Word: freudianly
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...This Freudian conceptual foundation, like the monochromatic form of Walker's figures, allows these racial archetypes to vacillate between positive space and negative space, between active role and passive role in this psychological struggle. On the subject of sadism and masochism, Freud wrote, "[M]asochism is nothing more than an extension of sadism turned round upon the subjects own self." To the extent that Walker's silhouettes of black girls swallowing their own hands or feces imply a masochistic tendency, they become completely interdependent with the sadistic acts being represented on other walls. These two extremes of suffering and cruelty...
Walker, in the tradition of writer and political theorist Franz Fanon, builds upon Freudian psychoanalysis and Lacan's theory of dialectical identity to expose the underpinning mechanisms of racism in contemporary American society. Walker's catalogue book, riddled with references to the "Other," the "gaze" and "perversion," tackles the psychological foundations of racism in the context of a history of slavery. She successfully uses theories that have been applied to a colonial history to create a conceptual framework that addresses the unique perversities of a racism grounded in slavery. This is no small feat...
...issometimes forced to stand in order to see some ofthe downstage scruffling, it is more a testamentto the engrossing action than to the use of thestage. The onstage room itself is tastefullydecorated with paintings of naked women by thelikes of Rubens or Gauguin, as would be expectedof any respectable Freudian psychiatrist's officeof the 1960s...
...that, in any film of this length, a certain degree of repetition of plot developments and themes is inevitable. In fact, since Berlin Alexanderplatz deals as much with psychological devastation as it does with romance and criminal intrigue, it is to be expected that the protagonist should, in proper Freudian fashion, relive certain events of his life over and over again, seeking control over events otherwise relegated to the unchangeable past. Fassbinder brutally exploits the technique of flashback in scenes in which Biberkopf recalls the murder of his girlfriend. Fassbinder offers different voice-overs in each reenactment, which appears...
...treatment in childhood, may be quite capable of murdering her own children and those of others. He helps trap the woman he has described. But for the trial to go forward he must declare her sane, a judgment that would have seemed as mushy at the beginning of the Freudian era as it does now. For a long stretch of chapters, the trial seizes the story, and Kreizler, who is not a lawyer, can't take it back. A good courtroom drama, always welcome but not uncommon, floods the author's rare and fascinating tunneling into the beginnings of psychiatry...