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Seite 332
But whereas Anna has the powerful machine , Nikolai is left with nothing else than his fake tattoos , which evoke his castrated position , unable to ride away with his woman , and living in a very precarious state on the side of the law ...
But whereas Anna has the powerful machine , Nikolai is left with nothing else than his fake tattoos , which evoke his castrated position , unable to ride away with his woman , and living in a very precarious state on the side of the law ...
Seite 337
Whereas masculine subjects tend to pose as “ partially ” involved in the symbolic ( as not fully castrated , as playing the game of law or business but maintaining a reserve of primitive or primordial power , connection with the ...
Whereas masculine subjects tend to pose as “ partially ” involved in the symbolic ( as not fully castrated , as playing the game of law or business but maintaining a reserve of primitive or primordial power , connection with the ...
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Inhalt
Toward a New Ontology of Trauma | 285 |
Strange Days Indeed | 302 |
Cronenbergs Recent Men and Women | 321 |
Urheberrecht | |
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action actual affect archive argues becomes body Brown castration Challenge character cinema clear colonial concept condition connection Cronenberg culture define Deleuze desire Discourse essay existence experience exposed exposure face fact Fall figure film film's final force forms French functions future grotesque History human individual Islam issue killed kind King language Lenny logic look Mace machine Marcuse meaning memory Michigan murder Nancy narrative natural Nikolai normal object photography played police political position possibility present problem production question racial recent recording reference relation relationship representation repressed scene seems sense sexual shared simply singular social space SQUID Strange Days structural suggest surveillance symbolic things tion Tradition trauma truth turn understand University Press violence wants woman Writing