By Florida State University Conference on Literature and Film (7th : 1982), Hans P. Braendlin
Publication by way of Florida kingdom collage convention on Literature and movie (7th : 1982), Braendlin, Hans P.
Read or Download Ambiguities in Literature and Film: Selected Papers from the Seventh Annual Florida State University Conference on Literature and Film (Florida State University ... on Literature and Film Selected Papers) PDF
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Extra info for Ambiguities in Literature and Film: Selected Papers from the Seventh Annual Florida State University Conference on Literature and Film (Florida State University ... on Literature and Film Selected Papers)
It used to begin with some speck, some traitat times almost imperceptibleand then, gradually, it would grow into a complete picturesome strong and solid impression" (207). Dosto- < previous page page_24 next page > < previous page page_25 next page > Page 25 evsky offers us the memory of his past, but is there not something of the metaphorical in what he writes next? "I used to analyze these impressions, adding new touches to things long ago outlived, andwhat is more importantI used to correct, continually correct them.
He discovered infantile sexuality and the unconscious. He forged his infamous version of the seduction theory in which he considers that the patients' sexual desires are repressed but reemerge in fantasies which are imagined sexual scenes, imagined seductions. Two contemporary French researchers, Laplanche and Pontalis, have traced Freud's work on fantasy ("Fantasme"). Following their definition, fantasies are "scripts of organized scenes which are capable of dramatizationusually in a visual form.
14 Turbayne, 102. 15 Turbayne, 103. < previous page page_32 next page > < previous page page_33 next page > Page 33 4 Marguerite Duras's "Indian Cycle": The Fantasy Text Deborah Glassman Marguerite Duras is a contemporary French writer who has been making films for the past twenty years. She is best known for her first collaborative effort with Alain Resnais, which produced the 1959 darling of the Cahiers du Cinéma. Hiroshima mon amour was Resnais's first feature-length film, and it was widely acclaimed for its cinematic treatment of the peculiar logic of memory.