Academic literature on the topic 'Narcissus and Echo'

In The Right to Narcissism: A Case for Im-Possible Self-Love, Pleshette DeArmitt opens the space for an alternative to origin story so popular with political philosophers, namely, the social contract, which assumes a rational and self-identical subject. She does this obliquely by deconstructing narcissism as love of the self-same, or, love of what Kristeva might call “the clean and proper self.” Like Echo interrupting Narcissus’s soliloquy of deadly self-absorbed pleasure and his solitary auto-affection upon seeing his own reflection, Pleshette interrupts the seeming proximity of self-same, the closeness of near, and the propinquity of proper by deflecting the image of Narcissus onto the voice of Echo, who comes into her own by repeating his words. How, asks Pleshette, can Echo’s reiteration of the words of another be anything more than mere repetition or reduplication? Echoing Derrida, she answers that it is through a declaration of love. Echo’s repetition of the words of Narcissus take on new meaning, and allow her to express herself, and her love, through the words of the other. After all words are words of the other. Language comes to us from the other. Echo becomes a self, a “little narcissist,” through an address from and to the other, through the appropriation and ex-appropriation of the other’s words.

Abstract Ovid’s Metamorphoses, as scholars have demonstrated, can be read in dialogue with Roman pantomime dance, and the tale of Echo and Narcissus is one of its most ‘pantomimic’ episodes. While others have focused on the figure of Narcissus in this vein, I turn instead to Echo, whose vocal mimicry can be seen as a mirror of the pantomime’s art, and whose juxtaposition with Narcissus seems emblematic of the body-voice relationship in pantomime. Echo’s desire for Narcissus engages with an existing lyric tradition of depicting the relationship between singing voice and dancing body in erotic terms. In such situations, the desire is fulfilled if the performers are both singing and dancing, uniting body and voice in performance. The thwarted union of Echo and Narcissus, however, embodies instead the dynamics of pantomime: the subordination or absence of the voice in favor of the body, and the connection created between dancer and audience.

After discussing the reasons for Facebook’s popularity among adolescents, we proceed by analyzing the different types of superego and their structure during the great psychic upheaval of this developmental period. The prevalent use of the logic of orality and anality by Facebook causes regression in adolescents and may provoke a de-eroticization or even a desexualization of the Oedipal superego. This puts the cultural and the archaic superegos to the forefront, which may ultimately result in complete avoidance of sexuality, as it is experienced as dangerous. All of these factors may threaten the structuring capacity of the categories of lack and desire.

Abstract This article concentrates on the description of the demise of Echo in the Ovidian narrative of Echo and Narcissus in Metamorphoses 3. I argue that a pun in the line vox tantum atque ossa supersunt (3.398) encapsulates the problem at the heart of the myth: rather than being a reflection on the origins of the echo and the delusion of the senses, the myth of Echo is a meditation on the nature of the voice.

During those first few days, those first few weeks, truth be told, still today, something in me has wanted simply to echo the sentiments of others. That’s because I myself didn’t know exactly what to say and, truth be told, I still don’t know today. But it’s also because others, including and especially some of the people here today, beginning with my co-panelists and, perhaps especially, early on, Leigh Johnson, knew at the time just what had to be said and so expressed so well the sentiments that we all—that I at least—just wanted to echo. Just to echo, that’s what I wanted to do, because by echoing the sentiments of others I would be able to protect myself just a bit longer, I thought, though also, I self-justified, by echoing others I would be able to give back in some way to Pleshette herself, who showed us in her work that Echo does not simply repeat but initiates even when it looks or sounds as if she is not, Echo who gives back even when it sounds as if she has nothing to give, Echo who not only has her own Narcissus but her own narcissism—which Pleshette would have been the first to tell us is not only not a bad thing but a necessary one, and perhaps just what is needed for a new thinking of empathy, of mourning, and, perhaps, as I will try to say, of the ephemeral.

Echo and Narcissus is one of the most famous myths in Western culture. This thesis explores the personal and archetypal significance of the character Echo. Topics addressed are early childhood trauma, affect regulation, borderline personality disorder, the relationship between self and other, and the theory of dialectics. Texts are examined from psychoanalysis, analytical psychology, existential philosophy, interpersonal neurobiology, and behavioral psychology. Using a hermeneutic approach to compare these texts, this paper tracks the archetypal dynamic of Echo and Narcissus over time and across a variety of disciplines. By looking for traces of Echo and Narcissus in multiple contexts, this thesis offers a fresh take on a familiar story.

The myth, Echo and Narcissus, is retold in a modern context in my play Jinx Infinity. The accompanying exegesis examines the techniques I employed in writing this piece with reference also to two other plays I have written from myth. This exploration seeks to determine the fine balance between focusing or relying on the myth and the actuality of writing a dramatic text to be performed on stage by actors in front of a live audience. I was able to divide the results from the examination of my writing process into a ten-step guideline or template. The question of balance is addressed throughout the guidelines but becomes particularly vital in the final step, when the playwright is advised to forget the myth in order to ensure the established principles of playwriting are adhered to. If these principals are present and the essence of the ancient myth is inherent, then the final product should be a successful play containing a universal theme that will translate through the ages.

The aim of my work is to comment on the issue of narcissism, which is marked as an epidemic of our time. Narcissism is mostly psychological phenomenon and its generalization to society is difficult. In my preparatory studies on this topic within sociology, I could not find any solution, that would offer a change of position. In my attempt to achieve this, I went back to the original myth.

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This study proposes to examine the book Echoes: the jewel of Pandora, of the goiana poet Yêda Schmaltz. To do so, she takes as its leitmotif the update, processed in the book, the myths of Echo and Narcissus. The reinvention of classical myths noticed in Echoes is exemplary of an applicant in the work of the author, which is, in the narratives of antiquity, one of the main centers of creation of her literature. In this case, the archetypal mythological women are treated in different and successive books in order to reveal the various stages of psychological growth of women. In Echoes, the character of the same name, unlike the original narrative, overcomes the rejection and beats the challenges of loving relationship. This overcoming causes in the I lyric the reach of the true love, which necessarily involves the development of self, the self-love, only to then distribute it to the others. Considering the development of this study, first of all, there will be a presentation of the author and her literature. Then, as this study includes the upgrade of classical myths in a modern poet, it will present some considerations on myth and on the relationship myth and poetry, seeking, as possible, establish a dialogue between these considerations and poems of the book covered. Finally, the procedure will be to rescue the narrative of Echo and Narcissus, as it appears in Ovid, the recovery of interpretations and theories about the narrative and also to examine, through the comment of paradigmatic poems, recovering the difference that Yêda Schmaltz stablishes about the myths of Echo and Narcissus
Este estudo propõe examinar o livro Ecos: a jóia de Pandora, da poeta goiana Yêda Schmaltz. Para tal, toma como fio condutor a atualização, processada no livro, dos mitos de Eco e Narciso. A reinvenção de mitos clássicos notada em Ecos é exemplar de um processo recorrente na obra da autora, a qual encontra, nas narrativas da Antiguidade, um dos principais núcleos de criação de sua obra. Nesse processo, os arquétipos mitológicos femininos são tratados em diferentes e sucessivos livros, de modo a revelar as diversas etapas do crescimento psicológico da mulher. Em Ecos, a personagem de mesmo nome, diferentemente da narrativa original, supera a rejeição e vence os desafios da relação amorosa. Essa superação faz com que o eu lírico alcance o amor autêntico, que perpassa obrigatoriamente pela valorização de si mesmo, pelo auto-amor, para só em seguida distribuílo aos outros. No desenvolvimento deste estudo, primeiramente, far-se-á uma apresentação da autora e da sua obra. Em seguida, como o trabalho contempla a atualização de mitos clássicos em uma poeta moderna, serão apresentadas algumas considerações sobre mito e sobre a relação mito e poesia, procurando, sempre que possível, estabelecer um diálogo entre essas considerações e poemas do livro contemplado. Por fim, proceder-se-á ao resgate da narrativa de Eco e Narciso, conforme aparece em Ovídio, à recuperação de interpretações e teorias sobre essa narrativa e também ao exame, por meio de comentário de poemas paradigmáticos, da recuperação com diferença que Yêda Schmaltz realiza dos mitos de Eco e Narciso

Lorsque Christoph Willibald Gluck (1714-1787) arrive à Paris à l'automne 1773, onze ans se sont écoulés depuis la création d'Orfeo à Vienne. La rupture avec l'opera seria a été consommée, et le développement des théories de la " réforme " initiées par la collaboration avec Calzabigi s'engage résolument dans la recherche d'un drame européen. Il serait cependant erroné de scinder la carrière du compositeur entre un " avant " et un " après " Orfeo, car l'œuvre de Gluck se définit comme l'épanouissement permanent des premières idées dramatiques appliquées dans ses premiers opéras italiens. Gluck établit sa " réforme " à partir de l'expérience sensible et pratique, questionnant en réalité l'ensemble des genres musicaux européens non pas sur leur légitimité, mais sur ce qu'ils offrent de possibilité d'émancipation. Cette étude s'intéresse aux œuvres françaises dans ce qu'elles développent d'autonomie et d'épanouissement musicaux à partir, étonnamment, du recul pris par rapport à l'indépendance de la musique, et grâce aussi à l'émergence dans l'Europe des Lumières d'une esthétique fondée sur la réunion et la liaison entre les arts. Il s'agit de proposer une contribution à l'étude musicale des dernières partitions certes prises comme autant d'éléments du langage gluckiste, mais également envisagées à partir des suggestions originelles des premières œuvres et, dans la mesure du possible, face aux discussions et polémiques sur la musique et l'opéra de l'époque. Les drames parisiens élucident dès lors le concept de langage universel dont le compositeur se réclame lui-même.

Hierdie studie bevestig dat die Metamorphoses verskeie temas bevat wat soms nou met mekaar verweef is. Die intratekstuele analise toon duidelik aan dat, alhoewel die genre van die Metamorphoses oorwegend dié van die epos is, die bestudeerde episode van Echo en Narcissus deurentyd baie sterk ooreenkomste openbaar met die liefdeselegie, die genre waardeur Ovidius aanvanklik bekendheid verwerf het. (Croally & Hyde 2011: 299) Soos verwag, toon hierdie analise aan dat liefde een van die grootste temas van hierdie narratief in Metamorphoses 3.339–510 uitmaak. Verwerping, verlies aan liefde en dood maak egter ook ander groot temas in die narratief uit. Die liefdesvuur wat begin deur die aanskouing (videre) van die karakter se liefdesvoorwerp, loop ten slotte, ná ’n proses van verlies en lyding, op die dood uit. Die intertekstuele analise toon dat daar met Barsby (1978: 35) en Luce (1982: 802) saamgestem kan word dat Ovidius uiters simpatiek met sy karakters omgaan. Dit geld wanneer hulle die gevare en geheimenisse van die liefde in die gesig staar, en veral waar sy karakters met die onsekerhede van adolessensie te doen kry. Wat boonop opval, is die feit dat, van al die outeurs wat die Narcissusverhaal beskryf, dit slegs Ovidius is wat simpatie met die seun en sy fisieke en emosionele lyding toon, selfs ná alles wat hy ander aangedoen het. Die ekstratekstuele analise bevestig die gevolgtrekking van die intratekstuele analise wat aandui dat die temas in hierdie narratief, naamlik identiteit, liefde, verlies en dood, baie nou met mekaar in verband staan. Verder toon die ekstratekstuele analise aan dat hierdie konsepte as’t ware die verskillende dele of stadiums van ’n bose en vernietigende proses uitmaak. Een van die sleutelgevolgtrekkings in hierdie twee analises is dat copia in hierdie narratief in die Metamorphoses 3.339–510 staan vir die karakter se ‘self’, en dus vir sy of haar identiteit. Met dít in gedagte, toon die studie dat die voorgestelde hipotese wel bewys is, nl.: Indien daar in die geval van liefde ’n wanbalans tussen die karakter se ‘self’ en die ‘ander’ ontstaan, veroorsaak die verwerping en/of verlies van/aan liefde (of die karakter se liefdesvoorwerp), ’n verlies van die karakter se identiteit. Uit die studie kan dit só verduidelik word: Die wanbalans tussen die karakter se ‘self’ en die ‘ander’veroorsaak dat die karakter sy/haar ‘self’ heeltemal aan die ‘ander’ koppel, met die gevolg dat die karakter se ‘self’ hom aan die ‘ander’ of liefdesvoorwerp (hetsy dit ’n werklike persoon soos Echo, of die illusie van ’n weerkaatsende beeld is) oorgee en dit nie meer besit nie. Indien hierdie oorgawe van die karakter se ‘self’/identiteit onbeantwoord bly of verwerp word, veroorsaak dit ’n onomkeerbare verlies van die karakter se ‘self’ en verloor hy of sy sy of haar identiteit. Hierdie verlies van die ‘self’ of identiteit van die karakter veroorsaak ’n intens melancholiese lewenswyse wat die karakter van alle lewenlus ontneem. Die karakter in hierdie toestand wend gevolglik geen poging aan om hom/haarself te red nie en aanvaar die dood as die enigste oorblywende uitweg. Nadat hierdie besluit van passiewe selfmoord geneem is, verloor die karakter sy/haar liggaam en menslike bestaan. Sleutelterme: Liefde, verwerping, verlies, Ovidius, Metamorphoses, identiteit, self, ander, Echo, Narcissus, mite, verhaal, illusie
This study confirms that the Metamorphoses contains themes which are often tightly woven together. The intratextual study indicates that, although the genre of the Metamorphoses is mainly that of the epic, the episode of Echo and Narcissus investigated consistently shows strong similarities to the love elegy , the genre that originally established Ovid’s poetic renown (Croally & Hyde 2011: 299). As anticipated, this analysis shows that love constitutes one of the important themes of this narrative in Metamorphoses 3.339–510. Rejection and loss of love are also among the major themes, as is death. The fire of love which begins at the seeing (videre) of the character’s object of love ultimately, after a process of loss and suffering, culminates in death. The intertextual analysis confirms the views of Barsby (1978: 35) and Luce (1982: 802) that Ovid treats his characters with the utmost sympathy when they face the dangers and mysteries of love, and especially touching the uncertainties of adolescence. One of the highlights of this analysis is the revelation that Ovid is the only one of the Narcissus poets who sympathises with the boy and his physical and emotional suffering, despite everything he has done to others. The extratextual analysis confirms the findings of the intratextual analysis, which demonstrates that the themes of this narrative, namely identity, love, loss and death, are closely related to each other, and that this concept in fact constitutes the various parts or stages of an evil and destructive process. One of the key findings in these two analyses is that copia stands for the character’s ‘self’ and thus for his or her identity. With this in mind, the study shows that the proposed hypothesis is proven, namely: Regarding love, if an imbalance occurs between the character’s ‘self’ and the ‘other’, the rejection and/or loss of love (or the character’s love object), causes loss of the character’s identity. The study explains this phenomenon as follows: The imbalance between the character’s ‘self’ and ‘other’ leads the character to transfer his/her ‘self’ wholly to the ‘other’, resulting in the character’s ‘self’ being surrendered to the ‘other’ or love object (whether this is a real and existing person like Echo, or an illusion created by a reflected image), and the ‘self’ no longer owns it. If this surrender of the character’s ‘self’/identity is unrequited or is rejected, it causes an irreversible loss of the character’s ‘self’ and he/she loses his/her identity. This loss of the ‘self’ or identity of the character causes an intensely melancholic lifestyle which deprives the character of all vitality. In this condition the character refuses to take any action to save him/herself, and accepts death as the only remaining refuge. Once ‘passive suicide’ has been decided on, the character loses his/her body and human existence, i.e. dies.
Dissertation (MA)--University of Pretoria, 2015.
tm2015
Ancient Languages
MA
Unrestricted

Dissertação de Mestrado apresentada ao Instituto Superior de Psicologia Aplicada para obtenção de grau de Mestre na especialidade de Psicologia Clínica.
Num lugar não menos importante que o de uma psicoterapia, reside o trabalho que se realiza no sentido de melhorá-la, modificá-la, superá-la. O campo da investigação torna-se assim um lugar cada vez mais comum e necessário na psicoterapia. São vários os autores que concordam que nas últimas décadas tem havido um acentuado aumento do interesse e consequentemente de investigações no ramo da psicoterapia. Como por exemplo, Strupp e Howard, que referem que a partir dos anos setenda, pudemos verificar que houve um período de boom em investigação (Leal, 2005), Ruiz, Bland, Pi & Zuleta, (2005), referem que nas últimas duas, três décadas, se verificou um aumento geral na área da investigação em psicologia e da psiquiatria, aumento este explicado pelos autores como reflexo de uma extensiva globalização. Mais adiante faremos uma exposição um pouco mais alargada acerca do início e percurso da investigação nesta área.
In a position as important as psychotherapy lies the work of improving, changing and overcoming it. Thus, the field of Research becomes a necessary common place in psychotherapy. Several authors agree that in the most recent decades there has been a sharp increase of interest in Psychotherapy therefore Research on this field as seen a new growth. For example, Strupp and Howard refer that from the 70’s forward, a boom period occurred in investigation. (Leal, 2005), Ruiz, Bland, Pi & Zuleta (2005) refer that in the last two / three decades, a general increase of research in the area of psychology and psychiatry occurred. The author describes this phenomenon as a reflection of an extensive globalization. Further ahead a larger exposure will be done about the beginning and development of investigation in this area.

Chapter Two searches for a mode of reading that might repair the sonorous after-life, or echoes, of racism in narrative and text. Echo is defined by slap-back, or a doubling. This doubling locates, as a counterpart to the Freudian subject (the ego ideal), a “voice ideal.” It is defined by the melancholy of race in relation to foreign traces, colonial accent, and slurs. The instantiating case of the study is Conrad’s third novel, The Nigger of the “Narcissus”, but as a counterpart to psychoanalysis in Sigmund Freud’s “On Narcissism” and Frantz Fanon’s “The Fact of Blackness.” The chapter concludes with William Faulkner’s intensive engagement with Conrad in The Sound and the Fury, as it amounts to Faulkner finding his “voice” as a writer of the American South through the echo of Conrad’s racial melancholy.

There was a costume ball at the Saccards’ on Thursday in mid-Lent. The great event of the evening was the drama, The Loves of Narcissus and Echo,* in three tableaux, which was to be performed by the ladies. The author...