This title looks at films that map the spectator's private fantasy onto the one being played out on the screen, following Kristeva's sparse, but revolutionary, film theory. Informed by the theory of Julia Kristeva, Frances Restuccia analyzes a variety of contemporary films replete with psychoanalytic subject matter and styles. She examines films that present elaborate fantasies and, through them, prompt the viewer to cut across a crippling fundamental fantasy - by enabling a mapping of his or her private fantasy onto the one being played out on the screen. Such absorption is a function of the semiotic dimension of the film, which offers the spectator an experience of intimacy, negativity, the gaze, and death. Kristeva stresses that cinema has the power to bestow desiring subjectivity as a way of resisting the society of the spectacle through the specular. Through analyses of complex films such as Streitfeld's "Female Perversions", Lynch's "Mulholland Drive", Almodovar's "Volver", and Haneke's "Cache", "The Blue Box: Kristevan/Lacanian Readings of Contemporary Film" demonstrates Julia Kristeva's concept of the "thought specular", from her fascinating chapter "Fantasy and Cinema" in "Intimate Revolt". Kristeva deserves our full attention as a film theorist.

This volume develops the central (though neglected) Agambenian concept of nudity along with its crucial political implications. The book discovers within The Use of Bodies a philosophical path to Agamben's "ontology of nudity," as it is subtended by his notion of the messianic-a dual temporality of form in motion reflected in the image of a whirlpool that is autonomous although no drop of water belongs to it separately. Drawn from Paul and Benjamin (rather than Derrida), Agamben's messianic is elaborated in this study through its embodiment in literature-Woolf's To the Lighthouse, James's The Aspern Papers, Brodsky's Watermark, and Mann's Death in Venice-in response to Agamben's insistence on the wedding of poetry and philosophy. In particular, Coetzee's Disgrace gives poetic form to Agamben's focus on the dissolution of the human/animal border, the salvation of the unsavable, and "nudity"-all to illustrate Agamben's Open without a closedness. This text shows how art serves as the house of philosophy also by taking up the nude in visual art, making the case that, in comprising chronos and kairos (the two messianic components of Agamben's ontology of nudity), art demonstrates the constitution of form-of-life for the viewer. Emphasizing Agamben's privileged non-unveilability/nudity, this book finally examines two major missed encounters, with Heidegger and Lacan, philosophers of the veil. Veiling to Agamben correlates with the sovereignty/bare life structure of the exception, which his ontology of nudity is meant to deactivate-as there is no such thing as a bare life.

Between the Psyche and the Social is the first collection of its kind to offer original, interdisciplinary essays on questions of social subjectivity. Contributors engage the disciplines of feminism, psychoanalytic theory, queer theory, postcolonial theory, film theory, literary criticism, and philosophy to transform the psychoanalytic study of social oppression. The book considers such questions as, How can psychoanalysis and critical social theory engage and transform one another? How can the social dimensions of subjectivity be understood within the framework of a classic psychoanalytic theory that rejects the social domain that gives rise to subjectivity in the first place? Between the Psyche and the Social reclaims the contributions of psychoanalysis, feminism, queer theory, postcolonial, and political theories in order to change the parameters of the current debates on the social dimensions of subjectivity.

This volume develops the central (though neglected) Agambenian concept of nudity along with its crucial political implications. The book discovers within The Use of Bodies a philosophical path to Agamben's "ontology of nudity," as it is subtended by his notion of the messianic-a dual temporality of form in motion reflected in the image of a whirlpool that is autonomous although no drop of water belongs to it separately. Drawn from Paul and Benjamin (rather than Derrida), Agamben's messianic is elaborated in this study through its embodiment in literature-Woolf's To the Lighthouse, James's The Aspern Papers, Brodsky's Watermark, and Mann's Death in Venice-in response to Agamben's insistence on the wedding of poetry and philosophy. In particular, Coetzee's Disgrace gives poetic form to Agamben's focus on the dissolution of the human/animal border, the salvation of the unsavable, and "nudity"-all to illustrate Agamben's Open without a closedness. This text shows how art serves as the house of philosophy also by taking up the nude in visual art, making the case that, in comprising chronos and kairos (the two messianic components of Agamben's ontology of nudity), art demonstrates the constitution of form-of-life for the viewer. Emphasizing Agamben's privileged non-unveilability/nudity, this book finally examines two major missed encounters, with Heidegger and Lacan, philosophers of the veil. Veiling to Agamben correlates with the sovereignty/bare life structure of the exception, which his ontology of nudity is meant to deactivate-as there is no such thing as a bare life.

This title looks at films that map the spectator's private fantasy onto the one being played out on the screen, following Kristeva's sparse, but revolutionary, film theory. Informed by the theory of Julia Kristeva, Frances Restuccia analyzes a variety of contemporary films replete with psychoanalytic subject matter and styles. She examines films that present elaborate fantasies and, through them, prompt the viewer to cut across a crippling fundamental fantasy - by enabling a mapping of his or her private fantasy onto the one being played out on the screen. Such absorption is a function of the semiotic dimension of the film, which offers the spectator an experience of intimacy, negativity, the gaze, and death. Kristeva stresses that cinema has the power to bestow desiring subjectivity as a way of resisting the society of the spectacle through the specular. Through analyses of complex films such as Streitfeld's "Female Perversions", Lynch's "Mulholland Drive", Almodovar's "Volver", and Haneke's "Cache", "The Blue Box: Kristevan/Lacanian Readings of Contemporary Film" demonstrates Julia Kristeva's concept of the "thought specular," from her fascinating chapter "Fantasy and Cinema" in "Intimate Revolt". Kristeva deserves our full attention as a film theorist.

Textual Layering: Contact, Historicity, Critique sets out to rethink our relation to textual tradition against the background of several contemporary developments, including the emergence of digital culture, the increasing spectacularization of psychic as well as social life, the renegotiation of historical thinking, and the precarious position of the theoretical humanities within academia. To this end, the volume re-invests the concept of "layering," a concept currently used in a wide range of fields, including metaphor studies and linguistics, cybernetics, the social sciences, art, and architecture. Drawing on existing definitions of "layering," the chapters in this book return to and re-appraise some of the most crucial concerns in the post-1960s theoretical scene: that is, concerns over the strained interplay between writing and the body; textuality and history; critique, differance and the feminine; memory, trace, and the immemorial. The aim of the diverse-often polemical-analyses carried out in this volume is to reactivate the critical force of textual tradition today through a renewed appreciation of its historical embeddedness, its libidinal sources, as well as its complex economy of separation and contact, diachronicity and synchronicity, (re)layering and de-layering. This collection will be of interest to scholars of continental philosophy, literary theory, gender studies, architecture, film and visual culture studies, psychoanalysis, postmodernism, post-colonial studies, and political and social theory.