Relevant bibliographies by topics / Psychoanalysis in fiction

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  1. Journal articles
  2. Dissertations / Theses
  3. Books
  4. Book chapters

Academic literature on the topic 'Psychoanalysis in fiction'

Author: Grafiati
Published: 4 June 2021
Last updated: 31 January 2023

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Journal articles on the topic "Psychoanalysis in fiction"

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Francis, Samuel. "‘A Marriage of Freud and Euclid’: Psychotic Epistemology in The Atrocity Exhibition and Crash." Humanities 8, no. 2 (May 14, 2019): 93. http://dx.doi.org/10.3390/h8020093.

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The writings of J.G. Ballard respond to the sciences in multiple ways; as such his (early) writing may productively be discussed as science fiction. However, the theoretical discipline to which he publicly signalled most allegiance, psychoanalysis, is one whose status in relation to science is highly contested and complex. In the 1960s Ballard signalled publicly in his non-fiction writing a belief in psychoanalysis as a science, a position in keeping with psychoanalysis’ contemporary status as the predominant psychological paradigm. Various early Ballard stories enact psychoanalytic theories, while the novel usually read as his serious debut, The Drowned World, aligns itself allusively with an oft-cited depiction by Freud of the revelatory and paradigm-changing nature of the psychoanalytic project. Ballard’s enthusiastic embrace of psychoanalysis in his early 1960s fiction mutated into a fascinatingly delirious vision in some of his most experimental work of the late 1960s and early 1970s of a fusion of psychoanalysis with the mathematical sciences. This paper explores how this ‘Marriage of Freud and Euclid’ is played out in its most systematic form in The Atrocity Exhibition and its successor Crash. By his late career Ballard was acknowledging problems raised over psychoanalysis’ scientific status in the positivist critique of Karl Popper and the work of various combatants in the ‘Freud Wars’ of the 1990s; Ballard at this stage seemed to move towards agreement with interpretations of Freud as a literary or philosophical figure. However, despite making pronouncements reflecting changes in dominant cultural appraisals of Freud, Ballard continued in his later writings to extrapolate the fictive and interpretative possibilities of Freudian and post-Freudian ideas. This article attempts to develop a deeper understanding of Ballard’s ‘scientific’ deployment of psychoanalysis in The Atrocity Exhibition and Crash within the context of a more fully culturally-situated understanding of psychoanalysis’ relationship to science, and thereby to create new possibilities for understanding the meanings of Ballard’s writing within culture at large.
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Ahlskog, Gary R. "The Paradox of Pastoral Psychotherapy." Journal of Pastoral Care 41, no. 4 (December 1987): 311–18. http://dx.doi.org/10.1177/002234098704100404.

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Explores critically the position that psychoanalysis is a suitable psychological framework or fiction for doing pastoral psychotherapy, particularly in view of the phenomenon of transference as it is understood in psychoanalytic psychotherapy. Uses the definition of pastoral psychotherapy as offered by C. Schlauch to draw out the paradox implicit in the pastoral psychotherapy/psychoanalytic psychotherapy association.
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Parker, Ian. "Psychology, Science Fiction and Postmodern Space." South African Journal of Psychology 26, no. 3 (September 1996): 143–49. http://dx.doi.org/10.1177/008124639602600303.

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This article traces the development of postmodern spaces in psychology and its wider culture through a consideration of new forms of virtual reality represented in science fiction writing. Psychology is a thoroughly modern discipline which rests upon the fantasy of observing behaviour directly. Recently, however, postmodern debates in the discipline have drawn attention to the construction of behaviour and experience in language organized through discourse. A correlative shift toward a postmodern sensitivity to language has also occurred in the neighbouring discipline of psychoanalysis, and discourse analysis thus provides the opportunity to link these two hitherto divided approaches to subjectivity. It is argued that discourse analysis combined with psychoanalysis can be employed to comprehend changes in culture which are anticipated and expressed in science fiction. Psychoanalytic theory is used alongside discourse analysis to read the film Total Recall and stories by Philip K. Dick. The analytic device of the ‘discursive complex’ is used to draw out patterns of meaning that structure the text. It is argued that this form of analysis is particularly appropriate to the subject matter, and to the new forms of subjectivity that necessarily escape the gaze of modern psychology. Virtual reality understood by way of a psychoanalytic discourse reading is able to make explicit the forms of subjectivity that inhabit varieties of postmodern space.
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Kidd, William, and Daniel Gunn. "Psychoanalysis and Fiction: An Exploration of Literary and Psychoanalytic Borders." Modern Language Review 87, no. 4 (October 1992): 911. http://dx.doi.org/10.2307/3731430.

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Bradbury, Nicola, Daniel Gunn, and Brian Rosebury. "Psychoanalysis and Fiction: An Exploration of Literary and Psychoanalytic Borders." Yearbook of English Studies 20 (1990): 362. http://dx.doi.org/10.2307/3507641.

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Rudnytsky, Peter L., and Daniel Gunn. "Psychoanalysis and Fiction: An Exploration of Literary and Psychoanalytic Borders." World Literature Today 64, no. 1 (1990): 203. http://dx.doi.org/10.2307/40146100.

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7

Sey, J. "Psychoanalysis, science fiction and cyborgianism." Literator 17, no. 2 (April 30, 1996): 105–16. http://dx.doi.org/10.4102/lit.v17i2.607.

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Central to this paper is the understanding that much of crucial importance to psychoanalytic thought rests on a conception of the subject as inseparable from a history of the body a history in turn inseparable from the central tenets of Oedipus, in its turn a concept which originates in and is illustrated by literature. The paper will suggest that when recent cultural theorists, drawing on the implications of cybernetics and infoculture theory, contest the psychoanalytic notion of the subject, it is not surprising that they do so in terms of the possibility of an alternative body - a hybrid form of subjectivity between human and machine. Nor, the paper suggests, is it surprising that it should be science fiction, a genre with a long-standing concern with the possibility of such an amalgam, which supplies the key evidence for a post-oedipal theory of this "cyborg" subject. The paper concludes by speculating on the productivity of the conjunction between literature and thinking about the body, inasmuch as this conjunction attempts to establish a new anthropology of the self.
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Ellmann, Maud. "‘Vaccies Go Home!’: Evacuation, Psychoanalysis and Fiction in World War II Britain." Oxford Literary Review 38, no. 2 (December 2016): 240–61. http://dx.doi.org/10.3366/olr.2016.0194.

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On September 1 1939 the British government launched a program ominously codenamed Operation Pied Piper, whereby thousands of children were evacuated from the cities to the countryside. This operation brought class conflict into the foreground, laying bare the drastic inequalities of British society, but also provided the foundations for the development of child psychoanalysis. This essay examines the impact of the evacuation crisis on psychoanalytic theories of the child, comparing these to the depiction of children in wartime fiction.
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Milesi, Laurent. "Cixanalyses — Towards a Reading of Anankè." Paragraph 36, no. 2 (July 2013): 286–302. http://dx.doi.org/10.3366/para.2013.0093.

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The first in-depth engagement with and close reading of Anankè, this essay focuses on how Cixous's novel plays with and rewrites psychoanalytic concepts and practices. The critical elaboration of her own ‘cixanalysis’ in this fiction-as-becoming and journey, which reinvents psychoanalysis as it gives free creative rein to woman's desire instead of pathologizing it, unfolds in six related studies: on ‘conduct’ (about autonomy, automobile and behaviour), ‘habit’ (as well as habitation and clothing), staging (about the relation between analysis and the theatrical), transference and/as translation, the interpretation of interpretation (also on telephones), and the shift from drive to drift in Cixous's fictional liberation of woman from destiny and destination.
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Hocks, Richard A. "The James Family: Psychoanalysis and Fiction." Henry James Review 10, no. 2 (1989): 77–81. http://dx.doi.org/10.1353/hjr.2010.0393.

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Dissertations / Theses on the topic "Psychoanalysis in fiction"

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Al, Jomaa Mervat. "Re-mapping adolescence : psychoanalysis and narrative in young adult fiction." Thesis, University of Sheffield, 2009. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.715720.

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Szollosy, Michael. "Surviving our paradoxes : the psychoanalysis and literature of uncertainty." Thesis, University of Sheffield, 2003. http://etheses.whiterose.ac.uk/3440/.

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This thesis explores the importance of tolerating and facilitating uncertainty as it is recognised by British Independent and Kfeinian psychoanalysis and contemporary British magic realist fiction. In Part I, I offer some theoretical investigations, arguing that postmodem and some psychoanalytic discourses, namely Lacanian psychostructuralism, remarkably fail to address the challenges facing subjects in late- twentieth, early twenty-first century consumer culture. In their inability to tolerate paradoxes and uncertainty, these discourses objectify the subject, through processes of depersonalisation, derealisation and desubjectification. To redress these problems, I offer the work of British psychoanalysts, specifically, that of D. W. Winnicott and Melanie Klein and her followers. These perspectives, I argue, better serve the contemporary subject by recognising the importance of paradox and helping develop facilitating environments for the realisation of creative experience. In Part II, I examine how the play of paradox is fostered in contemporary British magic realist fiction. Specifically, I look at how these narrative strategies attempt to move away from the vicissitudes of internal and external, certainty and uncertainty, reason and unreason, to negotiate a Winnicottian third, potential space. The conceptualisation of such a space, I believe, offers a place from which we can begin to dialogue, to draw ourselves out of the oppositional dialectics that have plagued the bourgeois subject. I believe that in the novels of writers such as Jeanette Winterson, Joanne Harris, John Fowles, John Murray and, most especially, Angela Carter, we can find alternatives to bourgeois conceptions of reason and rationality, alternatives that are not based on the paranoid-schizoid, primitive processes and depersonalisation necessitated by the Enlightenment and capitalism but instead upon, in Kleinian terms, depressive ambivalence and the recognition of whole-objects.
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Hills, Matthew. "The dialectic of value : the sociology and psychoanalysis of cult media." Thesis, University of Sussex, 1999. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.298675.

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Lloyd, da Silva Mary C. "Self and (m)other in Patrick White's fiction : an object relations approach." Thesis, Edith Cowan University, Research Online, Perth, Western Australia, 1995. https://ro.ecu.edu.au/theses/1178.

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This thesis offers a new interpretation of Patrick White's novels, using Object Relations psychology. Object Relations psychology differs from Freudian psychology in that it shifts the focus of attention from notions of the Oedipal conflict and repression to issues of nurturing and relationships. This study charts the development of the Whitean protagonist across a selection of novels. The focus of my thesis is White's developing protagonist, and no attempt is made to offer a psychological profile of Patrick White himself. The thesis first surveys a representative sampling of existing critical material. It then defines the theoretical framework of the study and, finally, it applies this framework to the novels.
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Nicholls, B. L. "Languages of the body and the body of language : a comparative analysis of two beat writers and two Southern African writers." Thesis, University of Essex, 2001. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.343547.

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Paulsson, Ebba. "An Alternative History of Psychoanalysis: Fact and Fiction in Irvin D. Yalom’s When Nietzsche Wept." Thesis, Karlstads universitet, Institutionen för språk, litteratur och interkultur, 2017. http://urn.kb.se/resolve?urn=urn:nbn:se:kau:diva-57092.

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This essay provides an analysis of the novel When Nietzsche Wept written by Irvin D. Yalom. The novel takes place during the late eighteen hundred century in Vienna and throughout this essay I explore how Yalom has created a setting, where he has placed some of most prominent philosophers of this time in his fictional world in order to educate the reader about the birth of psychoanalysis and give an alternative version to how it emerged. I argue that Yalom manages to implement different original theories in connection to psychoanalysis to show how the ideas circulating at that point in history contributed to the development of psychoanalysis. The essay compares the original theories of Freud, Breuer and Nietzsche to those brought forward by the characters and illustrates the similarities in order to support Yalom´s alternative version. In conclusion, this essay demonstrates how Yalom has created an alternative version of the development of psychoanalysis by blending original theories with fictive events in order to show how psychoanalysis was a zeitgeist of its time and had more than one founding father.
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Tym, Linda Dawn. "Forms of memory in late twentieth and twenty-first century Scottish fiction." Thesis, University of Edinburgh, 2011. http://hdl.handle.net/1842/5551.

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According to Pierre Nora, “[m]emory and history, far from being synonymous, appear now to be in fundamental opposition”. Drawing on theories of memory and psychoanalysis, my thesis examines the role of memory as a narrative of the past in late twentieth-century and twenty-first-century Scottish literature. I challenge Nora’s supposition that memory and history are fundamentally opposed and I argue that modern Scottish literature uses a variety of forms of memory to interrogate traditional forms of history. In my Introduction, I set the paradigms for my investigation of memory. I examine the perceived paradox in Scottish literature between memory and history as appropriate ways to depict the past. Tracing the origins of this debate to the work of Walter Scott, I argue that he sets the precedent for writers of modernity, where the concerns are amplified in late twentieth and twenty-first century literature and criticism. While literary criticism, such as the work of Cairns Craig and Eleanor Bell, studies the trope of history, Scottish fiction, such as the writing of Alasdair Gray, James Robertson, and John Burnside, asserts the position of memory as a useful way of studying the past. Chapter One examines the transmission of memory. Using George Mackay Brown’s Greenvoe, I consider the implications of three methods of transferring memory. Mrs McKee’s refusal to disclose her experience indicates a refusal to mourn loss and to transmit memory. Skarf’s revision of historical narratives indicates a desire to share experience. The Mystery of the Ancient Horsemen demonstrates the use of ritual in the preservation and the communication of the past for future generations. Chapter Two studies the Gothic fiction of Emma Tennant and Elspeth Barker. I examine sensory experience as indicative of the interior and non-linear structure of memory. I argue that the refusal to accept personal and familial loss reveals problematic forms of memory. Chapter Three traces unacknowledged memory in Alice Thompson’s Pharos. I use Nicolas Abraham’s theory of the transgenerational phantom to consider the effects of this undisclosed memory. I argue that the past and its deliberate suppression haunt future generations. Chapter Four considers the use of nostalgia as a form of memory. I investigate the perceptions and definitions of nostalgia, particularly its use as a representation of the Scottish national past. Using Neil Gunn’s Highland River, I identify nostalgia’s diverse functions. I examine nostalgia as a way in which, through the Scottish diaspora, memory is transferred and exhibited beyond national boundaries. Chapter Five builds on the previous chapter and extends the analysis of the ways nostalgia functions. I study nostalgia’s manifestations in the diasporic Scottish-Canadian literature of Sara Jeanette Duncan, John Buchan, Eric McCormack, and Alastair MacLeod.
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Tripp, Sarah. "Making people up." Thesis, University of Edinburgh, 2017. http://hdl.handle.net/1842/22044.

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This thesis is a process of writing characters using a cyclical methodology to turn the writer into a reader of their own work, then back into a writer again. The components of this thesis both practice and propose writing as research and develop a concept of character that is ‘relational’. Taking Donald Barthelme’s assertion, ‘Writing is a process of dealing with not-knowing, a forcing of what and how,’ this thesis is attentive to the uncertainty of process: a process that has accreted knowledge in the form of characters and methods. Making People Up is chronologically structured in order to make visible how its form was discovered through practice. The first component is a book of character studies You are of vital importance written in the first year of the PhD. This is followed by a reflective manuscript of essays which use a method of redescription to render a generative moment between the completion of one book and the beginning of the next. The third component is a second book Social Script which is a character study and a conclusion to the thesis. Building on Adam Phillips’ assertion, ‘Being misrepresented is simply being presented with a version of ourselves – an invention – that we cannot agree with. But we are daunted by other people making us up, by the number of people we seem to be,’ this thesis starts from the premise that in the everyday we make each other up and then goes on to use the form of the character study to explore unresolvable tensions around this process. Building four parallel propositions: that character is fiction; that a relational concept of character is a critique of the extent to which we can know each other; that constituting the writer as a reader of their own characters renders a generative moment and critical reflection; that oscillating the proximity to and distance from a character provokes you, the reader, to imagine character as a relationally contingent concept. The thesis will draw on key concepts by Christopher Bollas and Adam Phillips, literary discourse on character, reader-response criticism and a selection of literary and artistic works that have informed this process of writing characters. Research Questions: 1. Does a relational concept of character critique claims to ‘know’ each other? 2. Does replacing interpretation with redescription make a reflective methodology critical and generative? 3. What kind of narrative structure will constitute a ‘relational’ character study?
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Faber, Liz W. "From Star Trek to Siri: (Dis)Embodied Gender and the Acousmatic Computer in Science Fiction Film and Television." OpenSIUC, 2013. https://opensiuc.lib.siu.edu/dissertations/731.

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Recent advancements in voice-interactive technology such as Apple's Siri application, IBM's Watson, and Google's Now are not just the products of innovative computer scientists; they have been directly influenced by fictional technology. Computer scientists and programmers have openly drawn inspiration from Science Fiction texts such as Gene Roddenberry's television show Star Trek and Stanley Kubrick's 1968 2001: A Space Odyssey in order to create more effective voice-interactive programs. Such comparisons between present-day technology and past Science Fiction (hereafter, Sci-Fi) texts are even more apt than computer scientists seem to have intended; not only are Watson, Siri, and Now real-world versions of fictional computers, but each of them also hides the ways in which the computer is implicitly embodied and gendered by its voice. Real and fictional computers alike are generally voiced by a human: the Star Trek computer by Majel Barrett; Hal-9000 by Douglas Rain; and Watson by Jeff Woodman. Mysteriously, both Apple and Google have worked hard to hide the vocal origins of Siri and Now respectively. But the question remains: why do these programs even have gendered voices? In particular, why is Siri--the digital equivalent of a secretary--female? And why hide their voices' corporeal origins? Aside from technological inspiration, how have the underlying ideological gender assumptions in Sci-Fi texts like 2001 and Star Trek influenced the creation of such programs? What does the fact of the shift from Sci-Fi representations to scientific innovation reveal about the perpetuation of ideological assumptions about gender roles? How do other representations of computer voices confirm or problematize the gendering of computer voices? In this dissertation, I seek to answer these questions by examining the historical, theoretical, and aesthetic trace of the computer voice from Star Trek in 1966 to Siri in 2013. The voice-interactive computer, I argue, may be understood as a paradoxically acousmatic character: a disembodied voice that is simultaneously embodied through non-humanoid computer-objects. Through psychoanalytic interpretations, historical contextualizations, and transtextual considerations, I show how representations of acousmatic computers are positioned within narrative texts as gendered subjects, playing out particular gender roles that are situated within each text's historical context. I attend to the textual problem of location in Sci-Fi by dividing the analyses into two categories: extra-terrestrial and terrestrial. This division is important in understanding the roles of voice-interactive computers, as spaceships provide a uniquely different environment than terrestrial structures such as houses, office buildings, or prisons. Further, spaceships always already imply a womb-like habitat, a mothership that controls and maintains all aspects of the life forms within it; terrestrial computers, on the other hand, tend to connote varying gendered subjectivities and anxieties within historical contexts of technological innovation and cultural change. In this first part, I focus on extra-terrestrial voice-interactive computers in Star Trek (Paramount, 1966-1969), 2001: A Space Odyssey (Stanley Kubrick, 1968), Dark Star (John Carpenter, 1974), Quark (NBC, 1977-1978), Star Trek: The Next Generation (Paramount, 1987-1994), and Moon (Duncan Jones, 2010). In the second part, I examine terrestrial computers; these computers may be further divided into two, gendered subsections of masculine and feminine functions. The texts featuring masculine-voiced computers tend to act as the son to their programmer/creator fathers or, conversely, as all-knowing fathers, thereby reinforcing patriarchal rule. These films, Colossus: The Forbin Project (Joseph Sargent, 1970), THX 1138 (George Lucas, 1971), Rollerball (Norman Jewison, 1975), and Demon Seed (Donald Cammell, 1977), narrativize cultural and business struggles in the 1970s surrounding militarization and corporatization. I then examine the films of the early 1980s, TRON (Steven Lisberger, 1982) and Electric Dreams (Steven Barron, 1984), that express a rapidly-changing cultural conception of computers, set in narratives of homosocial struggle. And finally, I discuss computers in the 1990s and 2000s that serve in domestic roles, particularly those texts that feature domestic spaces run by female-voiced computers or, literally, house-wives. These texts, Fortress (Stuart Gordon, 1992), Smart House (LeVar Burton, 1999), and Eureka (SyFy, 2006-2012), position computers as replacements for human women who are absent from the home. Additionally, I examine two texts that feature male servants--Demon Seed (an anomaly among representations of domestic servitude) and Iron Man (Jon Favreau, 2008). I then return to Siri by examining representations of her programming, voice, and body in popular culture. By thus exploring the representations of gendered acousmatic computers within the context of computer history and changing gender norms, I self-reflexively examine how artificial intelligence may be presented in a gendered context, and how this may reflect changing notions of gender in digital culture.
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Jazdauskas, Gintautas. "Beprotybė Sylvijos Plath ir Virginijos Woolf romanuose: psichoanalitinis aspektas." Bachelor's thesis, Lithuanian Academic Libraries Network (LABT), 2013. http://vddb.laba.lt/obj/LT-eLABa-0001:E.02~2013~D_20130801_160711-34247.

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Bakalauro darbo objektas – beprotybė Syvlijos Plath ir Virginijos Woolf romanuose. Darbo tikslas – išnagrinėti romanus psichoanalitiniu aspektu ir charakterizuoti personažų beprotybę. Tikslui pasiekti buvo iškelti šie uždaviniai: 1) ištirti beprotybės sąvoką literatūroje; 2) išnagrinėti beprotybės sąvoką psichoanalitinėje teorijoje; 3) išnagrinėti romanus psichoanalitiniu aspektu ir charakterizuoti juose vaizduojamą beprotybę. Bakalauro darbo metodologiją sudaro: 1) beprotybės literatūroje bei psichoanalizėje teorinės medžiagos tyrimas; 2) psichoanalitinė kritika kaip pagrindinis analizės metodas ir psichoanalitinis beprotybės romanuose konceptualizavimas; 3) tarpdiscipliniškumas kaip psichoanalitinio diskurso bei teorijos naudojimo literatūroje pagrindas, kuriuo remiantis pritaikomas Julijos Thompson Klein „kryžminio-apvaisinimo“ metodas. Šiame darbe beprotybė yra nagrinėjama literatūriniu (teorijos) ir psichoanalitiniu aspektu pasitelkiant Jaqueso Lakano teorijas bei sąvokas. Psichoanalitinei analizei buvo pasirinkti Silvijos Plath „Stiklo gaubtas“ (1963) ir Virginijos Woolf „Ponia Dalolvei“ (1925) romanai.
Madness in novels by Sylvia Plath and Virginia Woolf is the object of the Bachelor Thesis. Sources of the research are S. Plath’s novel The Bell Jar and V. Woolf’s novel Mrs Dalloway. The aim of the present research is to carry out psychoanalytical research of the novels in order to characterize madness. In order to achieve the aim the following objectives have been set: 1) to investigate the concept of madness in fiction; 2) to explore the psychoanalytic approach theory of psychoanalysis and madness; 3) to perform a psychoanalytic research of the novels in relation to madness. The methodology applied in the present Thesis included: 1) theoretical analysis in order to research views on madness both form literary and psychoanalytical aspects; 2) psychoanalytical criticism as the main method of analysis and psychoanalytic conceptualization of madness; 3) interdiciplinarity that enabled incorporation of psychoanalytic theories into the analysis employing the Cross-Fertilization method presented by Julie Thompson Klein. In the Bachelor Thesis madness is investigated both from the literary (theory) standpoint and from the aspect of psychoanalysis by incorporating concepts and theories coined by Jaques Lacan. For practical analysis, S. Plath’s “The Bell Jar” (1963) and V. Woolf’s “Mrs Dalloway” (1925) were chosen. In the course of the research the scientific literature in relation to madness in fiction, psychoanalysis and madness in psychoanalysis of J. Lacan, were studied and... [to full text]
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Books on the topic "Psychoanalysis in fiction"

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Gunn, Daniel. Psychoanalysis and fiction: An exploration of literary and psychoanalytic borders. Cambridge, England: Cambridge University Press, 1988.

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Verstraten, Peter. Dutch Post-war Fiction Film through a Lens of Psychoanalysis. NL Amsterdam: Amsterdam University Press, 2021. http://dx.doi.org/10.5117/9789463725330.

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Dutch Post-war Fiction Film through a Lens of Psychoanalysis is a sequel to Humour and Irony in Dutch Post-war Fiction Film (AUP, 2016), but the two studies can be read separately. Because of the sheer variety of Fons Rademakers’ oeuvre, which spans ‘art’ cinema and cult, genre film and historical epics, each chapter will start with one of his titles to introduce a key concept from psychoanalysis. It is an oft-voiced claim that Dutch cinema strongly adheres to realism, but this idea is put into perspective by using psychoanalytic theories on desire and fantasy. In the vein of cinephilia, this study brings together canonical titles (Als twee druppels water; Soldaat van Oranje) and little gems (Monsieur Hawarden; Kracht). It juxtaposes among others Gluckauf and De vliegende Hollander (on father figures); Flanagan and Spoorloos (on rabbles and heroes); De aanslag and Leedvermaak (on historical traumas); and Antonia and Bluebird (on aphanisis).
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Hillman, James. Healing fiction. Woodstock: Spring Publications, 1995.

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Healing fiction. Dallas: Spring Publications, 1994.

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Jovanović, Nebojša. Biti jedno. Beograd: Narodna knjiga, 2002.

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Hide and seek: The child between psychoanalysis and fiction. Urbana: University of Illinois Press, 1995.

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Abel, Elizabeth. Virginia Woolf and the fictions of psychoanalysis. Chicago: University of Chicago Press, 1989.

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Abel, Elizabeth. Virginia Woolf and the fictions of psychoanalysis. Chicago: University of Chicago Press, 1989.

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Rutar, Dušan. Freudovi duhovi 2: Filozof proti kapitalizmu. Ljubljana: Vitrum, 1997.

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Danon-Boileau, Laurent. Du texte littéraire à l'acte de fiction: Lectures linguistiques et réflexions psychanalytiques. Paris: Ophrys, 1995.

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Book chapters on the topic "Psychoanalysis in fiction"

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Pyrhönen, Heta. "Psychoanalysis." In The Routledge Companion to Crime Fiction, 129–37. Abingdon, Oxon; New York, NY: Routledge, 2020.: Routledge, 2020. http://dx.doi.org/10.4324/9780429453342-16.

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Rizq, Rosemary. "Psychoanalysis and ways of reading." In From Fiction to Psychoanalysis, 56–74. London: Routledge, 2022. http://dx.doi.org/10.4324/9781003325468-4.

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Rizq, Rosemary. "On food, faith and psychoanalysis." In From Fiction to Psychoanalysis, 92–109. London: Routledge, 2022. http://dx.doi.org/10.4324/9781003325468-6.

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Rizq, Rosemary. "Copying, cloning and creativity." In From Fiction to Psychoanalysis, 21–37. London: Routledge, 2022. http://dx.doi.org/10.4324/9781003325468-2.

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Rizq, Rosemary. "Epistemologies of the particular." In From Fiction to Psychoanalysis, 75–91. London: Routledge, 2022. http://dx.doi.org/10.4324/9781003325468-5.

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Rizq, Rosemary. "The wager of faith in fiction and psychoanalysis." In From Fiction to Psychoanalysis, 38–55. London: Routledge, 2022. http://dx.doi.org/10.4324/9781003325468-3.

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Rizq, Rosemary. "‘Familiar artifice’." In From Fiction to Psychoanalysis, 110–31. London: Routledge, 2022. http://dx.doi.org/10.4324/9781003325468-7.

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Rizq, Rosemary. "Introduction." In From Fiction to Psychoanalysis, 1–20. London: Routledge, 2022. http://dx.doi.org/10.4324/9781003325468-1.

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Vernay, Jean-François. "The Symbiosis of Psychoanalysis and Fiction." In The Seduction of Fiction, 29–37. Cham: Springer International Publishing, 2016. http://dx.doi.org/10.1007/978-3-319-39453-4_5.

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Cixous, Hélène. "Fiction and its Phantoms: A Reading of Freud’s “Das Unheimliche” (The “uncanny”)." In Literature in Psychoanalysis, 84–96. London: Macmillan Education UK, 2005. http://dx.doi.org/10.1007/978-0-230-21354-8_6.

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