Ben Ogden – Beyond Psychoanalytic Literary Criticism: Between Literature and Mind

Ben Ogden (co-author with father Thomas Ogden of The Analyst’s Ear and the Critic’s Eye: Rethinking Psychoanalysis and Literature) has published a new book of interest to Literature and Mind: Beyond Psychoanalytic Literary Criticism: Between Literature and Mind.

 

Ben Ogden
Here is a description, provided by Routledge:

 

Through a series of radical and innovative chapters, Beyond Psychoanalytic Literary Criticism: Between Literature and Mind challenges the tradition of applied psychoanalysis that has long dominated psychoanalytic literary criticism. Benjamin H. Ogden, a literary scholar, proposes that a new form of analytic literary criticism take its place, one that begins from a place of respect for the mystery of literature and the complexity of its inner workings.

 

In this book, through readings of authors such as J.M. Coetzee, Flannery O’Connor, and Vladimir Nabokov, the mysteries upon which literary works rely for their enduring power are enumerated and studied. Such mysteries are thereafter interwoven into a series of pioneering studies of how the conceptions of thinking, dreaming, and losing become meaningful within the unique aesthetic conditions of individual novels and poems. Each chapter is a provisional solution to the difficult “bridging problems” that arise when literary figures work in the psychoanalytic space, and when psychoanalysts attempt to make use of literature for analytic purposes.

 

At every turn, Beyond Psychoanalytic Literary Criticism: Between Literature and Mind acts as a living example of the territory it explores: the space between two disciplines, wherein the writer brings into being a form of psychoanalytic literary criticism of his own making. Forgoing traditional applied psychoanalysis and technical jargon, this highly accessible, interdisciplinary work will appeal to psychoanalysts and psychoanalytic psychotherapists, as well as literary critics and scholars.

Mark Leffert, “New Directions in Clinical Psychoanalysis”

Lit&Mind_Mark Leffert

 

Mark Leffert joined Literature and the Mind on November 6th to discuss his work on clinical psychoanalysis. Dr. Leffert’s interdisciplinary reformulation of psychoanalytic thought and practice is informed by his ideas concerning postmodernism, complexity, and neuroscience. His discussion of the background of clinical psychoanalysis, different kinds of unconsciousnesses, and the discontinuous self that is always embedded and entangled within its environment led to a group conversation about the role of literature in understanding the self, as a place to learn about and grasp the shifting sense of self-state.

 

Mark Leffert talk Mark Leffert discussion

Featured Minds: Henry Bernard

Henry is a recent graduate of UC Santa Barbara.  He specialized in Literature and the Mind in the English Department, and helped bring together fellow Mind-inclined students as an undergraduate representative for Lit and Mind.  He currently works at PathPoint as a Direct Support Professional, helping individuals with disadvantages and those with physical, developmental, or psychiatric disabilities reach their fullest potential.  Read on to learn more about his experience with Lit and Mind and its applicability to everyday life, and to see excerpts from “Feeling Attachments in Dickens’ Great Expectations.”  Congratulations, Henry!

How did you first get interested in studying literature and the mind?

At the end of my first year at UCSB, I took a class taught by Professor Kay Young called “Comic Turn of Mind.”  I feel as if my college education began there.  Never before had I been exposed to such meaningful material.  Throughout college, Literature and the Mind courses, mostly taught by Professor Young, inspired me to ask questions–to wonder and wander until I arrived at an understanding of my own passions and feelings.  My favorite class was Professor Young’s “The Meaning of Life,” in which we studied my favorite literary work, “Notes from Underground,” by Fyodor Dostoevsky.  Literature and the Mind provided a community in which I found genuine, deep people with interesting ideas.  Professor Young, as an extraordinary teacher and mentor, provided the sparks with which I would kindle my own fire of learning.

After a year of helping gather students to study the theme of “intersubjectivity,” what are your thoughts on this topic now?

Essential to our humanity is the search of meaning.  We must ask ourselves: why do I exist?  The meaning of our existence is fundamentally relational, for we come to know ourselves by coming to know others.  The self takes shape through interaction with the not-self.  Forms of otherness affect us, whether this be family, friends, strangers, enemies, authors, artists, lovers, lost ones.  The minds we meet in life define us, and intersubjectivity provides a path by which we can better understand our relational nature.  A life lived intentionally, with a deep, empathic awareness of the ways we affect one another, is a life rooted in humanity, connecting us to the essence of our existence.

Where do you think the study of literature in the mind is headed, or should be headed?

Hopefully Lit and the Mind continues to emphasize relationally, exploring the connections between self and other.  With this emphasis, Lit and Mind should stress the importance of empathy and imagination.  If taught to imagine the feelings of others, young minds will be encouraged to welcome difference.  I’d also like to see Lit and Mind think more about ambiguity and its effects on the mind.  Ideally, Lit and Mind will move people toward more meaningful lives, in which people feel connected to themselves, to the natural world, and to one another.

What would you like to tell current or prospective English Majors, or Literature and the Mind specialists, at UCSB?

Read as many books as possible.  Take a class with Professor Young.  Immerse yourself in nature.  Seek out meaningful moments and connections.  Don’t fear vulnerability.  Privilege passion and feeling above all else.

 

Excerpts from Henry’s paper “Feeling Attachments in Dickens’ Great Expectations,” composed for Kay Young’s course entitled Cognitive Dickens and drawing on sources ranging from Freud to contemporary studies of attachment and cognition:

Attachment informs cognition. In Charles Dickens’s Great Expectations, different forms of attachment yield different ways of thinking. Pip’s realization of his secret benefactor fuels in him a newfound sense of agency and truthfulness in his interactions with Miss Havisham and Estella. Miss Havisham internalizes the loss of her lover, and her insecurities manifest in outward anger as Pip detaches from her. Estella is unfeeling toward Pip and removes herself from relationality, while Pip develops his sense of identity in relation to his feelings for Estella. Miss Havisham projects her loss upon Estella and Pip and feels her misery all over again when Estella and Pip reenact her trauma.

 

In “Chapter Forty-Four,” with the mystery of his benefactor known, Pip addresses himself to Miss Havisham and Estella with a newfound sense of identity. As soon as Miss Havisham and Estella see Pip, they see “an alteration” in him (380). Pip’s relation to others changes when he realizes his great expectations. His statement, “I have found out who my patron is,” immediately focuses the scene (381). All that proceeds his statement is the effect of his discovery on two of his deepest attachments. Pip’s language is direct and clear, reflecting clarity within his sense of self. Pip requests money from Miss Havisham on Herbert’s behalf, and he “reddened a little” in doing so (382-383). Now independent and no longer bound by the false assumption that Miss Havisham is his patron, Pip gains agency in interacting with Miss Havisham. He also reveals his attachment to Herbert and embodies the compassion he has for Herbert as he blushes. Pip grounds his expectations in truth rather than speculation and brings honesty to his attachments.

 

Pip is no longer dependent on Miss. Havisham, and she becomes defensive as he seeks the truth from her. As Pip brings up Mr. Jaggers, Miss Havisham responds in a “firm tone” (381). Miss Havisham’s tone betrays her sensitivity to the topic. Reprimanding Miss Havisham for leading him on, Pip asks, “Was that kind?” (381). Pip’s question challenges Miss Havisham’s character in a way previously impossible due to the mystery of his benefactor. With no ability to question his patron, Pip cannot exist as an individual apart from his patron. In inquiring information of Miss Havisham, Pip shifts the balance of power and illustrates the independence of his cognition. Miss Havisham’s reaction illustrates her guilt toward Pip. She cries, “Who am I?” and strikes her stick upon the floor, proceeding in wrath, “Who am I, for God’s sake, that I should be kind?” (381). She repeatedly questions her own identity, for her anger is concentrated inward. Her internal indignation stems from the traumatic separation from her loved one. As Freud observes, “The shadow of the object fell upon the ego” (course reader 72). Miss Havisham’s loss is a shadow darkening her ego, for her suffering confuses her ego. As Pip questions her identity, she becomes enraged, for her identity is uncertain and veiled by the past disappointment. Attempting to conceal her internal suffering, she lashes out at Pip. Her anger protects her ego from guilt, for she refuses to feel guilt for her contribution to Pip’s disillusionment. She wields a stick as her material object with which she can strike out at her environment. Feeling the endangerment of her ego, Miss Havisham attacks her environment in order to distance herself from others and how others make her feel. Miss Havisham does not allow herself to feel, for as Freud elucidates, her ego is complicated “due to ambivalence” (course reader 76). Her relationality is ambivalent, evidenced by her sudden outburst. Miss Havisham claims, “You made your own snares. I never made them” (382). Miss Havisham distinctly separates herself from Pip, as she emphasizes “I” in contrast to “you.” In opposing her actions to Pip’s actions, Miss Havisham seeks to remove responsibility from her own ego. However, the harder she tries to separate her feelings from Pip, the clearer her attachment to him becomes. Miss Havisham is defensive because Pip actively affects her ego. Her words are beyond her immediate control, as they “flashed out of her in a wild and sudden way” (382). Miss Havisham is attached to Pip, and his detachment from her elicits resistance and insecurities within her which manifest in outward anger. Pip’s detachment from Miss Havisham is possible because he no longer depends on her as his patron.

 

Featured Minds: Nadia Saleh

Nadia is a recent graduate of UC Santa Barbara, majoring in English and specializing in Literature and the Mind.  In addition to completing coursework with a focus in this field, Nadia completed a senior thesis that draws on feminist and psychoanalytic theory, entitled “La Petite Mort: Female Vampirism, the Abject, and Sexuality,” under the direction of Julie Carlson.  She has presented her research to faculty and fellow students through the Arnhold Program.

Tell us more about your senior thesis project.

I’ve always been an avid consumer of supernatural media (Charmed, Buffy the Vampire Slayer, etc.) but especially things that had to do with vampires, because they were the stories that interested me. Halfway through college I discovered Francis Ford Coppola’s Dracula film (1992) which became one of my favorite movies for both its use of costumes and its revamp of the original Dracula plot. So when I joined the Arnhold Program, I knew I wanted to write on vampirism, especially female vampirism. My favorite work I studied was probably “The Lady of the House of Love” simply because I love Angela Carter so much and the symbolism was so rich. I really had something to sink my teeth into with that short story.

What drew you to Literature and the Mind?

My interest in Literature and the Mind stemmed from an interest in psychoanalytics and a desire to understand how people’s minds worked. The first true Lit and Mind class I took was Professor Young’s Reading Jane Austen’s Mind, but I always count my first class as Professor Carlson’s 103B course. She later became my thesis advisor and an invaluable resource during my writing. She gave me my first taste of Victorianism, which is the period covered in my thesis.

Lit and Mind encompasses so many different facets of literary study, because, in my understanding, it focuses on the feedback loop between people and their surroundings, whether it’s other people, animals, nature, smells, sounds, inanimate objects. Lit and Mind is the microcosm of the human experience as an entity that reacts and moves with its environment.

Where do you believe this field is headed, or should be headed?  What are you interested in learning more about?

I’m not entirely sure where the field is at this point, but intersectionality is important in any kind of study. Examining the female mind, the transgender mind, the queer mind, the minority mind, these are all things that we should be looking at and seeking understanding of in this era.

What’s in store for you after graduation?

In November, I will be presenting at the Pacific Ancient and Modern Language Association (PAMLA) conference in Honolulu, on a section of my thesis titled “The Queen of the Damned: Penny Dreadful and the New Lilith” in a seminar called “Other Vampires.” I’m very excited to see how the other presenters and the audience will shape my understanding of my own work and the study of vampirism. There’s a kind of bloodlust in academia, a need to know and understand and consume. I sense that this thesis has not sated my own academic bloodlust and expect to be returning to this project in graduate school, with the addition of other female monsters.

Excerpts from the introduction to Nadia’s senior thesis, “La Petite Mort: Female Vampirism, the Abject, and Sexuality”:

While the origins of the vampire in literature can be found in early Biblical texts on Lilith, the outpouring of literature on the vampire during the 19th century reflects a renewed interest in the vampire’s link with sex, power, and death. Especially prominent in these texts are female vampires, often portrayed using major female archetypes: the female predator; the mother of evil; and the fallen woman. But why do these tropes persist even now, into the 21st century? Where did these depictions come from? And what is it about the female vampire that strikes fear into the hearts especially of men, a fear that seems tied to confrontation with abjection? The link between this fear and the female vampire seems to be female sexuality, and fear of its overt expression. Female vampires are portrayed as lustful, defiling creatures, in a far more sexualized manner than their male counterparts. This portrayal uncovers fear of that shadowy world just outside the boundaries of society where the female body is powerful, women have agency, and they continually violate the boundaries that are crucial to civilized existence.

My study seeks to explore the variety and persistence of Lilith’s traits through focus on vampire texts produced in the nineteenth and twentieth centuries. It focuses on literary, filmic, and televisual texts, namely, Charles Baudelaire’s “Sed Non Satatia” and “The Vampire” (1857); Joseph Sheridan Le Fanu’s Carmilla (1872); Angela Carter’s short story, “The Lady of the House of Love,” (1979); Francis Ford Coppola’s film Bram Stoker’s Dracula (1992); and the HBO series Penny Dreadful (2014-2016). All of these works explore the crossing of the boundaries of life and death and of good and evil, and some deal specifically with the boundaries of the body, of virginity, and even of marriage vows. Penny Dreadful gives a name to this shadowy place of blurred boundaries, what Vanessa Ives calls the demimonde, “a half world between what we know and what we fear…a place in the shadows, rarely seen, but deeply felt” (“Night Work”). This place between what is known and what is feared, also called a borderland and a no-man’s-land, is where monsters walk and female agency takes command. In what follows I trace how this expression of female power is portrayed, managed, enjoyed, and punished so that social life can continue to proceed.

Jennie Harbour, "The Sleeping Beauty"

Image: Jennie Harbour, “Sleeping Beauty”

From Chapter 1, “Girls Just Wanna Have Blood: The Female Predator”:

The female predator is a particularly terrifying figure for patriarchal society: the woman who stalks through the night and lures in her prey with her sexual wiles. The vampire, unlike a monster such as a werewolf or a zombie, enfolds the victim in an apparent, or real, erotic embrace. The idea of a woman not only crossing the boundaries of proper sexual conduct but also penetrating the boundaries of blood and the body is terrifying, and yet it continually appears in literature. So is the idea that she feeds on rather than nourishes other persons. As Bram Dijkstra suggests in Idols of Perversity, “woman, having been consumed in the marriage market, then having become consumptive as a wife through lack of respect, exercise, and freedom, took her revenge by becoming a voracious consumer” (Stephanou 74). Her voracious consumption of blood is a revenge against the voracious consumption of her body and crosses the boundary of proper behavior. Every female predator that exists in the literary canon is a reaction against women’s objectification and commodification in the marriage market. But why is she always so sexualized? And what purpose does it serve to keep telling these stories of female predators over and over again?

[…]

[Angela Carter’s] “The Lady of the House of Love” is a retelling of “The Sleeping Beauty of the Wood,” and twists the fairytale trope of the power of the prince’s kiss as well as the hedge of roses that surrounds the princess. As the virginal hero approaches the mansion, he is immediately struck by a “blast of rich, faintly corrupt sweetness strong enough, almost, to fell him” (Carter 98). The roses that surround the mansion strike him immediately as something wrong, something repulsive:

“Too many roses. Too many roses bloomed on enormous thickets that lined the path, thickets bristling with thorns, and the flowers themselves were almost too luxuriant, their huge congregations of plush petals somehow obscene in their excess, their whorls, tightly budded cores outrageous in their implications (Carter 98).”

The roses that seem repulsive, extravagant, and excessive, resemble the engorged, sexually aroused female genitals. With the addition of the “bristling thorns,” the roses become a symbol of the vagina dentata, one of man’s greatest fears. The myth of woman as castrator clearly points to male fears about the female genitals as a trap, or a black hole. Combining the already frightening female genitals with teeth creates the mouth of hell, a terrifying symbol of women as the devil’s gateway (Creed 71). The Countess’s roses are a manifestation of her sexuality, which is outrageous in its flamboyancy, but also threatening to the man who dares to have sex with her.

 

 

Jessica Benjamin and Donna Orange – Workshops & Public Lectures

In Winter 2017, Literature and the Mind was thrilled to host Jessica Benjamin and Donna Orange, two of the most important intersubjective thinkers and psychoanalysts today.

Benjamin&Orange

On February 22nd, Jessica Benjamin led a workshop on intersubjective psychoanalysis. Ahead of time, we read “Beyond Doer and Done to: An Intersubjective View of Thirdness,” which explained the concept of a co-created or shared intersubjective thirdness and proposed a restoration of recognition through surrender. On February 23rd, Benjamin gave an IHC public lecture titled “The Discarded and The Dignified—The Politics of the Fear that ‘Only One Can Live’” for the “Community Matters” series. Benjamin discussed the zero-sum conversations about suffering that presume a denial of “the Other,” arguing for the need to consider suffering not oppositionally, but through thirdness. This attachment to a social third leads us out of revenge, out of the binary of “deserving” and “discarded,” and into reparation. Both the harmers and the harmed need the moral third to repair the world where only one can live – with the knowledge that all can live. A failure to witness the suffering of the other breaks the bonds of social attachment in the world and can lead to monstrous action. In Benjamin’s words, “disgust happens when the horror from which we want to dissociate floods into us too quickly.” Click here for a description and recording of the talk.

Jessica Benjamin

On March 6th, Donna Orange led a workshop on ethics, humanitarianism, and intersubjective psychoanalysis. Ahead of time, we read “My Other’s Keeper: From Intersubjective Systems Theory to the Ethical Turn in Psychoanalysis,” which carried us from Orange’s background as an intersubjective systems theorist to her work on ethics of responsibility and the “suffering strangers,” both those in the consulting room and those harmed by climate crisis and poverty. Intersubjective systems psychoanalysis focuses on the relational field created by multiple unique, unrepeatable subjective worlds of experience – an individual can be understood only within these organic psychological systems. Orange writes that the ethical turn to responsibility and solidarity easily follows this emphasis on the irreplaceable, irreducible other who must be treated dialogically. On March 7th, Orange gave an IHC public lecture for the “Community Matters” series titled “My Other’s Keeper: Radical Ethics and Visions of Community.” Orange discussed the meaning of radical ethics in community – how do we enable our imaginations to affiliate with “all” rather than “some”? Click here for a description and recording of the talk.

Donna Orange

Graduate Course: Psychosomatics

fig9Instructor: Aranye Fradenburg

Course: Engl 236, Fall 2016

“Interaction is the conscious or unconscious exchange of behavioral or nonbehavioral, sensible and intelligible signs from the whole arsenal of somatic and extrasomatic [cultural, social and environmental] systems.”

– Fernando Poyatos, “Nonverbal Communication in Interaction: Psychology and Literature”

The purpose of this course is to broaden our understanding of the somatic and environmental features of expressive (and impressive) experience.  Readings will draw primarily on the recent revitalization of interest in psychosomatics occasioned by neuroscientific developments in distributed cognition/affect, but will also include social-psychological studies in nonverbal communication (especially paralanguage), enactivist research, and biosemiotics.  Authors will include Elizabeth A. Wilson (Psychosomatic:  Feminism and the Neurological Body and Gut Feminism); Brian Massumi (ed. A Shock to Thought: Expression After Deleuze and Guattari);  Andy Clark (Supersizing the Mind); Giovanna Colombetti  (The Feeling Body); Aleksandra Kostic and Derek Chadee (eds. The Social Psychology of Nonverbal Communication); Fernando Poyatos (Nonverbal Communication Across Disciplines and Crosscultural Perspectives in Nonverbal Communications); Marilia Aisenstein and Elsa Rappoport de Aisemberg (eds. Psychosomatics Today: A Psychoanalytic Perspective); Donald Favareau (ed. Essential Readings in Biosemiotics), and Daniel Paul Schreber (Memoirs of My Nervous Illness).  If possible, students should have read Darwin’s Expression of Emotions in Man and Animals and Freud’s Studies in Hysteria before the class begins.

Image: “Fig. 9: Cat, savage and prepared to fight, drawn from life by Mr. Wood,” from Charles Darwin, The Expression of Emotion in Man and Animals