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Word: freudian (lookup in dictionary) (lookup stats)
Dates: during 1970-1979
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Usage:

...Magnon man and the diverted energies of us, his descendants. Sublimation, murder, and love are three traditionally heavy themes, and the fact that Chabrol sets them in a narrative (rather than historical, or surrealistic, or impressionistic) context allows them to assume the same weight that, say, Freudian psychopathology plays in Alice in Wonder-land...

Author: By Martin H. Kaplan, | Title: The New York Film Festival Twelve Nights in a Dark Room: You Can't Always Get What You Want | 9/29/1970 | See Source »

Freud and Freudian theory are a major target. Freud, she says, was unable to separate female biology from female status, and his concept of penis envy, of woman as a damaged or castrated man, became a powerful supporter of patriarchial notions...

Author: /time Magazine | Title: Nation: Who's Come a Long Way, Baby? | 8/31/1970 | See Source »

...lily-white Queens neighborhood. His basement is formidably stocked with World War II weaponry. His hatred is so raw, his ideas so primitive and naive, that he often radiates a genuinely amusing innocence. For all its funny moments, however, Joe is anything but comedy. It is a film of Freudian anguish, biblical savagery and immense social and cinematic importance...

Author: /time Magazine | Title: Cinema: Jonah in a Hard Hat | 7/27/1970 | See Source »

Touch and Tell. In the first groups she entered, Jane felt dismissed as an "uptight Easterner" and got off some bitchy backchat: "You don't interest me as much as I seem to interest you." Loosening a little, she began to make Freudian howlers that commonly afflict the beginner in therapy-as when, pretending to be a mailbox, she blithely announced: "I'm hoping for a lot of good long letters." But soon her antennae told her that she was not the only one out of step. All was not well in the land of touch and tell...

Author: /time Magazine | Title: Books: Gropeshrink | 7/27/1970 | See Source »

...similar statement about the bogus exaltation of human tragedy to cathartic spectacle, wherein great men fall from pinnacles in the all-seeing determinist universe of the Fates. Director Laurence Senelick has chosen the Seneca version over the traditional Sophocles "to remove the play from the realms of both Freudian psychology and aloof neo-classicism." This may also mean that he has chosen a play which, because of its gore and violence, leads to a denial that there is anything more in suffering than suffering; a denial that tragedy can be uplifting in transcending itself. The production calls for a belittling...

Author: By David R. Ignatius, | Title: At Agassiz Seneca's Oedipus | 7/10/1970 | See Source »

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