Confession et perversion


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Belgic Confession


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Perversion and the Social Relation


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The masochist, the voyeur, the sadist, the sodomite, the fetishist, the pedophile, and the necrophiliac all expose hidden but essential elements of the social relation. Arguing that the concept of perversion, usually stigmatized, ought rather to be understood as a necessary stage in the development of all non-psychotic subjects, the essays in Perversion and the Social Relation consider the usefulness of the category of the perverse for exploring how social relations are formed, maintained, and transformed. By focusing on perversion as a psychic structure rather than as aberrant behavior, the contributors provide an alternative to models of social interpretation based on classical Oedipal models of maturation and desire. At the same time, they critique claims that the perverse is necessarily subversive or liberating. In their lucid introduction, the editors explain that while fixation at the stage of the perverse can result in considerable suffering for the individual and others, perversion motivates social relations by providing pleasure and fulfilling the psychological need to put something in the place of the Father. The contributors draw on a variety of psychoanalytic perspectives—Freudian and Lacanian—as well as anthropology, history, literature, and film. From Slavoj Žižek's meditation on “the politics of masochism” in David Fincher's movie Fight Club through readings of works including William Styron's The Confessions of Nat Turner, Don DeLillo’s White Noise, and William Burroughs's Cities of the Red Night, the essays collected here illuminate perversion's necessary role in social relations. Contributors. Michael P. Bibler, Dennis A. Foster, Bruce Fink, Octave Mannoni, E. L. McCallum, James Penney, Molly Anne Rothenberg, Nina Schwartz, Slavoj Žižek










Confession and Memory in Early Modern English Literature


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This is the first study to consider the relationship between private confessional rituals and memory across a range of early modern writers, including Edmund Spenser, Christopher Marlowe, William Shakespeare, and Robert Southwell.




Troubling Confessions


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In Troubling Confessions, Peter Brooks juxtaposes law and literature to explore the kinds of truth we associate with confessions, and why we both rely on them and regard them with suspicion. For centuries the law has considered confession to be "the queen of proofs," but it has also seen a need to regulate confessions and the circumstances under which they are made, as evidenced in the continuing debate over the Miranda decision. Western culture has made confessional speech a prime measure of authenticity, seeing it as an expression of selfhood that bears witness to personal truth. Yet the urge to confess may be motivated by inextricable layers of shame, guilt, self-loathing, and the desire to propitiate figures of authority. Literature has often understood the problematic nature of confession better than the law, as Brooks demonstrates in perceptive readings of legal cases set against works by Roussean, Dostoevsky, Joyce, and Camus, among others




Modern Confessions


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Over there, here and everywhere! Not a single person seen as if humans had deserted the planet and gone to some other planet. Or war had been declared! Or Kala would have started his mission to change the world, Maan was wondering! Third world war indeed had been fought and won by Kina, a Kamnist rogue state. But Maan did not know then. He could see the collaterals of war there and everywhere! Locked humans in the confine of homes, terror struck. Everything would appear to have been destroyed. The world had been surreptitiously and smartly attacked by bio-weapon of deadly virus, stored in its lab. One night Kina army had overtaken the lab silently. They would let loose the bio-weapon on world. All worlds appeared to have been defeated. But this defeat would be termed by the defeated powers of the world as pandemic. Just to fool people and hide their defeat and cowardice, world leaders and powers appeared to have termed it as a natural calamity and pandemic. Or Kina was able to manage them to see it as such, it depends which way and on whose side it is seen!