Showing papers on "Shadow (psychology) published in 1983"

Medusa's Head: Male Hysteria under Political Pressure

Abstract: IN THE PAGES that follow, I shall be considering some examples of a recurrent turn of mind: the representation of what would seem to be a political threat as if it were a sexual threat. Freud alludes to this at one point in his article on fetishism, where he is momentarily led into a bit of dramatic miming, simulating the terror he imagines the little boy feels when he first discovers his mother has no penis: "No," he writes, "that cannot be true, for if a woman can be castrated then his own penis is in danger; and against that there rebels part of his narcissism which Nature has providentially attached to this particular organ." Freud then adds drily, "In later life grown men may experience a similar panic, perhaps when the cry goes up that throne and altar are in danger. 1 Questions of sexual difference, of perception and of politics are rapidly brought into relation here, and it is that set of relations that I should like to explore. My chief examples are Parisian, taken from accounts of the 1848 Revolution and of the Commune, but in order to suggest that what I'm considering is not something merely febrile and all-too-French, I shall glance first at an eighteenth-century British instance. Burke's Reflections on the Revolution in France was published in 1 790; two years later an anti-revolutionary cartoon appeared (fig. 1) which, like Classic Comics generally, can be read as an inadvertent parody of the work it condenses and illustrates. The "contrast" is Burke's, and so is the francophobia that gives it its edge. Its images are drawn from the pages of the Reflections: the composed scene within "the shadow of the British oak" on the one hand, on the other the noble victim "hanged on the lamppost" and serving as a backdrop, if that's the right term, for one of those figures Burke refers to as "the furies of hell, in the abused shape of the vilest of women."2 She is, however, not Fury but a Gorgon-Medusa, in fact-here depicted not as a petrifier but as a beheader, her own head recognizably snaky yet still firmly attached to her shoulders: Medusa usurping the pose of Cellini's Perseus (fig. 7), a decapitated male at her feet. Still another way-the print seems to suggest-in which the world has been turned upside-down. The question is, why should revolutionary violence be emblematized in this way, as a hideous and fierce but not exactly sexless woman? A related question is prompted by the first of the French texts, a brief one by Victor Hugo which appeared in a posthumously published collection of fragments

Bureaucracy and the Shadow Economy: A Macro-Approach

Abstract: In recent years, the growth of public bureaucracy was one of the topics receiving most attention within political economy. Many theories have been developed dealing with the relationship of public bureaucracy with the political sector, in particular the models of Niskanen (1971, 1975) and Migue, Belanger (1974), studying the behavior of individual bureaus vis a vis parliament.

Shadow and substance: Sojourner truth

Abstract: Princes and poets, actors and advocates, all became familiar to the general public through the small carte-de-visite portraits, which began to appear in 1859 and reached an extraordinary popularity in the 1860s. Portrait photographers grew rich on the sale of famous faces, but no studio would have expected to make a fortune on the face of an illiterate former slave, who was described by one influential newspaper as ‘quaint in language, grotesque in appearance and homely in illustration’1.

In Freud's Shadow: Adler in Context

Abstract: In its detailed, interpretive reconsideration of Adler's involvement with Freud and psychoanalysis, In Freud's Shadow constitutes a seminal contribution to our historical understanding of the early psychoanalytic movement. Making extensive use of the Minutes of the Vienna Psycho-Analytic Society, Freud's correspondence, and the diaries of Lou Andreas-Salome, Stepansky reconstructs the ambience and reanalyzes the substance of the ongoing debates about Adler's work within the psychoanalytic discussion group. One valuable by-product of his undertaking, then, is a compelling portrait of the early Vienna Psycho-Analytic Society from the standpoint of the sociology of small groups and, more especially, of Freud's status as the "group leader" of the Society. Thoroughly researched, meticulously documented, and brilliantly written, In Freud's Shadow: Adler in Context represents a watershed in the literature on Adler, Frued, and the history of psychoanalysis. It will be of major interest not only to psychoanalysts, psychiatrists, and psychologists, but to social scientists, historians, and lay readers interested in the politics of scientific controversy, the sociology of small groups, and the relationship of psychology to contemporary systems of belief.

In War's Dark Shadow: The Russians Before the Great War

Abstract: In the quarter century before World War I, change came to Russia at a dizzying pace. The industrial revolution, the building of the Trans-Siberian Railroad, the disastrous Russo-Japanese War, and the Revolution of 1905 drastically reshaped the lives of both the ruling classes and ordinary people. Imperial Russia was home to more than a hundred million men and women, but by the time Vladimir Lenin announced the Bolsheviks' revolutionary victory, one in three had either perished or fled in exile. "In War's Dark Shadow" explores the lives, thoughts, and hopes of the Russian people as they entered the twentieth century.

Tradition and Change in Greek Shadow Theater

Abstract: GREEK SHADOW THEATER, which is primarily an urban phenomenon, was largely ignored until recently by Greek folklorists, who focused their attention almost exclusively on the culture of rural Greece. The decades of the 1960s and 1970s, however, witnessed a remarkable surge in interest in Greek shadow theater.' Much attention was devoted to the link between Greek shadow theater and ancient Greek comedy, the relationship between the Greek and the Turkish traditions of shadow theater, and the "Hellenization" of Greek shadow theater in the 19th century.2 Works in the latter area focused on such topics as the evolution of the full cast of "traditional" characters and the development of the "complete" repertoire of "classical" plays. In stressing the importance of Greek shadow theater, Greek folklorists have claimed that Karagiozis, the poor, hungry trickster, with his hunchback, bare feet, and long arm, who has come to personify the tradition of Greek shadow theater, is "the genuine stereotype of the common Greek" (Zarikos 1976:75), "the only genuine expression of modern Greek reality" and "the voice of the modern Greek people" (Trezou 1976:62). However, while popular and scholarly interest in Greek shadow theater was increasing dramatically, the tradition itself was undergoing drastic, and what many considered disturbing, changes. Well-known puppeteers were growing old, and no young people were taking their place. Fewer and fewer puppeteers were traveling through Greece giving performances in small cities and towns, while open-air theaters in large cities were being forced to close, to make way for apartment buildings and stores. Furthermore, live shadow theater performances were declining in popularity because of increased competition from movie theaters and television. Puppeteers recorded plays on long-playing records and gave short weekly performances for children on national television. Comic booklike pamphlets, orfiladhia,3 containing shadow theater plays were published inexpensively and anonymously and were advertised as "the indispensable companion of every child." Karagiozis, then, had taken his place beside Mickey Mouse, Davy Crockett, and other comic book characters on the shelves of kiosks and stationery stores throughout Greece. The reaction of Greek folklorists to the entry of Greek shadow theater plays

The Shadow of a Gunman

Abstract: Although it is proper and necessary to discuss the written texts, O#x2019;Casey’s plays were intended for the stage and it seems a good idea for me to refer, at relevant points, to actual productions. The difficulty is that any one production of a play is an ephemeral thing, to be seen by a limited audience and never repeated in exactly the same way. I have solved this problem by referring to some of the radio and television productions which marked the centenary of O’Casey’s birth. Many readers will have seen or heard these, they are likely to be repeated, and many institutions keep archives of such material. Even if the reader never becomes acquainted with the actual production referred to, it will help us to keep in mind how much in a play script is potential, requiring interpretation by actors and directors.

Causality and Mimesis in Contemporary Fiction

Abstract: "There's a feeling about that cause-and-effect may have been taken as far as it will go. [. . .] The next great breakthrough may come when we have the courage to junk cause and effect entirely and strike off at some other angle." Roger Mexico, probabilist and statistician, arch opponent of Pavlovian conditioning, thus expresses in Gravity's Rainbow the credo of the post-modern hero who threatens the neat causal order of "the elegant rooms of history." Causality is the villain of post-modern melodrama. As secret wish to establish "the stone determinacy of everything," it appears as "diversionary tactics," a historical conspiracy to which even Pynchon will have to pay his toll: "You [reader] want cause and effect. All right." To strike off at another angle, the post-modern fabulator is confronted with the task of scattering the overpowering presence of causality at all levels of the graphic structure, from particles of speech to segments of narrative. He is challenged to upset the order of words, supposedly predetermined by God, Nature or the Mind, to suspend the misreading of the signifier as cause of the signified in order to dispel the pre-semantic apprehension of causation as the law of the constitution of the verbal sequence. Vorstellung operates first in the shadow of Vorstellungsmechanik and the encoding of the object in the mnemic systems of the subject tends to constitute associative series, i.e., to reconstruct sequences subjected to a finality determined by privileged representations which Freud called Zielvorstellung, translated, revealingly enough, by "purposive idea." This unconscious finality the overpowering figure of speech production reigns supreme over the constitution of narrative sequences properly so called. Chapter 23 of Aristotle's Poetics teaches us the virtues, if not the dogmatic necessity, of finality in narrative poetry, a finality, or telos which is the endpoint of a logically constructed narrative process: telos, in the sense of "extremity in space and time" is clearly superseded in Aristotle's analysis, by telos in the sense of denouement of a finalized process resting on an appearance of causality.

Understanding and Evaluating: The Humanist as Computer Specialist.

Abstract: Like many humanists, I hate to talk about money in connection with my profession. It's demeaning. It casts a shadow on the lofty ideals I have always envisioned shining in the sun of truth and knowledge; the image of the barefoot Socrates has always seemed appropriate to what I do. In practice, though I continue to aspire, I am realist enough to accept that my performance doesn't always live up to my own ideals, and simple reality has forced me to recognize that I live in Montana where shoes are a must. But the largest dose of reality assails me at budget time when I am required to justify my salary by demonstrating what I have done during the year to advance the frontiers of knowledge. Worse yet, I have created another image problem for myself by cultivating, like a growing number of humanists, an interest in computer applications to education. Socrates didn't have a computer either. And, Gidel, Escher, Bach notwithstanding, the theoretical connection between logic and imagination in the humanities has not generally included machines. Nevertheless, I have been doing research in Computer-Assisted Instruction, commonly referred to as CAI. This year, once again, my personal image problems collided with an annual problem of my department-the budgeting process. Feeling just a bit sleazy, I walked into the department head's office. "As you know," I said in a voice which I tried to make humanistic since the words were necessarily business-like, "I'm designing and writing computer programs for the use of the department in its writing classes. Will you consider my writing of computer software as publication?" Fortunately, we had talked enough about computers for him to know that the jargon "software" refers to the programs that tell the machine what to do. Nonetheless, he looked mildly surprised. "I don't know," he said. "I've never thought about it. We'll have to take it up with the department Advisory Council. In the meantime, perhaps you should write some sort of justification since most of us know nothing about either the quantity or quality of the work involved." He added, "In fact, I'd bet that many departments across the coun-

A re‐visioning of progressive education

Abstract: In many ways 1932 was the best year progressive education ever had; at least it was the most hopeful. America, and the world, were in the midst of the Great Depression; capitalism had "failed." Yet the quality that comes through in George Counts' February 1932 speech to the Progressive Education Association-"Dare Progressive Education Be Progressive"-is optimism (Counts, 1969). Counts and many with him firmly believed that the schools could indeed "build a new social order"; a new order less capitalistic, more collectivistic (1969, p. 43), but thoroughly democratic and American. With all the pessimism and despair in the world this was still a time of hope. But the hopes never materialized. Within 10 years of Counts's speech the P.E.A. was a shadow of itself; membership was down about 50 percent, and "the leaders talked incessantly but took few significant actions" (Cremin, 1961, p. 268). The succeeding decade saw the organization and the movement die, with following decades-notably the 1950s-heaping scorn on the movement. It was accused not only of being communist, but of spawning all the ills of American education. Arthur Bestor called progressive education "the great subversion," destroying the prime purpose of education: "deliberate cultivation of the ability to think" (Cremin, 1961, p. 344). Admiral Hyman Rickover had even harsher indictments.

The Social Cost of Labor, and Project Evaluation: a General Approach

Abstract: This paper develops a general methodology for analyzing shadow wage (and other shadow prices). Our approach is to identify those reduced form relationships describing the economy which are central to the determination of the shadow wage, and use these to obtain simple formulae for the shadow wage. Among the aspects of the economy on which we focus are: (i) the difference between the domestic and international prices, (ii) the equilibrating mechanisms in the economy, (iii) the mechanisms which determine earnings of industrial and agricultural workers, (iv) the nature of migration, and (vi) the intertemporal trade-offs and the attitudes towards inequality. These aspects are modelled in a general manner, which can be specialized to a number of alternative hypotheses concerning technology, behavioral postulates, and institutional settings. Most earlier results on the shadow wages are derived as special cases of our formulae. In addition, we identify a number of new qualitative results concerning the relationship between the shadow wage and the market wage.

Perspectives in the World History of Government- a Prolegomenon*

Abstract: ‘VERY DEEP IS THE WELL OF THE PAST’, WRITES THOMAS MANN, as he begins his Tales of Jacob, ‘Might one not even call it bottomless?’ And indeed so it is if we search out the origins of government down, down, through its many levels in time until we reach only a misty shadow of what might have been some primitive society whose very existence we can but infer from artifacts, from myth and legend – and from an interpolation, unhistorical to be sure for it is mere hypothesis – from what we know of stateless societies still extant in this, our own day.

The Social Cost of Labor, and Project Evaluation: A General Approach

Abstract: This paper develops a general methodology for analyzing shadow wage (and other shadow prices). Our approach is to identify those reduced form relationships describing the economy which are central to the determination of the shadow wage, and use these to obtain simple formulae for the shadow wage. Among the aspects of the economy on which we focus are: (i) the difference between the domestic and international prices, (ii) the equilibrating mechanisms in the economy, (iii) the mechanisms which determine earnings of industrial and agricultural workers, (iv) the nature of migration, and (vi) the intertemporal trade-offs and the attitudes towards inequality. These aspects are modelled in a general manner, which can be specialized to a number of alternative hypotheses concerning technology, behavioral postulates, and institutional settings. Most earlier results on the shadow wages are derived as special cases of our formulae. In addition, we identify a number of new qualitative results concerning the relationship between the shadow wage and the market wage.