feels that he is innocence and not seems like Rigoberto who makes she is an object imagination of anyone and object for him to get sexual satisfaction and pleasure. Don Rigoberto can do sexual fantasy to his wife because of his desire, he obsessed of personal hygiene,erotic paintings, then he makes his wife become the object of his fantasy and he wants to get pleasure which can alter his mood to be happy. The act of Don Rigoberto that forced his wife with another man can be classified as sexual violence which is the cause of psychological trauma. So, with the sexual fantasy of Don Rigoberto can impact Lucrecia has psychological trauma. Refferences Allen, Richard. 1995. Projecting Illusion. Film Spectatorship and the Impression of Reality. Cambridge: Cambridge University Press. 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A powerful personal narrative of recovery and an illuminating philosophical exploration of traumaOn July 4, 1990, while on a morning walk in southern France, Susan Brison was attacked from behind, severely beaten, sexually assaulted, strangled to unconsciousness, and left for dead. She survived, but her world was destroyed. Her training as a philosopher could not help her make sense of things, and many of her fundamental assumptions about the nature of the self and the world it inhabits were shattered.At once a personal narrative of recovery and a philosophical exploration of trauma, this bravely and beautifully written book examines the undoing and remaking of a self in the aftermath of violence. It explores, from an interdisciplinary perspective, memory and truth, identity and self, autonomy and community. It offers imaginative access to the experience of a rape survivor as well as a reflective critique of a society in which women routinely fear and suffer sexual violence.As Brison observes, trauma disrupts memory, severs past from present, and incapacitates the ability to envision a future. Yet the act of bearing witness, she argues, facilitates recovery by integrating the experience into the survivor's life's story. She also argues for the importance, as well as the hazards, of using first-person narratives in understanding not only trauma, but also larger philosophical questions about what we can know and how we should live

A powerful personal narrative of recovery and an illuminating philosophical exploration of traumaOn July 4, 1990, while on a morning walk in southern France, Susan Brison was attacked from behind, severely beaten, sexually assaulted, strangled to unconsciousness, and left for dead. She survived, but her world was destroyed. Her training as a philosopher could not help her make sense of things, and many of her fundamental assumptions about the nature of the self and the world it inhabits were shattered.At once a personal narrative of recovery and a philosophical exploration of trauma, this bravely and beautifully written book examines the undoing and remaking of a self in the aftermath of violence. It explores, from an interdisciplinary perspective, memory and truth, identity and self, autonomy and community. It offers imaginative access to the experience of a rape survivor as well as a reflective critique of a society in which women routinely fear and suffer sexual violence.As Brison observes, trauma disrupts memory, severs past from present, and incapacitates the ability to envision a future. Yet the act of bearing witness, she argues, facilitates recovery by integrating the experience into the survivor's life's story. She also argues for the importance, as well as the hazards, of using first-person narratives in understanding not only trauma, but also larger philosophical questions about what we can know and how we should live

Der Band enthält Reden, Referate und Arbeitsberichte des 11. Kongresses der Gesellschaft für Erziehungswissenschaft (Saarbrücken, 1988). Andernorts veröffentlichte Kongressbeiträge werden am Ende der Publikation nachgewiesen. Die Beiträge sind thematisch in drei Blöcke gegliedert: - Institutionsübergreifende Fragestellungen - Schule und Lehrerbildung - Außerschulische Erziehung und Bildung. (IAB)

I study works of fiction and poetry that explore the process by which feelings come to seem relevant or productive to those who experience them and to others. My research seeks to contribute both to literary studies and to recent debates about the political and philosophical usefulness of lived or represented feelings. Contemporary scholars often treat works of literature as sites that help us discover why it is politically or ethically urgent, or epistemically revealing, to pay attention to other persons' and our own emotional experiences. The writers I examine do not stress forceful imperatives to attend to how someone feels. Rather, they call attention to the difficulty of knowing how intensely, when, and why we should do so. Each chapter of my dissertation focuses on one quality of feelings that, one might think, should make these feelings reliable sources of knowledge or potential change. These qualities include feelings' whimsicality (which I examine through Wallace Stevens and Sylvia Plath), their urgency (which I examine by reading Ralph Ellison), their portability (which I examine by reading Virginia Woolf and F. Scott Fitzgerald), their persistence (which I examine by reading John Ashbery), and the quality I will focus on today, their immersiveness (which I examine by reading Marcel Proust and James Baldwin). The writers I study show why such qualities might seem politically or philosophically promising. But they also highlight why it is in fact hard to decide whether feelings that carry such qualities are significant in any larger sense. On a historical level, I argue that the definitions of feeling my chosen writers rely on are inspired by modernist philosophy, political theory, and psychology. These writers' reflections on the unclear importance of feelings can therefore help illuminate the stakes of parallel reflections taking place in these other disciplines. These writers can also thus help us appreciate literature's particular contribution to this strand of modernist intellectual history. More theoretically, I claim that my chosen novelists and poets explore a dimension of emotional experience that has been neglected by contemporary affect theory because of its prevalent emphasis on proving feelings' productivity. My research therefore aims to map out some ways in which these writers' treatment of feeling could help us think more self-critically and more expansively about our current studies of fictional or lived emotional states. In my introduction I present the larger social and intellectual contexts and reasons for modernist literature's particular preoccupation with uncertainly important feelings. For modernist philosophy and politics, emotions are both obstacles and gateways. They are the tools and objects of new philosophical and political ideas that range from psychoanalysis to early communism. But from the first, many thinkers also doubt whether it is possible reliably to parse apart politically or philosophically significant feelings from irrelevant ones. I outline this unease as it is voiced by Karl Marx, William James, Henri Bergson, Sigmund Freud, and Hannah Arendt. I also set these thinkers' treatments of feeling in dialogue with recent historical research on how the experience of total war destabilized Western society's standards of emotional proportion. The introduction finally frames my project within the field of affect studies as staked out by critics such as Charles Altieri, Rei Terada, Lauren Berlant, and Sianne Ngai. My first chapter focuses on whimsical feelings. Wallace Stevens and Sylvia Plath center their lyrics on the emotional vacillations of the introspective self. Both poets showcase the way that feelings' whimsical persistence in searching for their most appropriate or appealing objects could be seen to resemble or to support a philosophical or political investigation of the proper importance of any given subjective impression or reaction. But they also suggest that the very diversity of the spans and intensities of focus feelings are capable of keeps making these feelings seem unreliable and inconsistent; proofs not of any particular importance of their speakers' inner lives, but of these speakers' confusion about its import. Stevens explores the process of trying to decide what more or less important self-knowledge could come from each momentary focus his speakers' feelings give to their experience. Plath studies her speakers' ongoing attempts to figure out whether and why the feelings they uncover could deserve to be voiced or even lingered in. Their speakers alternately lose and regain hope of finding in this whimsicality a stable sense of who they are or what they merit. Both poets keep multiplying the possible contexts, scales, pitches, and spans of time or space in which each feeling could be experienced. On the one hand, their poetry affirms emotional states as paths toward discovering or sounding new modes in which we relate to our world. On the other hand, the way their represented feelings' different scales and paces disrupt or fold into each other dramatizes how hard it is to decide exactly why each momentary worry or elation should have any significance even to the person experiencing them. In the second chapter I examine how late modernists represent the difficulty of making sense of feelings' portability. I focus on Virginia Woolf's Mrs. Dalloway as well as F. Scott Fitzgerald's The Great Gatsby and Tender is the Night. Woolf and Fitzgerald are preoccupied by the apparent difficulty of stably distinguishing between emotional experiences that stem from or react to intense personal events and ones that stem from law-like, socially instilled habits. They showcase the difficulty of expressing feelings in a way that would allow them to be stably and reliably recognized as expressions of trauma or of libido; of the sensitivity with which their characters take in the fine grain of the objects and impressions they are presented with, or the indiscriminateness with which they equate all these objects as sources of more or less lasting pleasure. Both Woolf and Fitzgerald embed emotional exchanges within descriptions of walks, parties, and teas. They frame these social events as spaces in which the long-term material labor that goes into maintaining their characters' lifestyles is set in tension with these persons' momentary efforts to lift the moods of those around them. Their characters try to use their possessions and bodies to create or demand fleeting offerings of joy or comfort. Rather than be satisfied or disappointed by what they give or receive, they keep discovering new aspects of an uncertainty about whether each such attempted exchange has been successful and about how significantly these emotional gifts affect their larger lives. Woolf introspects primarily into the process by which her characters try with varied success to apply their resurging feelings to a new context or person. Fitzgerald remains on the outside of his characters' minds, and focuses on the way their feelings are recurrently expressed within the social and material world.The third chapter studies the immersiveness of feelings. Marcel Proust and James Baldwin explore what it would mean to try to do something with feelings that relate to enveloping sensory spaces. They ask how one nurtures such immersive feelings as potentially significant outcomes of our engagement with the world or models for how we can engage with this world further. They explore how one could try to perpetuate these feelings or satisfyingly to act on them. They also highlight the sheer effort it requires emotionally to take in or react to one's entire horizon of perception. But Proust and Baldwin also wonder how we can ever tell that any such immersive emotional experience is valuable, precise, or lasting. For both writers this preoccupation with the uncertain and unsteady relevance of immersive feelings is mediated through their simultaneous preoccupation with rooms. Both for Proust and for Baldwin rooms provide the best, perhaps even too self-flatteringly material models for how enveloping and seemingly reliable a space a feeling is able to draw us to or to discover around itself. Yet rooms also provide models for the ease with which immersive feelings are entered and exited. They showcase the constant need such feelings have for material settings to fuel and confirm themselves, the unreliability of the efforts they inspire us to apply toward the world, the paucity of such feelings' engagement with parts of the world we do not immediately sense.The last chapter examines emotional abundance through the poetry of John Ashbery. Emotional states, as Ashbery represents them, are abundant in two interrelated senses. They are abundant, first, in the sheer number of their ongoing expressions; in the way that these expressions seem always to be vaster and greater in number than the speaker can attend to all at once. Second, they are abundant in that--rather than present the speaker merely with concepts or merely with sensations--they offer what appears to be a sensory landscape that is already suffused with its own abstract consequences and applications. Rather than represent feeling as an immediate connection or reaction to his personal history or his environment, Ashbery represents his speakers' emotional states as attempts to imagine and inhabit a landscape independent of these contexts; a landscape that the speaker seems at once to create and to fall into as his feelings' necessary corollary, one that seems to not represent but occlude and rival--or at the very least to frequently lose from sight--the context to which it would at first appear to be responding. The details Ashbery's represented environments contain seem constantly and richly to open up onto potentially universal insights; his speakers keeps encountering abstractions in what appear to be robust material forms ready to be inhabited, touched, or tested. But Ashbery also keeps showing that, in themselves, feelings are unable to turn their abundance of expression into articulable particular or universal insights. His speakers easily discard or simply forget about their disconnected momentary expressions as soon as they lose their ephemeral appeal. My conclusion is entitled "Eyebread," taking up a phrase Walter Benjamin coined during a euphoric false revelation about pastries that he had while on hashish. I take Benjamin's reflections on altered states as a model for my research because of how well they show that, paradoxically, emotions' potential for seriousness and insight is closely related to their potential for preciosity and frivolity. I also take it as a point of departure as I propose how one could apply these questions back to the political and philosophical realms to which these literary works so unreliably and inconsistently aspire. Studying more closely the inconsistent importance and productivity of feelings can help us rearticulate both how we define the subject positions from which we conduct philosophical or political inquiry, and how we delimit the seriousness and importance of philosophy and politics in themselves. Affect theory is uniquely able to help us work toward addressing these questions, provided that--rather than try to deny the unclear importance of feelings, as it has done up till now--it embraces this lack of clarity as the defining feature of emotional experiences.

An impressive new history of China's relations with the West--told through the lives of two language interpreters who participated in the famed Macartney embassy in 1793The 1793 British embassy to China, which led to Lord George Macartney's fraught encounter with the Qianlong emperor, has often been viewed as a clash of cultures fueled by the East's disinterest in the West. In The Perils of Interpreting, Henrietta Harrison presents a more nuanced picture, ingeniously shifting the historical lens to focus on Macartney's two interpreters at that meeting--Li Zibiao and George Thomas Staunton. Who were these two men? How did they intervene in the exchanges that they mediated? And what did these exchanges mean for them? From Galway to Chengde, and from political intrigues to personal encounters, Harrison reassesses a pivotal moment in British-China relations. She shows that there were Chinese who were familiar with the West, but growing tensions endangered those who embraced both cultures and would eventually culminate in the Opium Wars.Harrison demonstrates that the Qing court's ignorance about the British did not simply happen, but was manufactured through the repression of cultural go-betweens like Li and Staunton. She traces Li's influence as Macartney's interpreter, the pressures Li faced in China as a result, and his later years in hiding. Staunton interpreted successfully for the British East India Company in Canton, but as Chinese anger grew against British imperial expansion in South Asia, he was compelled to flee to England. Harrison contends that in silencing expert voices, the Qing court missed an opportunity to gain insights that might have prevented a losing conflict with Britain.Uncovering the lives of two overlooked figures, The Perils of Interpreting offers a valuable argument for cross-cultural understanding in a better-connected world

Introduction Such symptoms as hard, complex, bodily or mental feelings, that turn our everyday life into a hell, at first, lead us to a doctor, and then - to a psychotherapist. A sick man is keen to get rid of a symptom. A doctor prescribes medication, that is ought to eliminate a symptom. A psychotherapist searches for a reason of the problem that needs to be removed. There is such an idea that a neurotic symptom, in particular, an anxiety - is a pathological (spare or extra) response of a body. It is generally believed that such anxiety doesn't have some real, objective reasons and that it is the result of a nervous system disorder, or some disruption of a cognitive sphere etc. Meanwhile, it is known that in the majority of cases, medical examinations of anxious people show that they don't have any organic damages, including nervous system. It often happens that patients even wish doctors have found at least any pathology and have begun its treatment. And yet - there is no pathology. All examinations indicate a high level of functionality of a body and great performance of the brain's work. Doctors throw their hands up, as they can't cure healthy people. One of my clients told me her story of such medical examinations (which I'll tell you with her permission). She said that it was more than 10 years ago. So, when she told her doctor all of her symptoms - he seemed very interested in it. He placed a helmet with electrodes on her head and wore some special glasses, when, according to her words, he created some kind of stressful situation for her brain, as she was seeing some flashings of bright pictures in her eyes. She said that he had been bothered with her for quite a long time, and at the end of it he had told her that her brain had been performing the best results in all respects. He noted that he'd rarely got patients with such great health indicators. My client asked the doctor how rare that was. And he answered: "one client in two or three months." At that moment my client didn't know whether to be relieved, flattered or sad. But since then, when someone told her that anxiety was a certain sign of mental problems, or problems with the nervous system, or with a body in general, she answered that people who had anxiety usually had already got all the required medical examinations sufficiently, and gave them the advice to go through medical screening by themselves before saying something like that. Therefore, we see a paradoxical situation, when some experts point to a neurotic anxiety as if it is a kind of pathology, in other words - some result of a nervous system disorder. Other specialists in the same situation talk about cognitive impairments. And some, after all the examinations, are ready to send such patients into space Main text I don't agree with the statement that any neurotic anxiety that happens is excessive and unfounded. It often happens that there is objective, specific and real causes for appearance of anxiety conditions. And these causes require solutions. And it's not about some organic damages of the brain or nervous system. The precondition that may give a rise to anxiety disorder is the development of such a life story that at some stage becomes too toxic - when, on the one hand, a person interacts with the outside world in a way that destroys his or her personality, and, on the other hand, this person uses repression and accepts such situation as common and normal. Repression - is an essential condition for the development of a neurotic symptom. Sigmund Freud was the first who pointed this out. Repression is such a defense mechanism that helps people separate themselves from some unpleasant feelings of discomfort (pain) while having (external or internal) irritations. It is the situation when, despite the presence of irritations and painful feelings, a person, however, doesn't feel any of it and is not aware of them in his or her conscious mind. Repression creates the situation of so-called emotional anesthesia. As a result, a displacement takes place, so a body starts to signal about the existing toxic life situation via a symptom. Anxiety disorder is usually an appropriate response (symptom) of a healthy body to an unhealthy life situation, which is seen by a person as normal. And it's common when such a person is surrounded by others (close people), who tend to benefit from such situation, and so they actively maintain this state of affairs, whether it is conscious for them or not. At the beginning of a psychotherapy almost all clients insist that everything is good in their lives, even great, as it is like in everyone else's life. They say that they have only one problem, which is that goddamn symptom. So they focus all of their attention on that symptom. They are not interested in all the other aspects of their life, and they show their irritation when it comes to talking about it. People want to get rid of it, whatever it takes, but they often tend to keep their lives the way that it was. In such cases a psychotherapist is dealing with the resistance of clients, trying to turn their attention from a symptom to their everyday situation that includes their way of thinking, interactions with themselves and with others and with the external world in order to have the opportunity to see the real problem, to live it through, to rethink and to change the story of their lives. For better understanding about how it works I want to tell you three allegorical tales. The name of the first tale is "A frog in boiling water". There is one scientific anecdote and an assumption (however, it is noted that such experiments were held in 19 century), that if we put a frog in a pot with warm water and start to slowly heat the water, then this frog get used to the temperature rise and stays in a hot water, the frog doesn't fight the situation, slowly begins to lose its energy and at the last moment it couldn't find enough strength and energy to get out of that pot. But if we throw a frog abruptly in hot water - it jumps out very quickly. It is likely that a frog, that is seating in boiling water, will have some responses of the body (symptoms). For example, the temperature of its body will rise, the same as the color of it, etc., that is an absolutely normal body response to the existing situation. But let us keep fantasizing further. Imagine a cartoon where such a frog is the magical cartoon hero, that comes to some magical cartoon doctor, shows its skin, that has changed the color, to the doctor, and asks to change the situation by removing this unpleasant symptom. So the doctor prescribes some medication to return the natural green color of the frog's skin back. The frog gets back in its hot water. For some period of time this medication helps. But then, after a while, the frog's body gets over the situation, and the redness of the frog's skin gets back. And the magical cartoon doctor states that the resistance of the body to this medication has increased, and each time prescribes some more and more strong drugs. In this example with the frog it is perfectly clear that the true solution of the problem requires the reduction of the water temperature in that pot. We could propose that magical cartoon frog to think and try to realize that: 1) the water in that pot is hot, and that is the reason why the skin is red; 2) the frog got used to this situation and that is why it is so unnoticeably for this frog; 3) if the temperature of the water in the pot still stay so hot, without any temperature drop, then all the medication works only temporarily; 4) if we lower the temperature in that pot - the redness disappears on its own, automatically and without any medication. Also this cartoon frog, that will go after the doctor to some cartoon physiotherapist, will face the necessity to give itself some answers for such questions as: 1) What is going on? Who has put this frog in that pot? Who is raising the temperature progressively? Who needs it? And what is the purpose or benefit for this person in that? Who benefits? 2) Why did the frog get into the pot? What are the benefits in it for the frog? Or why did the frog agree to that? 3) What does the frog lose when it gets out of this pot? What are the consequences of it for the frog? What does the frog have to face? What are the possible difficulties on the way? Who would be against the changes? With whom the frog may confront? 4) Is the frog ready to take control over its own pot in its own hands and start to regulate the temperature of the water by itself, so to make this temperature comfortable for itself? Is this frog ready to influence by itself on its own living space, to take the responsibility for it to itself? The example "A frog in boiling water" is often used as a metaphorical portrayal of the inability of people to respond (or fight back) to significant changes that slowly happen in their lives. Also this tale shows that a body, while trying to adjust to unfavorable living conditions, will react with a symptom. And it is very important to understand this symptom. Symptom - is the response of a body, it's a way a body adjusts to some unfriendly environment. Symptom, on the one hand, informs about the existence of a problem, and from the other hand - tries to regulate this problem, at least in some way (like, to remove or reduce), at the level on which it can do it. The process is similar to those when, for example, in a body, while it suffers from some infectious disease, the temperature rises. Thus, on the one hand, the temperature informs about the existence of some infection. On the other hand, the temperature increase creates in a body the situation that is damaging for the infection. So, it would be good to think about in what way does an anxiety symptom help a body that is surrounded by some toxic life situation. And this is a good topic for another article. Here I want to emphasize that all the attempts to remove a symptom without a removal of a problem, without changing the everyday life story, may lead to strengthening of the symptom in the body. Even though the removal of a symptom without elimination of its cause has shown success, it only means that the situation was changed into the condition of asymptomatic existence of a problem. And it is, in its essence, a worse situation. For example, it can cause an occurrence of cancer. The tale "A frog in boiling water" is about the tendency of people to treat a symptom, instead of seeing their real problems, as its cause, and trying to solve it. People don't want to see their problems, but it doesn't mean that the problem doesn't exist. The problem does exist and it continues to destroy a person, unnoticeably for him or her. A person with panic disorder could show us anxiety that is out of control (fear, panic), which, by its essence, seems to exist without any logical reason. Meanwhile the body of such a person could be in such processes that are similar to those that occur in the conditions of some real dangers, when the instinct for self-preservation is triggered and an automatic response of a body to fight or flight implements for its full potential. We can see or feel signs of this response, for example, in cases when some person tries to avoid some real or imaginary danger via attempts to escape (the feeling of fear), or tries to handle the situation by some attempts to fight (the feeling of anger). As I mentioned before, many doctors believe that such fear is pathological, as there is no real reason for such intense anxiety. They may see the cause of the problem in worrisome temper, so they try to remove specifically anxiety rather than help such patients to understand specific reason of their anxiety, they use special psychotherapeutic methods that are designed to help clients to develop logical thinking, so it must help them to realize the groundlessness of their anxiety. In my point of view, such anxiety often has specific, real reasons, when this response of a body, fight or flight, is absolutely appropriate, but not excessive or pathological. Inadequacy, in fact, is in the unconsciousness, but not in the reactions of a body. For a better understanding of the role of anxiety in some toxic environment, that isn't realized, I want to tell you another allegorical tale called "The wolf and the hare". Let us imagine that two cages were brought together in one room. The wolf was inside one cage and the hare was in another. The cages were divided by some kind of curtain that makes it impossible for them to see each other. At this point a question arises whether the animals react to each other in some way in such a situation, or not? I think that yes, they will. Since there are a lot of other receptors that participate in the receiving and processing of the sensory information. As well as sight and hearing, we have of course a range of other senses. For example, animals have a strong sense of smell. It is well known that people, along with verbal methods of communicating information, like language and speaking, also have other means of transmitting information - non-verbal, such as tone of voice, intonation, look, gestures, body language, facial expressions etc., that gives us the opportunity to receive additional information from each other. The lie detector works by using this principle: due to detecting non-verbal signals, it distinguishes the level of the accuracy of information that is transmitted. It is assumed, that about 30% of information, that we receive from the environment, comes through words, vision, hearing, touches etc. This is the information that we are aware of in our consciousness, so we could consciously (logically) use it to be guided by. And approximately 70% of everyday information about the reality around us we receive non-verbally, and this information in the majority of cases could remain in us without any recognition. It is the situation when we've already known something, and we even have already started to respond to it via our body, but we still don't know logically and consciously that we know it. We can observe the responses of our own body without understanding what are the reasons for such responses. We can recognize this unconscious information through certain pictures, associations, dreams, or with the help of psychoanalysis. Psychoanalysis is a great tool that can help to recognize the information from the unconscious mind, so that it can be logically processed further on, in other words, a person then receives the opportunity to indicate the real problems and to make right decisions. But let us return to the tale where the hare and the wolf stay in one room and don't see each other, and, maybe, don't hear, though - feel. These feelings (in other words - non-verbal information that the hare receives) activate a certain response in the hare's body. And it reacts properly and adequately to the situation, for instance, the body starts to produce adrenaline and runs the response "fight or flight". So the hare starts to behave accordingly and we could see the following symptoms: the hare is running around his cage, fussing, having some tremor and an increased heart rate, etc. And now let us imagine this tale in some cartoon. The hare stays in its house, and the wolf wanders about this house. But the hare doesn't see the wolf. Though the body of the hare gives some appropriate responses. And then that cartoon hare goes to a cartoon doctor and asks that doctor to give it some pill from its tremor and the increased heart rate. And in general asks to treat in some way this incomprehensible, confusing, totally unreasonable severe anxiety. If we try to replace the situation from this fairy-tale to a life story, we could see that it fits well to the script of interdependent relationships, where there are a couple "a victim and an aggressor", and where such common for our traditional families' occurrences as a domestic family violence, psychological and physical abuse take place. Only in 2019 a law was passed that follows the European norms and gives a legislative definition of such concepts as psychological domestic abuse, sexual abuse, physical abuse, bullying, that criminalizes all of these occurrences, establishes the punishment and directly points to people that could be a potential abuser. Among them are: a husband towards his wife, parents towards their children, a wife towards her husband, a superior towards a subordinate, a teacher towards his or her students, children towards each other etc. When it comes to recognition of something as unacceptable, it seems more easy to put to that category such occurrences as physical and sexual abuse, as we could see here some obvious events. For example, beating or sexual harassment. Our society is ready to respond to these incidents in more or less adequate way, and to recognize them as a crime. But it is harder to deal with the recognition of psychological abuse as an offence. Psychological abuse in our families is common. Psychological abuse occurs through such situations, when one person, while using different psychological manipulations, such as violation of psychological borders, imposition of feeling of guilty or shame, etc., force another person to give up his or her needs and desires, and so in such a way make this person live another's life. Such actions have an extremely negative effect on the mental health of these people, just as much as physical abuse. It can destroy a person from the inside, ruin self-esteem and a feeling of self-worth, create the situation of absolute dependence such victim from an abuser, including financial dependence etc. It often happens that psychological abuse takes place against the backdrop of demonstrations of care and love. So you've got this story about the wolf and the hare, that are right next to each other, and the shield between two of them is a repression - a psychological defense mechanism, when a person turns a blind eye to such offences, that take place in his or her own life and towards him or her. And this person considers this as normal, doesn't realize, doesn't have a resource to realize, that it is a crime. Most importantly - doesn't feel anything, as a repression takes place. But a body responds in a right way - from a certain point of the existence of such a toxic situation the response "fight or flight" is launched in a body at full, in other words - the fear and anxiety with the associated symptoms. The third allegorical tale I called "Defective suit", which I read in the book of Clarissa Pinkola Estés with the name "Running With the Wolves". "Once one man came to a tailor and started to try on a suit. When he was standing in front of a mirror, he saw that the costume had uneven edges. - Don't worry, - said the tailor. - If you hold the short edge of the suit by your left hand - nobody notices it. But then the man saw that a lapel of a jacket folded up a little bit. - It's nothing. You only need to turn your head and to nail it by your chin. The customer obeyed, but when he put on trousers, he saw that they were pulling. - All right, so just hold your trousers like this by your right hand - and everything will be fine, - the tailor comforts him. The client agreed with him and took the suit. The next day he put on his new suit and went for a walk, while doing everything exactly in the way that the tailor told him to. He waddled in a park, while holding the lapel by his chin, and holding the short edge of the suit by his left hand, and holding his trousers by his right hand. Two old men, who were playing checkers, left the game and started to watch him. - Oh, God! - said one of them. - Look at that poor cripple. - Oh, yes - the limp - is a disaster. But I'm wondering, where did he get such a nice suit?" Clarissa wrote: "The commentary of the second old man reflects the common response of the society to a woman, who built a great reputation for herself, but turned into a cripple, while trying to save it. "Yes, she is a cripple, but look how great her life is and how lovely she looks." When the "skin" that we put on ourselves towards society is small, we become cripples, but try to hide it. While fading away, we try to waddle perky, so everyone could see that we are doing really well, everything is great, everything is fine". As for me, this tale is also about the process of forming a symptom in a situation when one person tries very hard to match to another one, whether it is a husband, a wife or parents. It's about a situation when such a person always tries to support the other one, while giving up his or her own needs and causing oneself harm in such a way by feeling a tension every day, that becomes an inner normality. And so this person doesn't give oneself a possibility to relax, to be herself (or himself), to be spontaneous, free. As a result, in this situation the person, who was supported, looks perfect from the outside, but those who tried to match, arises some visible defect, like a limp - a symptom. And so this person lives like a cripple, under everyday stress and tension, trying to handle it, while sacrificing herself (or himself) and trying to maintain this situation, so not to lose the general picture of a beautiful family and to avoid shame. The tailor, who made this defective suit and tells how to wear the suit properly, in order to keep things going as they are going, often is a mother who raised a problematic child and then tells another person how to deal with her child in the right way. It is the situation when a mother-in-law tells her daughter-in-law how to treat her son properly. In other words, how to support him, when to keep silent, to handle, how to fit in, so that her problematic son and this relationship in general looks perfect. Or vice versa, when a mother-in-law tells her son-in-law how to support her problematic daughter, how to fit in etc. When, for example, a woman acts like this in her marriage and with her husband, with these excessive efforts to fit in - then after a while everybody will talk like: "Look at this lovely man: he lives with his sick wife, and their family seems perfect!". But when such a woman becomes brave enough to relax and to just let the whole thing go, everybody will see that the relationship in her marriage isn't perfect, and it is the other one who has problems. Each time when someone tries excessively to match up to another one, while turning oneself in some kind of a cripple, - he or she, on the one hand, supports the comfort of that person, to whom he or she tries to match up, and on the other hand - such a situation always arises in that person such conditions as a continuous tension, anxiety, fear to act spontaneously. A symptom - is like a visible defect, that shows itself through the body (and may look like some kind of injury). It is the result of a hidden inner prison. As a result of evolution, a pain tells us about a problem that is needed to be solved. When we repress our pain we can't see our needs and our problems at full. And then a body starts to talk to us via a symptom. Psychotherapy aims for providing a movement from a symptom to a resumption of sensitivity to feelings, a resumption of the ability to feel your psychological pain, so you can realize your own toxic story. In this perspective another fairy-tale looks interesting to analyze - it is Andersen's fairytale "Princess and the Pea". In the tale a prince wanted to find a princess to marry. There was one requirement for women candidates, so the prince could select her among commoner - high level of sensitivity, as the real princess would feel a pea through the mountain of mattresses, and so she could have the ability to feel discomfort, to be in a good contact with her body, to tell about her discomfort without such feeling as shame and guilt, and to refuse that discomfort, so to have the readiness to solve her problems and to demand from others the respect for her needs. It is common for our culture that the expression "a princess on a pea" very often uses for a negative meaning. So people who are in good contact with their body and who can demand comfort for themselves are often called capricious. At the same time the heroes who are ready to suffer and to tolerate their pain, who are able to repress (stop to feel) their pain represents a good example to be followed in our society. So, we may see the next algorithm in cases of various anxiety disorders: the existence of some toxic situation that brings some danger to a person. And we need not to be confused: a danger exists not for a body, but for a personality. A toxic live situation as well as having a panic attack is not a threat for the health of a body (that is what medical examinations show), and vice versa - it's like every day intensive sport training, that could be good for your health only to some degree. A toxic situation destroys a person as a personality, who longs for one self's expression; the existence of such a defense mechanism as repression - it's a life with closed eyes, in pink glasses, when there is inability (or the absence of the desire) to see its own toxic story; 3.the presence of a symptom - a healthy response of a body "fight or flight" to some toxic situation; displacement - it's replacement of the attention from the situation to a symptom, when a person starts to see and search for the problem in some other place, not where it really is. A symptom takes as some spare, pathological reaction that we need to get rid of. The readiness to fight the symptom arises, and that is the goal of such methods of therapy as pharmacological therapy, CBT and many others; the absence of adequate actions that are directed towards the change of a toxic situation itself. The absence of the readiness to show aggression when it comes to protect its space. All of it is a mechanism of formation of primary anxiety and preparation for launch of secondary anxiety. A complete anxiety disorder is the interaction between a primary and a secondary anxiety.

ResumenEn este artículo examino la gratitud y la ingratitud como herramientas analíticas valiosas para determinar cómo las desigualdades sociales le dan forma a las prácticas de parentesco. Acusar a un pariente de ingratitud revela los límites y las líneas de falla del parentesco, así como también expectativas estrechamente relacionadas sobre qué debe ser dado, cómo debe ser dado y cómo debe ser recibido. Como tal, este ensayo sigue la línea de una valiosa tradición antropológica de unificar los análisis del don y del parentesco. Argumento que expresiones de y discursos sobre la gratitud y la ingratitud remiten muy de cerca a dimensiones de relaciones sociales tales como el género, la generación y la clase social, y simultáneamente revelan tensiones dentro de las relaciones de parentesco donde el deber y la obligación son cuestionados. Los ejemplos etnográficos son tomados del trabajo de campo en Ayacucho, una pequeña ciudad en los Andes peruanos, donde la crianza adoptiva informal y las relaciones tensas entre hijos adultos y sus padres ancianos suministran dos esferas relacionadas de expresiones de ideas acerca de la gratitud y la ingratitud. Analizando estos dos ejemplos, argumento que la gratitud y la ingratitud son heurísticas analíticas, útiles para identificar y centrarse sobre dimensiones de relaciones que, según se entiende, caen dentro del dominio del parentesco, y son potencialmente útiles también en otros escenarios.Palabras clave: Parentesco, crianza, niñez, el don, Perú. Abstract. Towards an Anthropology of Ingratitude: Notes from Andean KinshipAccusations of ingratitude to kin reveal much about the edges and fault lines of kinship that would otherwise not be apparent. But equally, they reveal much that is unexpected about the gift – about expectations of what should be given and how it should be received. In this article, I bring together anthropological literature on the gift and on kinship in order to argue that expressions of gratitude or ingratitude index dimensions of social relations such as gender, generation, and social class, and simultaneously reveal tensions within kinship relations where duty and obligation are contested. Examples are drawn from fieldwork where informal fostering and the fraught relations between grown children and their aging parents provide arenas for analysis of expressions of gratitude and ingratitude. Analyzing these examples, I argue for gratitude as an analytical heuristic, useful to identify and focus upon dimensions of relations understood to fall within the domain of kinship, and potentially useful in other settings as well.Key words: fostering, childhood, the gift, the Andes. 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The L Word: Generation Q is the reboot of The L Word, a long running series about a group of lesbians and bisexuals in Los Angeles in the early 2000s. Both programmes are unique in their positioning of lesbian characters and have been well received by audiences and critics alike. These programmes present a range of characters and narratives, previously excluded from mainstream film and television, bringing a refreshing change from the destructive images typically presented before. We argue that the reboot Generation Q now offers more meaningful representation of the broader lesbian and transgender communities, and discuss its relevance in the changing portrayals of gay representation. Gay visibility has never really been an issue in the movies. Gays have always been visible. It is how they have been visible that has remained offensive for almost a century. (Russo 66) In 2004 The L Word broke new ground as the very first television series written and directed by predominantly queer women. This set it apart from previous representations of lesbians by Hollywood because it portrayed a community rather than an isolated or lone lesbian character, that was extraneous to a cast of heterosexuals (Moore and Schilt). The series brought change, and where Hollywood was more often "reluctant to openly and non-stereotypically engage with gay subjects and gay characters" (Baker 41), the L Word offered an alternative to the norm in media representation. "The L Word's significance lies in its very existence" according to Chambers (83), and this article serves to consider this significance in conjunction with its 2019 reboot, the L Word: Generation Q, to ascertain if the enhanced visibility and gay representation influences the system of representation that has predominantly been excluding and misrepresentative of gay life. The exclusion of authentic representation of lesbians and gays in Hollywood film is not new. Over time, however, there has been an increased representation of gay characters in film and television. However, beneath the positive veneer remains a morally disapproving undertone (Yang), where lesbians and gays are displayed as the showpiece of the abnormal (Gross, "Out of the Mainstream"). Gross ("Out of the Mainstream") suggests that through the 'othering' of lesbians and gays within media, a means of maintaining the moral order is achieved, and where being 'straight' results in a happy ending. Lesbians and gays in film thus achieve what Gerbner referred to as symbolic annihilation, purposefully created in a bid to maintain the social inequity. This form of exclusion often saw controversial gay representation, with a history of portraying these characters in a false, excluding, and pejorative way (Russo; Gross, "What Is Wrong"; Hart). The history of gay representation in media had at times been monstrous, playing out the themes of gay sexuality as threatening to heterosexual persons and communities (Juárez). Gay people were incorrectly stereotyped, and gay lives were seen through the slimmest of windows. Walters (15) argued that it was "too often" that film and television images would narrowly portray gays "as either desexualized or over sexualized", framing their sexuality as the sole identity of the character. She also contested that gay characters were "shown as nonthreatening and campy 'others' or equally comforting and familiar boys (and they are usually boys, not girls) next door" (Walters 15). In Russo's seminal text, The Celluloid Closet, he demonstrated that gay characters were largely excluded from genuine and thoughtful presentation in film, while the only option given to them was how they died. Gay activists and film makers in the 1980s and beyond built on the momentum of AIDS activism (Streitmatter) to bring films that dealt with gay subject matter more fairly than before, with examples like The Birdcage, Philadelphia, To Wong Foo, Thanks for Everything! Julie Newmar, and In and Out. Walters argues that while "mainstream films like Brokeback Mountain and The Kids are Alright entertain moviegoers with their forthright gay themes and scenes" (12), often the roles have been more of tokenisation, representing the "surprisingly gay characters in a tedious romcom, the coyly queer older man in a star-studded indie hit, the incidentally gay sister of the lead in a serious drama" (Walters 12). This ambivalence towards the gay role model in the media has had real world effects on those who identify themselves as lesbian or gay, creating feelings of self-hatred or of being 'unacceptable' citizens of society (Gamson), as media content "is an active component in the cultural process of shaping LGBT identities" (Sarkissian 147). The stigmatisation of gays was further identified by the respondents to a study on media and gay identity, where "the prevailing sentiment in these discussions was a sense of being excluded from traditional society" (Gomillion and Guiliano 343). Exclusion promotes segregation and isolation, and since television media are ever-present via conventional and web-based platforms, their messages are increasingly visible and powerful. The improved portrayal of gay characters was not just confined to the area of film and television however, and many publications produced major stories on bi-sexual chic, lesbian chic, the rise of gay political power and gay families. This process of greater inclusion, however, has not been linear, and in 2013 the media advocacy group known as the Gay and Lesbian Alliance against Defamation (GLAAD) mapped the quantity, quality, and diversity of LGBT people depicted in films, finding that there was still much work to be done to fairly include gay characters (GLAAD Studio Responsibility Index). In another report made in 2019, which examined cable and streaming media, GLAAD found that of the 879 regular characters expected to appear on broadcast scripted primetime programming, 10.2% were identified as gay, lesbian, bisexual, transgender and or queer (GLAAD Where Are We on TV). This was the highest number of queer characters recorded since the start of their reporting. In January 2004, Showtime launched The L Word, the first scripted cable television to focus chiefly on lesbians. Over the course of six seasons it explored the deep bonds that linked the members of an evolving lesbian friendship circle. The central themes of the programme were the love and friendship between the women, and it was a television programme structured by its own values and ideologies. The series offered a moral argument against the widespread sexism and anti-gay prejudice that was evident in media. The cast, however, were conventionally beautiful, gender normative, and expensively attired, leading to fears that the programme would appeal more to straight men, and that the sex in the programme would be exploitative and pornographic. The result, however, was that women's sex and connection were foregrounded, and appeared as a central theme of the drama. This was, however, ground-breaking television. The showrunner of the original L Word, Ilene Chaiken, was aware of the often-damning account of lesbians in Hollywood, and the programme managed to convey an indictment of Hollywood (Mcfadden). The L Word increased lesbian visibility on television and was revolutionary in countering some of the exclusionary and damaging representation that had taken place before. It portrayed variations of lesbians, showing new positive representations in the form of power lesbians, sports lesbians, singles, and couples. Broadly speaking, gay visibility and representation can be marked and measured by levels of their exclusion and inclusion. Sedgwick said that the L Word was particularly important as it created a "lesbian ecology—a visible world in which lesbians exist, go on existing, exist in forms beyond the solitary and the couple, sustain and develop relations among themselves of difference and commonality" (xix). However, as much as this programme challenged the previous representations it also enacted a "Faustian bargain because television is a genre which ultimately caters to the desires and expectations of mainstream audiences" (Wolfe and Roripaugh 76). The producers knew it was difficult to change the problematic and biased representation of queer women within the structures of commercial media and understood the history of queer representation and its effects. Therefore, they had to navigate between the legitimate desire to represent lesbians as well as being able to attract a large enough mainstream audience to keep the show commercially viable. The L Word: Generation Q is the reboot of the popular series, and includes some of the old cast, who have also become the executive producers. These characters include Bette Porter, who in 2019 is running for the office of the Mayor of Los Angeles. Shane McCutchen returns as the fast-talking womanising hairdresser, and Alice Pieszecki in this iteration is a talk show host. When interviewed, Jennifer Beals (executive producer and Bette Porter actor) said that the programme is important, because there have been no new lesbian dramas to follow after the 2004 series ended (Beals, You Tube). Furthermore, the returning cast members believe the reboot is important because of the increased attacks that queer people have been experiencing since the election of Donald Trump in 2016. Between the two productions there have been changes in the film and television landscape, with additional queer programmes such as Pose, Orange Is the New Black, Euphoria, RuPaul's Drag Race, and Are You the One, for example. The new L Word, therefore, needed to project a new and modern voice that would reflect contemporary lesbian life. There was also a strong desire to rectify criticism of the former show, by presenting an increased variation of characters in the 2019 series. Ironically, while the L Word had purposefully aimed to remove the negativity of exclusion through the portrayal of a group of lesbians in a more true-to-life account, the limited character tropes inadvertently marginalised other areas of lesbian and queer representation. These excluded characters were for example fully representative trans characters. The 2000s television industry had seemingly returned to a period of little interest in women's stories generally, and though queer stories seeped into popular culture, there was no dedicated drama with a significant focus on lesbian story lines (Vanity Fair). The first iteration of The L Word was aimed at satisfying lesbian audiences as well as creating mainstream television success. It was not a tacky or pornographic television series playing to male voyeuristic ideals, although some critics believed that it included female-to-female sex scenes to draw in an additional male viewership (Anderson-Minshall; Graham). There was also a great emphasis on processing the concept of being queer. However, in the reboot Generation Q, the decision was made by the showrunner Marja-Lewis Ryan that the series would not be about any forms of 'coming out stories', and the characters were simply going about their lives as opposed to the burdensome tropes of transitioning or coming out. This is a significant change from many of the gay storylines in the 1990s that were seemingly all focussed on these themes. The new programme features a wider demographic, too, with younger characters who are comfortable with who they are. Essentially, the importance of the 2019 series is to portray healthy, varied representations of lesbian life, and to encourage accurate inclusion into film and television without the skewed or distorted earlier narratives. The L Word and L Word: Generation Q then carried the additional burden of countering criticisms The L Word received. Roseneil explains that creating both normalcy and belonging for lesbians and gays brings "cultural value and normativity" (218) and removes the psychosocial barriers that cause alienation or segregation. This "accept us" agenda appears through both popular culture and "in the broader national discourse on rights and belongings" (Walters 11), and is thus important because "representations of happy, healthy, well integrated lesbian and gay characters in film or television would create the impression that, in a social, economic, and legal sense, all is well for lesbians and gay men" (Schacter 729). Essentially, these programmes shouldered the burden of representation for the lesbian community, which was a heavy expectation. Critiques of the original L Word focussed on how the original cast looked as if they had all walked out of a high-end salon, for example, but in L Word: Generation Q this has been altered to have a much more DIY look. One of the younger cast members, Finlay, looks like someone cut her hair in the kitchen while others have styles that resemble YouTube tutorials and queer internet celebrities (Vanity Fair). The recognisable stereotypes that were both including and excluding have also altered the representation of the trans characters. Bette Porter's campaign manager, for example, determines his style through his transition story, unlike Max, the prominent trans character from the first series. The trans characters of 2019 are comfortable in their own skins and supported by the community around them. Another important distinction between the representation of the old and new cast is around their material wealth. The returning cast members have comfortable lives and demonstrate affluence while the younger cast are less comfortable, expressing far more financial anxiety. This may indeed make a storyline that is closer to heterosexual communities. The L Word demonstrated a sophisticated awareness of feminist debates about the visual representation of women and made those debates a critical theme of the programme, and these themes have been expanded further in The L Word: Generation Q. One of the crucial areas that the programme/s have improved upon is to denaturalise the hegemonic straight gaze, drawing attention to the ways, conventions and techniques of reproduction that create sexist, heterosexist, and homophobic ideologies (McFadden). This was achieved through a predominantly female, lesbian cast that dealt with stories amongst their own friend group and relationships, serving to upend the audience position, and encouraging an alternative gaze, a gaze that could be occupied by anyone watching, but positioned the audience as lesbian. In concluding, The L Word in its original iteration set out to create something unique in its representation of lesbians. However, in its mission to create something new, it was also seen as problematic in its representation and in some ways excluding of certain gay and lesbian people. The L Word: Generation Q has therefore focussed on more diversity within a minority group, bringing normality and a sense of 'realness' to the previously skewed narratives seen in the media. In so doing, "perhaps these images will induce or confirm" to audiences that "lesbians and gay men are already 'equal'—accepted, integrated, part of the mainstream" (Schacter 729). References Anderson-Minshall, Diane. 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Handbook of Lesbian and Gay Studies.London: Sage, 2002. 339–354. Graham, Paula. "The L Word Under-whelms the UK?" Reading Desperate Housewives. Eds. Janet McCabe and Kim Akass. I.B. Tauris, 2006. 15–26. Gross, Larry. "What Is Wrong with this Picture? Lesbian Women and Gay Men on Television." Queer Words, Queer Images: Communication and the Construction of Homosexuality. Ed. R.J. Ringer. New York: New York UP, 1994. 143–156. Gross, Larry. "Out of the Mainstream: Sexual Minorities and the Mass Media." Gay People, Sex, and the Media. Eds. M. Wolf and A. Kielwasser. Haworth Press, 1991. 19–36. Hart, Kylo-Patrick. R. "Representing Gay Men on American Television." Journal of Men's Studies 9 (2000): 59–79. In and Out. Dir. Frank Oz. Film. Paramount Pictures, 1997. Juárez, Sergio Fernando. "Creeper Bogeyman: Cultural Narratives of Gay as Monstrous." At the Interface / Probing the Boundaries 91 (2018): 226–249. McFadden, Margaret. T. The L Word. Wayne State University Press, 2014. Moore, Candace, and Kristin Schilt. "Is She Man Enough? Female Masculinities on The L Word." Reading Desperate Housewives. Eds. Janet McCabe and Kim Akass. I.B. Tauris, 2006. 159–172. Orange Is the New Black. Dir. Jenji Johan. Web series. Netflix Streaming Services, 2003–. Philadelphia. Directed by Jonathan Demme. Film. Tristar Pictures, 1993. Pose. Dirs. Ryan Murphy, Steven Canals, and Brad Falchuk. Television series. Color Force, 2018. Roseneil, Sasha. "On Missed Encounters: Psychoanalysis, Queer Theory, and the Psychosocial Dynamics of Exclusion." Studies in Gender and Sexuality 20.4 (2019): 214–219. RuPaul's Drag Race. Directed by Nick Murray. Reality competition. Passion Distribution, 2009–. Russo, Vito. The Celluloid Closet. Rev. ed. New York: Harper & Row, 1987. Sarkissian, Raffi. "Queering TV Conventions: LGBT Teen Narratives on Glee." Queer Youth and Media Cultures. Ed. C. Pullen. Palgrave Macmillan, 2014. 145–157. Sedgwick, Eve Kosofsky. "Foreword: The Letter L." Reading 'The L Word': Outing Contemporary Television. Reading Desperate Housewives. Eds. Janet McCabe and Kim Akass. I.B. Tauris, 2006. 20–25. Schacter, Jane S. "Skepticism, Culture and the Gay Civil Rights Debate in Post-Civil-Rights Era." Harvard Law Review 110 (1997): 684–731. Streitmatter, Rodger. Perverts to Fab Five: The Media's Changing Depiction of Gay Men and Lesbians. New York: Routledge. 2009. The Birdcage. Dir. Mike Nichols. Film. United Artists, 1995. The Kids Are Alright. Dir. Lisa Cholodenko. Film. Focus Features, 2010. The L Word. Created by Ilene Chaiken, Kathy Greenberg, and Michelle Abbott. TV drama. Showtime Networks, 2004–2009. The L Word: Generation Q. Prods. Ilene Chaiken, Jennifer Beals, Katherine Moennig, and Leisha Hailey. TV drama. Showtime Networks, 2019–. To Wong Foo, Thanks for Everything! Julie Newmar. Dir. Beeban Kidron. Film. Universal Pictures, 1995. Walters, Suzanna Danuta. 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Death Instinct In Mary Shelley's Frankenstein Panca Wisetioko English Literature Faculty of Language and Arts State University of Surabaya y.panca.wise@gmail.com Drs. Much. Khoiri, M.Si. English Department Faculty of Language and Arts State University of Surabaya much_choiri@yahoo.com Abstrak Naluri dapat digambarkan sebagai kekuatan manusia dan dianggap ada di balik ketegangan yang disebabkan oleh kebutuhan dari id. Id dapat berkembang menjadi kekuatan destruktif yang disebut sebagai insting kematian dan ekspresi insting kematian disebut sebagai agresi. Dalam Mary Shelley Frankenstein, dua karakter utama menggambarkan insting kematian yang mempengaruhi pikiran dan tindakan yang bertujuan untuk menghancurkan atau membunuh siapa pun. Studi ini berfokus pada dua masalah , ( 1 ) bagaimana insting kematian digambarkan dalam Mary Shelley Frankenstein? dan ( 2 ) Mengapa si monster dan Dr Frankenstein menggambarkan agresi sebagai komponen dari insting kematian dalam hidup mereka di Mary Shelley Frankenstein? Data tesis diambil dari novel sebagai sumber utama dan membaca secara intensif adalah langkah berikutnya dalam analisis. Konsep yang akan digunakan meliputi konsep naluri dan insting kematian oleh Freud dan Susan , dan juga istilah agresi oleh Subaidah. Untuk menjawab masalah pertama, penelitian ini menggunakan istilah Freud tentang insting kematian dan didukung oleh konsep dari Susan tentang insting. Masalah kedua dijawab dengan menggunakan konsep dari Subaidah tentang agresi. Yang terakhir, analisis mengungkapkan bahwa insting kematian digambarkan oleh monster melalui tindakannya ketika membunuh putra Dr Frankenstein, teman, dan anggota keluarga yang lain. Selain itu, Dr Frankenstein juga menggambarkan insting kematian melalui intensi untuk menghancurkan si monster. Keduanya mendapatkan kesenangan dan kepuasan dari tindakan mereka. Dr Frankenstein dan monster tersebut menggambarkan insting kematian karena rasa marah dan frustrasi antara satu sama lain. Kata kunci : insting kematian, sadar, id, agresi. Abstract Instincts can be described as the forces of human and assume to exist behind the tensions which are caused by the needs of the id. The id can develop into destructive force which is called as death instinct and the expression of death instinct called as the aggression. In Mary Shelley's Frankenstein, the two main characters depict the death instinct that influence their minds and actions which purpose to destroy or kill anyone. The study focuses on two problems, (1) how is death instinct depicted in Mary Shelley's Frankenstein? and (2) Why do the monster and Dr. Frankenstein represent the aggression as the component of death instinct in their life in Mary Shelley's Frankenstein? The data of thesis are taken from the novel as the main source and intensive reading is the next step of analysis. The concept that will be used includes the concepts of instinct and death instinct by Freud and Susan, and the terms of aggression by Subaidah. To answer the first problem, this study uses Freud's terms about death instinct and supported by Susan's terms about the concepts of instinct. The second problem is answered by using Subaidah's terms about the aggression. Last of all, the analysis reveals that death instinct depicted by the monster through his action in killing Dr. Frankenstein's son, friends, and his other family members. Besides, Dr. Frankenstein also represents death instinct through his intension to destroy the monster. Both of them get pleasure and satisfaction from their actions. Dr. Frankenstein and the monster represent death instinct because the feeling of anger and frustration each other. Keywords: death instinct, unconscious, id, aggression. INTRODUCTION Horror literature is focusing ondeath, theafterlife,evil, thedemonicand the principle of the thing embodied in the person. In stories, there are many gothic creatures, like witches,vam-pires,demonic, werewolves,and ghost. This genre has ancient origins which were reformulated in the 18th century asGothic horror, with publication of theCastle of Otranto(1764) byHorace Walpole. After that century, the Gothic tradition blossomed into the genre modern readers call horror literature in the 19th century. In this era, some great works and characters of horror have been adapted by some films and cinema. It shows to the world that some horror writers have given contributions. Some literary works concern with horror in genre are Mary Shelley'sFrankenstein(1818),Edgar Allan Poe's short stories, the works ofSheridan Le Fanu,Robert Louis Stevenson'sStrange Case of Dr. Jekyll and Mr. Hyde(1886),Oscar Wilde'sThe Picture of Dorian Gray(1890), andBram Stoker'sDracula(1897). One of the most famous horror novels is Frankenstein which was written by Mary Shelley in 19th century. In that era, the novel was also being a very important work in literature contributions that had made by women acceptable. Although Mary Shelley wrote many novels, none of her another works was popular like Frankenstein, which still gains its popularity until today. (www.famousauthors.org/mary-shelley) A study of the scientific aspects of the novel is so popular and timely that the present author and others have presented or published papers on this theme (Ginn, 2003; Ketterer, 1997). The National Library of Medicine has developed a traveling exhibit examining Frankenstein's science, and a conference dedicated to this theme (Frankenstein's Science: Theories of Human Nature in the 18thand 19thCenturies) was held in Canberra, in 2003. (nlm.nih.gov/hmd/frankenstein/frankhome.html) The author of Frankenstein, Mary Shelley, is often known asMary Wollstonecraft Shelley. She was one of the famous horror writers in the world. Mary was a British woman novelist, short story writer, dramatist, essayist, biographer, travel writer, and editor of the works of her husband, Percy Bysshe Shelley who was a Romantic poet and a philosopher. And she was the daughter of the political philosopherWilliam Godwinand Mary Wollstonecraft who was famous as the writer, philosopher, and feminist. She wrote many horror novels including Lodore (1835), Faulkner (1937), Mathilde (1959), Valperga or the Life and Adventures of Castruccia, Prince of Lucca (1823), The Last Man (1826), and The Fortunes of Perkin Warbeck (1830). She also wrote a number of short stories, travelogues and other works, but Frankenstein has been the unforgettable works of her. Mary Shelley herself is best remembered by literature world as the author of Frankenstein. The story of this novel tells about an ambitious inventor named Dr. Frankenstein who forces to create a human from various body parts taken from some corpses in graves. He believes that he can create a perfect human which is stronger and smarter than any ordinary human being. He finally finishes his project in making that creature. But, the result does not alike what he expects before. The creature looks like a monster rather than a human. It makes Dr. Frankenstein rejecting and dumping him. The monster cannot accept how the doctor treats him because the doctor himself is as the creator and the father of the monster who should love him and treat him well like God who creates and loves human beings. The doctor always mocks the monster about his physical appearance condition which is very ugly, even looks like a devil. The monster is very angry with the doctor. He hates the doctor a lot and he wants to kill the doctor as a revenge. Not only the doctor, but the monster also hates human being because people treats him as bad as the doctor even though the monster has given aid to humans. The other thing that makes him hate human is because there is no one wants to be his friends. Everyone who meets him always run, hit and shout that he is a monster. He feels depressed and desperate about his life and his condition. He always asks to himself why he cannot be an acceptable person in his real life. After he got many bad things, he says that he will kill all human being, especially a man who created him and all persons that he loves. One by one, everyone who loved by Dr. Frankenstein were killed by the monster. The doctor himself also promises to kill his creature because of those accidents. Both of them have death instinct to kill each other. In the end of the story, Dr. Frankenstein dies in the way when he looks for the monster. The monster feels very satisfied with his death, after that he falls down to the sea, and no one never see him again. Death instinct which is depicted in Frankenstein and it based on the concepts of Sigmund Freud. According to Orbach (2007), his conceptualization of the death instinct behaviors reflecting self-destructive tendencies, guilt feelings, suicide, melancholia, masochism and sadism are furnished with a motivational force of their own, as well as a specific mechanism of action, that is the repetition compulsion. The death instinct drives man to the ultimate state of quiescence – death through the urge inherent in organic life to restore an earlier state of things. This novel presents death instinct that is depicted by Dr. Frankenstein and the monster as the characters of Shelley's Frankenstein. There is a stage which is being the part of the story that represents the instinct. It is shown when the monster killed Frankenstein's son (Shelley, 1994: 179). The action that has been done by the monster is the representation of the death instinct, especially the purpose of death instinct. It depends on Freud terms (1949: 6), he explained that the purpose of death instinct is to kill someone or destroy something. The another things that are shown in this novel is the reason of the characters when they want to do aggression which is being the component of death instinct (Subaidah, 2012), she also said that anger feeling becomes the one of the reasons or factors to do aggression to another person. The reason is depicted in the part of the story when the monster becomes angry and wants to kill all human and the doctor who is being his creator (Shelley, 1994: 172) Depends on Schultz (2008: 56), Freud also developed three parts of mind. He drew that the parts are the conscious, the preconscious, and the unconscious. Aside from the three levels of consciousness, Freud believed there to be three parts of personality. There are the id, the ego, and the superego. That is why this study is being the study that analysis about death instinct and its reason because there are many statements and actions that has been represented by the characters of the novel, especially about death instinct and its reason. RESEARCH METHOD To reveal the death instinct of the characters, this study applies the concept of human instinct in analyzing the problems. The concept which will be applied to discuss the matter in this study is the psychoanalysis theory especially the concept of death instinct by Sigmund Freud. The main data source of this study is Mary Shelley's Frankenstein, while the data which is used in this study is in the form of statements which are taken from the novel Frankenstein that reveals the death instinct of the characters, Dr. Frankenstein and the monster. This study will be conducted by using descriptive-qualitative method. It means that this study provides descriptive analysis without using any statistic or number in analyzing the subject matter. The concept applied to discuss the matter in this study is death instinct which is mostly described by Mary Shelley in her novel which titled is Frankenstein. Since the focus of the study becomes clearer, data classification is needed. After collecting and classifying such complete data, the study arranges it in order, so that the study is able to get good understanding about the story of the novel and the issue which is going to be analyzed. In the next step, the story is being analyzed by using theory that is Instinct theory. Here, in analyzing death instinct of human being, this study tries to elaborate dialogue, conflict, and action in the novel and applies the concept. Then, the next step is to reveal how is the death instinct of the characters, which is viewed from the theory of psychoanalysis by Sigmund Freud. Finally, this research provides a deep analysis on the death instinct of Dr. Frankenstein and the monster in Mary Shelley's Frankenstein. DEFINITION OF INSTINCT The forces which human assume to exist behind the tensions caused by the needs of the id are called instincts. It can change their aim (by displacement) and also that they can replace one another-the energy of one instinct passing over another. This also consists in the satisfaction of its innate needs. (Freud, 1949: 5) Instinct also can be described as the basic elements of the personality, the motivating forces that drive behavior and determine its direction. Freud's German term for this concept is Trieb, which is best translated as a driving force or impulse (Bettelheim, 1984). Instincts are a form of energy—transformed physiological energy—that connects the body's needs with the mind's wishes. The stimuli (hunger or thirst, for example) for instincts are internal. When a need such as hunger is aroused in the body, it generates a condition of physiological excitation or energy. The mind transforms this bodily energy into a wish. It is this wish—the mental representation of the physiological need—that is the instinct or driving force that motivates the person to behave in a way that satisfies the need. A hungry person, for example, will act to satisfy his or her need by looking for food. The instinct is not the bodily state; rather, it is the bodily need transformed into a mental state, a wish. When the body is in a state of need, the person experiences a feeling of tension or pressure. The aim of an instinct is to satisfy the need and thereby reduce the tension. Freud's theory can be called a homeostatic approach insofar as it suggests that people are motivated to restore and maintain a condition of physiological equilibrium, or balance, to keep the body free of tension. Freud believed that people always experience a certain amount of instinctual tension and that people must continually act to reduce it. It is not possible to escape the pressure of our physiological needs as we might escape some annoying stimulus in our external environment. This means that instincts are always influencing our behavior, in a cycle of need leading to reduction of need. People may take different paths to satisfy their needs. For example, the sex Drives may be satisfied by heterosexual behavior, homosexual behavior, or auto sexual behavior, or the sex drive may be channeled into some other form of activity. Freud thought that psychic energy could be displaced to substitute objects, and this displacement was of primary importance in determining an individual's personality. Although the instincts are the exclusive source of energy for human behavior, the resulting energy can be invested in a variety of activities. This helps explain the diversity people see in human behavior. All the interests, preferences, and attitudes people display as adults were believed by Freud to be displacements of energy from the original objects that satisfied the instinctual needs. Freud grouped the instincts into two categories: life instincts and death instincts. The life instincts serve the purpose of survival of the individual and the species by seeking to satisfy the needs for food, water, air, and sex. The life instincts are oriented toward growth and development. The psychic energy manifested by the life instincts is the libido. The libido can be attached to or invested in objects, a concept Freud called cathexis. If you like your roommate, for example, Freud would say that your libido is cathected to him or her. The life instinct Freud considered most important for the personality is sex, which he defined in broad terms. He did not refer solely to the erotic but included almost all pleasurable behaviors and thoughts. Freud regarded sex as our primary motivation. Erotic wishes arise from the body's erogenous zones: the mouth, anus, and sex organs. He suggested that people are predominantly pleasure-seeking beings, and much of his personality theory revolves around the necessity of inhibiting or suppressing our sexual longings. In opposition to the life instincts, Freud postulated the destructive or death instincts. Drawing from biology, he stated the obvious fact that all living things decay and die, returning to their original inanimate state, and he proposed that people have an unconscious wish to die. One component of the death instincts is the aggressive drive, described as the wish to die turned against objects other than the self. The aggressive drive compels us to destroy, conquer, and kill. Freud came to consider aggression as compelling a part of human nature as sex. Freud developed the notion of the death instincts late in life, as a reflection of his own experiences. He endured the physiological and psychological debilitations of age, his cancer worsened, and he witnessed the carnage of World War I. One of his daughters died at the age of 26, leaving two young children. All these events affected him deeply, and, as a result, death and aggression became major themes in his theory. In his later years, Freud dreaded his own death, and exhibited hostility, hatred, and aggressiveness toward colleagues and disciples who disputed his views and left his psychoanalytic circle. THE CHARACTERISTICS OF INSTINCT According to Susan (2004: 42), there are some characteristics of instincts. She summarized the four aspects of instincts: source, pressure, aim, dan object. The first is source. All physic energy is derived from biological processes in some parts or organs of the body. There is no separate, exclusively mental energy. The amount of energy a person has does not change throughout a lifetime although it is transformed so that it is invested differently. At first, psychic energy is directed toward biological needs. As development occurs, this same energy can be redirected into other investment, such as interpersonal relationships and work. The second is pressure. It refers to its force or motivational quality. It corresponds to the strength of the instinctual drive; it is high when the drive is not satisfied and falls when the needs is met. For example, a hungry infant has a high pressure of the hunger drive: one just fed has hunger at a low pressure. When the pressure is low, the instinct may nt have noticeable effect; but when the pressure is high, it may break through, interrupting other activities. A hungry baby wakes up, for example, and it depends on Susan (2004: 42). The next characteristic is aim, the function of instinct according to a principle of homeostatis, or steady state, a principle borrowed from biology. Instinct aim to preserve the ideal steady state for organism (Susan, 2004: 42). Changes moving away from this steady state are experienced as tension. The aim of all instincts is to reduce tension, which is pleasurable. Instincts operate according to what Freud called the pleasure principle, they aim simply to produce pleasure by reducing tension, immediately and without regard to reality constraints. Tension reduction occurs when the original biological instinct is directly satisfied, for example, when a hungry infant is fed or when sexually aroused adult achieves orgasm. It would be a mistake, however, to conclude that only direct biological drive satisfaction can reduce tension. Some transformations of libido also allow tension reduction (Susan, 2004: 42). Such healthy, socially acceptable ways of reducing tension are termed sublimation. However, indirect expressions of libido do not always reduce the pressure of instinct. Thus a chronic deviation from a restful, homeostatic state occurs in individuals who have not found ways to reduce tension, such as neurotics (Susan, 2004: 42). The last is object, this characteristic of instinct is about the person or thing in the world that is desired so that the instinct can be satisfied, it based on Susan's terms about instinct (2004: 42). For example, the object of the hunger drive of an infant is the mother's breast: it brings satisfaction. The object of a sexually aroused adult is a sexual partner. Investment of psychic energy in a particular object is called cathexis. It is with respect to the object of an instinct that there is the most variation, the most influence of experience on a person's fundamental motivations. Some sexually aroused men look for a woman just like mother; others look for a very different kind of woman or for a man, or even for underwear or a child or any of a vast assortment of sexual objects. Women are also very widely in their choice of sexual objects. The fact that libido is capable of being directed toward so many diverse objects; not fixed biologically, is termed the plaslicily of instinct. This is much greater in humans than in lower animals, who seem to come with instinct "prewired" to very specific objects. Learning from experience-selecting objects from the possibilities in the environment and learning to adapt to reality-occurs in the ego. The ego, in contrast, the functions according to a very primitive mechanism, called primary process. DEATH INSTINCT (THANATOS) Freud believed that every human had a life and death instinct. The life instinct is callederoswhile death instinct is calledthanatos. Death instinct is a destructive force directing us inevitably toward death, the ultimate release from the tension of living. It motivates all kind of aggression including war and suicide. (Susan, 2004: 41) According to Orbach (2007: 266), Freud's conceptualization of the death instinct behavior reflecting self-destructive tendencies, guilt feelings, suicide, melancholia, mascochism and sadism are furnished with a motivational force of their own, as well as with a specific mechanism of action, that is the repetition compulsion. Death instinct drives man to the ultimate state of quiescence – death through the urge inherent organic life to restore an earlier state of things. The purpose of death instinct is to destroy things and to reduce living things to an inorganic state. (Freud, 1949: 5) Freud also explains that death instinct is intended to individuals typically two ways, to himself or others to outside themselves. Death instinct is redirected looking at people in an action of suicide, while the instinct redirected to death outside or anyone else to do something when they want to kill, persecute, or destroy others. Death instinct also encourages people to ruin people, and the aggressive drive pushes the distribution of people who are not killed. To maintain them, death instinct will against life with generally energy which steer out, intended to others. Freud assumes that every human in their subconscious part, will have a passion for dead, a desire is always mightily repressed by ego. The component of the death instincts is aggression. (http://12013pus.blogspot.com/2013/06/sigmund-freud.html) The most influenced component of the death instincts is the aggressive drive. It is described as a wish to against objects rather than a self. The aggressive drive compels us to destroy, conquer and kill. Freud comes to consider aggression as compelling a part of human nature. Freud also recognizes that the object of the aggressive instinct is fighting, and it is always for the gratification of the id. Most aggressive behavioral traits are destructive. They are considered to be the consequence of dysfunctional character formation. However, some of these instinctual traits may be momentary. Freud suggests that the aggressivity is related to death threat. This means that it can apply to the individual as well as to his or her relation with others. According to Subaidah (2012), aggression is a behavior that can hurt others. There are several factors that influence the aggression. Each factors may differed from one's act of aggression in which it is more dependent on an act of aggression itself and where the act of aggression took place. Lately a lot of aggression is going on in the social sphere such as at school and other social spheres. She explains that there are several factors that cause aggression or aggressiveness: 1. Biological factors There are several biological factors that influence aggressive behavior: a. The gene seems to affect the formation of the neural systems that regulate the aggressive behavior. b. Brain systems which are not involved in aggression were found to reinforce or inhibit the neural circuits that control the aggression. c. Blood chemistry (particularly the sex hormones which is partly determined heredity) can also influence aggressive behavior. 2. The Instinct According to Sigmund Freud, he explains that in humans there are two kinds of instincts which are called as eros (life instinct) and thanatos (death instinct). Aggression is an expression of the death instinct and it may be directed to other people or other targets (external) and can also to themselves (internal). 3. The Anger feeling Anger is the emotion that has the characteristics of the parasympathetic nervous system activity which is high. It is the feeling of strong dislike feeling commonly conducted due to an error, which may be manifestly wrong or maybe not. At the moment, there is a desire to attack which includes by angry, punching, destroy or throw something, it usually arises cruel mind. When things are distributed and there is aggressive behavior. 4. Frustration feeling Frustration occurs when someone blocked by something in achieving a goal, needs, desires, expectations or specific actions. Aggression is the way to respond the frustration feeling. Poor time naughty teen is a result of frustration which is related to the amount of unemployed time, financial mediocre and the requirements that must be fulfilled but difficult to achieve. As a result, they become irritable and aggressive. (jambeekidul.blogspot.com/2012/05/agresi.html) The Death Instinct depicted by Dr. Frankenstein and The Monster in Mary's Frankenstein In the novel, death instinct depicted is firstly depicted by Dr. Frankenstein when he meets the monster in the field of ice. When he enjoys the atmosphere of the nature around him, suddenly he sees the figure of man and the creature comes nearly to him with super human speed. He really surprised when he sees the creature that stands in front of him. The creature is the monster that was made by him, but the doctor never wants to see the monster because it looks so ugly and scary. So the doctor wants to kill that monster by himself. The next part which depicts the death instinct is shown by the monster. It happens when the doctor sees something like a human but it looks different from the ordinary human. The creature comes nearly to him, and the doctor is surprised because the creature is the person who is seemed like a monster. The doctor said many bad words to him, but there is the time when the monster wants to make a deal with Frankenstein. The monster is being the unacceptable person in the real life, there is no one can accept his condition. The monster wants to ask about something which is related to his condition but he says that if the doctor refuses his request, the monster will kill him. The next quote is shown by Dr. Frankenstein and his creature. After the monster asked something with the doctor and want to make a deal with the doctor, Frankenstein who is being the creator of the monster answered the kind of thing that has been asked by the monster. Death instinct is depicted in the some words. In those words, the doctor want to take the monster's life or in another meaning, it means that the doctor want to kill the monster. It depends on Freud terms about death instinct, he explains that the purpose of death instinct is to kill someone. The next part which shows death instinct in the novel, there is no deal between Dr. Frankenstein and the monster. The doctor feels very angry and hates the monster because the condition of the monster itself. After that, the doctor does the action that is shown in the quotation as the part of the story. In some parts of the statements, the doctor wants to attack the monster by himself. It shows that Frankenstein want to expressing his feeling that represent the purpose of death instinct. It is like Freud terms, he explains that the purpose of the death instinct of human being is to destroy or kill another creature. The next statement is said by Dr. Frankenstein, it happens when the doctor tries to hit the monster. But the monster can dodge the action of the doctor. The monster still wants to make a deal with the doctor. The monster tells about his sadness feeling to the doctor. But the words that were said by the monster cannot make the doctor's heart follow what the monster wants. In the time of the novel, the doctor feels angry and says many words to the monster. There are some words which depicts the death instinct of the doctor and describe that Frankenstein want to fight with the monster and kills him. The next statement is said by the monster, he continuous his journey, and after that he arrives at Geneva. Directly, he looks for the hiding place. Then he takes a rest, and suddenly the little boy comes to him. He thinks that this boy does not have a negative thought like the other people. But he is wrong, this boy looks so scared, he tries to talk with the boy. Suddenly, the boy says many bad words to him, and he tells Frankenstein as a name of the person that the monster really hates. Finally, the monster wants to kill this boy, it is depicted in the some words. He describes the death instinct and his actions that he will do in this part of the statement. Based on Freud (1949: 6), the purpose of death instinct is to kill or destroy something. The Reason of the Characters Who Represent the Aggression In this Mary Shelley's Frankenstein, there are many aggressions that are depicted in the some parts or in the some statement that were said by the characters, and there are many things that are being the reason of the character to do their aggression to another. Dr. Frankenstein and the monster show the causes or the factors of aggression based on their actions and quotations. The factors will be explained in these parts of thesis based on Subaidah's terms of aggression (2012). Aggression is firstly shown by Dr. Frankenstein when he sees a person in the ice field. When he really enjoys the natural situation around him, suddenly he finds the figure of human and the creature comes nearly to him with super human speed. He really surprised when he sees the creature which stands in front of him. The creature is the monster that was made by him, but the doctor never wants to see the monster because it looks so ugly and scary. In some statement, there is a factor that will be explained. There are some words which show the anger feeling of the doctor as the main factor which influences him and it is the reason of him to do the aggression to the monster. The next statement is continuing the conversation before that happened between Dr. Frankenstein and his creature. After the monster asked something with the doctor and want to make a deal with the doctor, Frankenstein who is being the creator of the monster answered the kind of thing that has been asked by the monster. He said some words to answer what the monster want. Those words describe the anger feeling of the doctor and also show that the doctor really does not like the monster because the psychical condition of the monster. It is to be his reason to do the aggression to the monster. This explanation similar with Subaidah's terms, she explains that the anger is one of the factors that can influence a person to do aggression to another person, and the thing that can cause the anger is because the feeling of dislike so strong. The next part of the story in the novel, there is no deal between Dr. Frankenstein and the monster. The doctor feels very angry and hates the monster because the condition of the monster itself. After that, the doctor does the action that is shown in the quotation as the part of the story. There are some words which show the reason of the doctor when he wants to destroy the monster. The doctor describes his feeling which influences him to be aggressive clearly in this part of his statement. These feeling can influence someone to be an aggressive person, it means that the person wants to kill or destroy the other person. This is has similarity with Subaidah's term, she explains that the reason of the person to do aggression is because their angry feeling. The next statement is said by the monster. It is continuing from the statements before. After the doctor asked him to go, the monster is still trying to tell about the experiences that he got in his life. He tells many things to the doctor, he hopes the doctor will agree to make a deal with him. And in the situation that is described in the novel, the monster says something about his feelings to the doctor. He says the words to Dr. Frankenstein. There are some words that show the anger feeling of the monster. The words describe the reason of him when he wants to do the aggression to his enemies and he really wants to destroy them. Based on Subaidah (2012), anger is the factor for the people to do aggression to another, and the dislike feeling because of the mistaken things that has been done by a person will influence a person angry with the another people. There are also some words which show the mistakes of the doctor and the human that cause the anger of the monster. Dr. Frankenstein has done something that make the monster feel dislike and angry with him, this is also done by the other person. The next statement is still based on the story of the monster. After he went to forest, he lived in a place. He felt desperate because of human actions. He remembered the accident that he got from De Lacey family, especially from Felix. He felt so angry, he wanted to destroy everything near him. There are some words which represent the anger feeling of the monster, it is described clearly in the part of the statement. It becomes his main feeling when he thinks to destroy something or injury the human and it also shows the factor that influences him when he cannot control himself and change into an aggressive person. The anger feeling is the dominant feeling that becomes the reason for him to do aggression to human being. This is similar with Subaidah's terms which describes the aggression can be done by a person because the anger feeling that were caused by the mistake of the another person, it can grow up the dislike feeling of the person. CONCLUSION Based on the analysis in the previous chapter, there are two important conclusions drawn: the death instinct and the aggression which is being the component of death instinct based on the characters. First, it represents death instinct which is shown by Dr. Frankenstein and the monster who is his creature. Death instinct has some steps which include unconscious and id, it also has a purpose to destroy something or kill someone. By those steps and the purposes of death instinct, it can be concluded that the doctor has death instinct when he wants to kill or destroy the monster, and the monster wants to kill the doctor and all people who gave him many bad experiences in his life, such as when he killed Frankenstein's son. They show death instinct by killing or destroy something based on their main feelings and instinct itself. The unconscious is being the important part of instinct because it drives and controls all human mind and action that they want to do to another people. The next step that becomes the part of unconscious is the id of the characters. They will do something that will give them a pleasure or satisfied feeling, it based on their id. These part will develop to death instinct when they have some wishes to destroy anything or kill anyone. It is shown when the monster killed the doctor's wife, some his families member, and his friends, it is also depicted when the doctor really wants to take the monster life by himself because he killed many person that he really loves. The other things which are depicted in those parts are the characteristics of instinct. it includes the pressure, the aim, and the object of instinct. The pressure is described as the motivational things which influence person to do something to get pleasure. It is shown by the monster when he wants to kill all human because his revenge feeling, and the doctor when he wants to fight with the monster because his rage feeling. The second characteristic is the aim of instinct which describe as the actions or wishes that will be done by the person to get pleasure in their life. It is depicted in the characters when the doctor wants to take the monster life with his own hands, and when the monster wants to kill the doctor because he created him with the bad physical condition which make the monster as the unacceptable person in his social life. The last characteristics which is shown by the characters is the object of instinct, it means that the person who do the actions based on their instinct, will get the satisfied feeling from the object of instinct itself. It is shown when the doctor wants to destroy the monster's head, the monster is being the object of instinct that can give a satisfied for the doctor when Frankenstein really can kill the monster by himself. And it is also shown when the monster killed Elizabeth who is being the doctor's wife. She is being the object of instinct that will give the satisfied feeling for the monster when he can kill her by his hands. Besides finding how death instinct is done by the characters, this study also find the reasons why aggression is done by them. Based on aggression terms, there are some factors that influence people to do aggression. They includes the biological factor, instinct, anger and frustration feeling. Those factors are shown by the characters, such as Dr. Frankenstein and the monster. It is described when the doctor hunts the monster, he wants kill the monster because he is very angry, it related to the accidents that has been done by the monster to his friends and families in the novel. It is also shown by the monster, when he destroyed many inanimate things such as tress around him, he feels frustration because he cannot injure a human. These feelings become the reason for them to do aggression to another person or thing. REFERENCES Abrams, M.H. 1999. A Glossary of Literary Terms. Seventh Editio. U.S.A : Thomson Learning, inc. Cloninger, Susan. 2004. 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Retrieved on June, 20th 2013) (http://jambeekidul.blogspot.com/2012/05/agresi.html. Retrieved on June, 20th 2013)