Anais Nin

House of Incest - A study of the meaning of "poetical illusion" in the work of Anaïs Nin in relation with the tragedy of incest and the crisis of the subject.

Au cœur de la problématique de l’identité féminine, le thème de la métamorphose d’une femme dans une autre, de la narratrice dans son personnage, inaugure le moment archétypal où la mimesis chute dans le monde.
L’érotisme pervers est un luxe menacé par la folie, où la névrose est magnifiée par l’entrechoc d’images, dont la sensualité et le rythme se fracassent devant l’obstacle démoniaque, « the curse of orgasm ». Et là, il n’est pas question de culpabilité morale, mais plus profondément la Maison de l’inceste est le lieu maléfique où la profanation charnelle coïncide avec une impureté esthétique rendant l’inspiration soupçonnable, mensongère, quand l’aimantation même de la sensibilité s’affole, comme un tournesol désorienté.

This book documents the dangers and pitfalls of what can happen during psychotherapy sessions. When two people are alone together, great intimacy develops; an emotional bond occurs between them. Freud maintained this was a necessary part of the process — for the patient to develop a transference onto the psychiatrist. Sometimes, something very dangerous and destructive happens — the countertransference. Countertransference is defined as redirection of a psychotherapist's feelings toward a client—or, more generally, as a therapist's emotional entanglement with a client. Not much is written about this process — it is uncharted territory — and yet it occurs — with disastrous consequences for the patient, and also for the therapist.

Qual è il senso, se un senso esiste, della melanconia? Si tratta forse di un dolore interminabile, devastante, senza alcuna possibilità di significazione? In questo libro, che procede in bilico tra rigorosa riflessione teorica e piacere della sorpresa narrativa, l’autore compie un viaggio attraverso la psicoanalisi, l’estetica letteraria e la filosofia con l’obiettivo di comprendere che cosa dica il sentimento melanconico dell’esistenza umana, quale posto occupino il dolore e la sofferenza nella costante costruzione della soggettività e come possa tale dolore essere attraversato, se non anche trasformato. Una via d’uscita possibile, a lungo trascurata anche dalla psicoanalisi, viene rintracciata nel perdono, qui discusso nei termini di un processo alternativo a quello del lutto e da cui può emergere il lato inedito e combattivo dell’afflizione melanconica.
Dopo un’attenta lettura del saggio Lutto e melanconia di Freud, per evidenziarne i pregi ma anche le possibilità di espansione, l’itinerario procede con l’analisi di storie letterarie in cui il perdono viene evocato nelle sue molteplici sfumature, che l’autore analizza a partire dalle nuove modalità di narrazione del discorso amoroso inscenate nella letteratura americana contemporanea (da Jeffrey Eugenides a Siri Hustvedt), passando dai romanzi intimisti di Anaïs Nin e Simone de Beauvoir fino ai versi che Ted Hughes ha dedicato a Sylvia Plath. Una sorta di autentico corpo a corpo con ciò che la letteratura dice del perdono, alla ricerca di una piega inaspettata. Una riflessione sul dolore e sulla perdita, ma anche su un’idea di perdono come scommessa di rinascita, come ricostruzione di una soggettività ridotta in frantumi.

Les abîmes secrets intrinsèques à la photographie du collectif Void of course justifient l’intérêt porté à la couleur noire. Dans l’antiquité grecque la nuit donne naissance au jour, le noir est donc aussi la nativité. La figure du néant et des ténèbres, lorsque Jésus agonisant sur la croix au Golgotha, qui signifie “lieux du crâne” ; la scène est décrite ainsi : “de midi jusqu’à trois heures de l’après-midi, il y eut les ténèbres sur tout le pays” évangile selon Saint-Matthieu, passage 27.35-27.36 issu de la Bible. Le noir dérange, il est mystérieux, secret, pénétrant et sensuel, ce qui le rend transgressif puisqu’il flirte avec l’interdit.

Este libro representa un completo estado de la cuestión sobre el diario, tanto en la cultura hispánica (José Asunción Silva, Miguel de Unamuno, Julio Cortázar, Mario Benedetti) como en la anglosajona (Jemima Kindersley, Gerald Brenan), y desde una perspectiva multidisciplinar que abarca, entre otras dimensiones, la histórica, la cinematográfica y la didáctica, con especial atención hacia la escritura femenina (Anaïs Nin, Ana Frank, Marguerite Duras y Laura Freixas, entre otras).
En tiempos líquidos (Zygmunt Bauman) y una cultura de la fugacidad (Byung-Chul Han) como los que nos ha tocado vivir, reflexionar sobre la práctica diarística (que parece «de otra época» en que la introspección, lejos del incisivo smartphone, era posible) puede ser un buen antídoto. A ello se encomiendan los autores y las autoras de este libro, que reúne una docena de variadas aportaciones sobre lo que representa el diario desde la doble vertiente de la emisión y la recepción. Aborda así, por ejemplo, tanto la escritura en crisis de Unamuno o Silva, como la experiencia pedagógica que propugna un nuevo cauce comunicativo entre docentes y discentes, el privilegiado (y mágico por momentos) espacio del diario, que contiene a la persona a través de la palabra.

Eroticism is the ability to reflect your individual/social values in what you feel when you are aroused.
Eroticism is the state about which an observer can pose questions and find answers about excitement (arousal).
Eroticism is potentiality, where you can find response to sexual instinct, before physical sex.
Putting questions determines the way one conceives sexual attraction. It determines the “Who I am” in sex. A sort of free will in the capacity of being aroused.
Eroticism is all the same for each observer?

Citation: Arnold, W. E. (2020). A Psychoanalytic Study of Lawrence Durrell's The Alexandria quartet: Exile and Return [Review of the book A psychoanalytic study of lawrence Durrell's the Alexandria quartet: Exile and return, by R. Alfandary]. Litera, 30(1), 275-281.

Simone de Beauvoir & Anaïs Nin: Vida, Escrita e Feminismo.

Quais são as semelhanças e as diferenças entre Simone de Beauvoir e Anaïs Nin? Nascidas na França, no começo do século vinte, ambas participaram ativamente da vida artística e intelectual parisiense. Simone de Beauvoir, através do círculo de autores e acadêmicos ligados ao meio universitário e político. Anaïs Nin, através da sua convivência com escritores e artistas marginais (como escritor Henry Miller), bem como através do seu interesse e subsequente envolvimento com a psicanálise (principalmente através da tradução da obra de Otto Rank para a língua inglesa).

Simone de Beauvoir e Anaïs Nin pensaram sobre o feminismo partir das suas experiências de vida e, por isso mesmo, acabaram desenvolvendo ideias distintas sobre a luta pela emancipação feminina. Neste evento, nós iremos discutir sobre as diferenças entre os projetos autobiográficos de Simone de Beauvoir e Anaïs Nin, e como essas diferenças acabam se desenvolvendo em dois modos distintos, porém complementares, de enxergar o feminismo.

Sky Blue Press has been printing material dedicated to Anai's Nin (1903-1977) for nearly twenty-five years. In addition to the fifteen volumes of the now-defunct Nin-centered journal Cafe in Space, the publisher is gradually releasing the Uunexpurgated,j diaries. The original publication of the diaries brought Nin worldwide acclaim in the 1960s and 70s, and they became a fixture in the second-wave feminist movement. In addition to the copious number of journals that Nin filled, her correspondences were also expansive. Surprisingly, the Letters to Lawrence Durrell is only the second publication of Nin letters from Sky Blue Press, the first being Reunited: The Correspondence of Anal's Nin and Joaquin Nin: 1933- 1940, also released in 2020.

... threatening, unknowable; representing what Ilana Shiloh calls „the danger of inextricability, of eternal imprisonment.‟ ... 3 Ilana Shiloh, The Double, the Labyrinth and the Locked Room: Metaphors of Paradox in Crime Fiction and Film (New York: Peter Lang Ltd., 2011), 92. ...

El objetivo principal de este artículo es determinar las conexiones que Anaïs Nin hace entre la intelectualidad, la creatividad y la monstruosidad en la mujer en el volumen de su diario Henry and June (2001). A través de las figuras de June Miller y Anaïs Nin, se puede ver la conexión cultural que existe en el siglo XX entre la creación y la masculinidad, la cual enrarece la creación femenina hasta considerarla monstruosa. Para alcanzar este objetivo, Henry and June (2001) será analizado junto con trabajos teóricos sobre la contraposición cultural entre la identidad femenina y la creación literaria (Gilbert y Gubar 1979; Gilbert y Gubar 1988; y Showalter 1985), así como sobre la monstruosidad femenina (Creed 1986; Kristeva 1982). Para concluir, el artículo ilustrará cómo la creatividad literaria ha estado culturalmente asociada con la masculinidad, condenando a la escritora a una identidad ambigua y, por tanto, monstruosa.
Palabras Clave: Anaïs Nin, Escritora, Monstruosidad, Identidad, Creatividad.

This paper aims at showing the connections Anaïs Nin establishes between intellectuality, creativity, and monstrosity in women throughout the Henry and June volume of her diary (2001). Through June Miller and Anaïs Nin, a cultural connection between creativity and masculinity which estranges female creation to the point of considering it to be monstrous can be seen in the 20th century. To achieve this objective, Henry and June (2001) will be analysed along with other theoretical works on the cultural opposition between female identity and literary creation (Gilbert and Gubar 1979; Gilbert and Gubar 1988; and Showalter 1985) as well as works on feminine monstrosity (Creed 1986; Kristeva 1982). Finally, this paper will illustrate how literary creativity has been culturally associated to the concept of masculinity and, therefore, has condemned the female writer to an ambiguous and, consequently, monstrous identity.
Key Words: Anaïs Nin, Women Writers, Monstrosity, Identity, Creativity.

This study aims at predicting the spatial distribution of tropical deforestation. Landsat images dated 1974, 1986 and 1991 were classified in order to generate digital maps of deforestation which describe deforestation and forest persistence. The deforestation maps were ...

In the late 1940s, Anaïs Nin began publishing highly autobiographical novellas characterized by what later critics such as Sharon Spencer and Karl Orend would consider “symphonic writing.” They have been quick to point out how Nin’s poetic prose style brought rhythm and musicality to the series of short works which is considered to function together as a roman fleuve. But musicality is present in these works—Ladders to Fire (1946), Children of the Albatross (1947), The Four Chambered Heart (1950), Seduction of the Minotaur (1950), and A Spy in the House of Love (1954)—not only because of Nin’s style, but also because of her strategic and narrative uses of musicians, musical metaphors, and even precise references to specific musical works such as César Franck’s Symphony in D Minor (1888) and Debussy’s Isle Joyeuse (1904), and to the jazz genre in general. In this analysis, we will investigate the role of these musical pieces within the context of the narrative to determine how they bring a further meaning to the text based on the sounds or historical relevances of the musical pieces. We will also examine Nin’s use of musical metaphor to establish her “soundtrack” strategy within The Cities of the Interior. What the following extracts will prove is that there is a constant crossing back and forth in Nin’s work from text to music, oral rhythm and textual rhythm. Furthermore, the evolution in Nin’s own writing and philosophy is reflected by the musical works and styles she cites.

117th Annual Pacific Ancient and Modern Language Association (PAMLA) Conference, San Diego, California (November 2019).

Henry Miller’s philosophy is often ambiguous. Influenced by his voluminous reading, Miller is a philosophical writer who incorporates an array of expansive ideas into his writing. In Henry Miller: The Inhuman Artist, A Philosophical Enquiry (2013), Indrek Hassan acknowledges that Miller’s vast and wide-ranging knowledge often discourages scholars from pinpointing a single conduit through which his ideas flow. But like Miller’s diverse personal history, I would stress that his philosophical interests vary across periods of his life. While in Paris during the 1930s, Miller discovered two Chinese writers: Lao-Tzu and Lin Yutang (1895-1976), and each helped Miller to blend and absorb ancient and modern Eastern philosophy. Both Chinese writers, I argue, merged within Miller’s writing during this period, specifically in Tropic of Capricorn (1939) and the Hamlet correspondence (1939). More so, these two writers were referenced in Miller’s letters. In 1936, Miller read the Tao Teh Ching and Yutang’s My County and My People (1936). In unpublished archival letters to Lawrence Durrell and those to Michael Fraenkel published in Hamlet, Miller specifically mentions philosophical elements of humor in Lao-Tzu, and the art of living, eating, and sleeping found in Yutang’s writings. From Miller’s letters, we can extrapolate a more comprehensive philosophy of being that would impact his life and publications in the 1930s. The philosophies of Lao-Tzu and Yutang are not dominant themes in Miller’s writing; nevertheless, his letters reveal an attraction to their work and examining these correlations will provide a broader understanding of Miller’s attentiveness to Eastern thinking.