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Own Desires (own + desire)
Selected AbstractsSEEING AND SAYING: A RESPONSE TO "INCONGRUOUS IMAGES",HISTORY AND THEORY, Issue 4 2009GEOFFREY BATCHEN ABSTRACT In responding to an essay by Marianne Hirsch and Leo Spitzer about photographs taken in the streets of Chernivitsi (Czernowitz) in the 1940s, and thus in the midst of the Holocaust, this paper seeks to link their concerns to a broader consideration of photography as a modern phenomenon. In the process, the paper provides a brief history of street photography, a genre virtually ignored in standard histories of the photographic medium. The author suggests that Hirsch and Spitzer's paper bravely reminds us that our fascination with photographs is based not on truth, but on a combination of desire (our own desire to transcend death) and faith (in photography's ability to deliver this end, in the face of all the evidence to the contrary). Their account of street photography in Czernowitz thereby amounts to an interpretation of photographs as dynamic modes of apprehension rather than as static objects from the past that veridically represent it. It is precisely this aspect of photographs that makes them such unusually complicated, ambiguous, and incongruous historical objects. [source] Equivocal Masculinity: New York Dada in the context of World War IART HISTORY, Issue 2 2002Amelia Jones This essay explores a cluster of works by the group of artists retroactively labelled `New York Dada' in light of the pressures exerted on masculine subjectivity during the WWI period. While the war has, for obvious reasons, been a key reference point for studies of European Dada, it has never been acknowledged (beyond passing references) as a context for the New York group (in particular, for the work of the key figures Man Ray, Francis Picabia and Marcel Duchamp). Failing to attend to the Great War as a crucial historical pressure on the group simply accepts at face value these artists' own desire to escape the war (in the case of Picabia, Duchamp, Jean Crotti and others, by leaving Europe and coming to New York). This essay, in contrast, insists upon attending to the effects of the war environment , with its heated discourses of heroism and patriotic nationalism , on the New York Dada group (which, after all, would not have existed had these artists not left Europe for New York because of the war). Examining the relationship of each of the key NewYork Dada figures to the war, it explores a selection of their works in relation to these experiences. Ultimately, I argue that the artists' non-combatant masculinity, compromised in the face of dominant discourses of militarized masculinity, is eerily and disconcertingly echoed by the predominance of shadows, gaps and absences in their visual art works. [source] Loving, Hating, Vacillating: Agreeableness, Implicit Self-Esteem, and Neurotic ConflictJOURNAL OF PERSONALITY, Issue 4 2006Michael D. Robinson ABSTRACT An implicit preference for the self over others may be beneficial when pursuing one's own desires but costly when adjusting the self to the desires of others. On the basis of this reasoning, the authors hypothesized that Agreeableness and implicit self-esteem would interact in predicting measures of neurotic distress. Three studies and one meta-analysis, involving 235 undergraduate participants, confirmed that high levels of implicit self-esteem were beneficial (i.e., less neurotic distress) within the context of low levels of Agreeableness but costly (i.e., more neurotic distress) within the context of high levels of Agreeableness. Because findings were robust across various measures of Agreeableness, implicit self-esteem, and neurotic distress, the interpersonal principles examined here appear to have broad relevance for understanding this particular form of intrapsychic conflict and its manifestation in neurotic distress. Results therefore support Horney's (1945) theory concerning the consequences of intrapsychic conflicts related to interpersonal motivation and cognition. [source] Violent crimes and their relationship to personality disorders,PERSONALITY AND MENTAL HEALTH, Issue 2 2007Michael H. Stone Persons committing murder and other forms of violent crime are likely to exhibit a personality disorder (PD) of one type or another. Essentially any personality disorder can be associated with violent crime, with the possible exception of avoidant PD. This includes those described in DSM as well as other disorders such as sadistic PD and psychopathy. The latter two, along with antisocial and paranoid PDs, are the most common personality accompaniments of violent crime. Narcissistic traits (if not narcissistic PD (NPD) itself) are almost universal in this domain, since violent offenders usually place their own desires and urges far above those of other persons. While admixtures of traits from several disorders are common among violent offenders, certain ones are likely to be the main disorder: antisocial PD, Psychopathy, Sadistic PD, Paranoid PD and NPD. Instrumental (as opposed to impulsive) spousal murders are strongly associated with NPD. Men committing serial sexual homicide usually show psychopathy and sadistic PD; half these men also show schizoid PD. Mass murderers usually show strong paranoid traits. With a focus on murder, clinical examples drawn from the crime literature and from the author's personal interviews reflect 14 varieties of personality disorder. Animal torture before adulthood is an important predictor of future violent (including sadistic) crime. Whereas many antisocial persons are eventually capable of rehabilitation, this is rarely the case with psychopathic or sadistic persons. Suggestions for future research are offered. Copyright © 2007 John Wiley & Sons, Ltd. [source] Journeying Between Desire and Anthropology: A Story in SuspenseTHE AUSTRALIAN JOURNAL OF ANTHROPOLOGY, Issue 1 2000Anita Lundberg Anthropology is a discipline based on the motif of the journey and ,the myth of the eternal return'. This is the journey out to the ,other'in order to return to constitute ,self, and this movement is a movement of desire. The desire is for wholeness, for self-presence, for a unified self. It is a desire for origins. And this desire is evident in anthropological practices as it is in myths and fairytales,all tell stories that speak of the desire for a separate, an original, self. Yet ,the myth of the eternal return'reveals that the enactment of the story is itself originating. The origin is not a thing to be hunted down and appropriated,it is no thing. Like the archetypes which flow through stories, it is alive in the telling. The story I tell in this paper is about my own desires. It speaks of the desire to undergo the rite of passage of anthropology, and of how this journey was interrupted by the anthropologist who always journeys before me. And yet. it is through the inextricable relations with the writings of the "other, anthropologist that alluring moments of different desiring are fleetingly revealed. In the end. my relations with anthropology tell of a paradox: of the desire for a transcendental journey in order to constitute self and the seductive desire for immersion,to lose self, the story remains in suspense. [source] | |||||||||||||