Relevant bibliographies by topics / Tausk, Victor, in fiction

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

Academic literature on the topic 'Tausk, Victor, in fiction'

Author: Grafiati
Published: 4 June 2021
Last updated: 1 February 2022

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Journal articles on the topic "Tausk, Victor, in fiction"

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Arce Ross, German. "Le suicide maniaque de Victor Tausk." Cliniques méditerranéennes 66, no. 2 (2002): 155. http://dx.doi.org/10.3917/cm.066.0155.

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Dorgeuille, Claude. "À propos du texte de Victor Tausk." La revue lacanienne 4, no. 4 (2007): 119. http://dx.doi.org/10.3917/lrl.074.0119.

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Tréhel, Gilles. "Victor Tausk (1879-1919) et la médecine militaire." L'information psychiatrique 82, no. 3 (2006): 239. http://dx.doi.org/10.3917/inpsy.8203.0239.

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Oliveira, Luiz Eduardo Prado de. "O inconsciente freudiano entre Lou-Andréas Salomé e Victor Tausk." Ágora: Estudos em Teoria Psicanalítica 8, no. 2 (December 2005): 237–54. http://dx.doi.org/10.1590/s1516-14982005000200005.

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O presente artigo trata de "O inconsciente", texto metapsicológico escrito por Freud em 1915. Viso, aqui, indicar as diferentes abordagens e fontes que o influenciaram na elaboração deste conceito, assim como os impasses que precisou resolver e a importância da transferência no âmbito da clínica e da teoria. Discutirei cada um dos sete capítulos do referido trabalho.
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Tréhel, Gilles. "Victor Tausk (1879-1919) : une théorisation sur les psychoses de guerre." Perspectives Psy 50, no. 2 (April 2011): 162–75. http://dx.doi.org/10.1051/ppsy/2011502162.

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Decker, Michel, and Chloé Vassor. "La machine à influencer de Victor Tausk : un concept ancien pour un cas clinique contemporain." L'information psychiatrique 87, no. 10 (2011): 791. http://dx.doi.org/10.3917/inpsy.8710.0791.

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Visser, Nick. "VICTOR SERGE AND THE POETICS OF POLITICAL FICTION." Social Dynamics 11, no. 2 (December 1985): 13–19. http://dx.doi.org/10.1080/02533958508628681.

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Shilova, Natalja. "FOLK FICTION IN “THE KIZHI STORIES” BY VICTOR PUL’KIN." Проблемы исторической поэтики 14, no. 12 (December 2016): 247–61. http://dx.doi.org/10.15393/j9.art.2016.3581.

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Morency, Jean. "Le golem de la biographie." Dossier 30, no. 2 (August 30, 2005): 21–33. http://dx.doi.org/10.7202/011241ar.

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Résumé Depuis son essai consacré à Victor Hugo en 1970, Victor-Lévy Beaulieu a multiplié les biographies d’écrivains. Ces essais entremêlant souvent l’écriture biographique et l’écriture de fiction, il devient possible de questionner la place qu’ils occupent dans l’oeuvre de Beaulieu et le rôle qu’ils jouent dans l’élaboration de ses textes de fiction. Dans cet article, l’auteur analyse les rapports entre l’écriture biographique et l’écriture de fiction chez Beaulieu, principalement dans Monsieur Melville. Dans un premier temps, il dégage la dialectique de la biographie et de la fiction chez Beaulieu, notamment à la lumière de l’inscription de la figure du golem dans Monsieur Melville. Dans un deuxième temps, à partir des thèmes de la filiation et de l’héritage, l’auteur mesure l’impact de Monsieur Melville sur l’élaboration de l’oeuvre littéraire de Beaulieu dans les années quatre-vingt et quatre-vingt-dix.
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White, Nicholas. "Book Review: Victor Brombert: Stendhal: Fiction and the Themes of Freedom." Journal of European Studies 48, no. 2 (June 2018): 189–90. http://dx.doi.org/10.1177/0047244118773894d.

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Dissertations / Theses on the topic "Tausk, Victor, in fiction"

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Hammer, Julia Maria. "Crossing limits : liminality and transgression in contemporary Scottish fiction." Thesis, University of Edinburgh, 2017. http://hdl.handle.net/1842/25923.

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In my thesis, I aim to show that a focus on liminality in contemporary Scottish fictional texts illustrates underlying developments of relevant social phenomena with regard to class issues, gender and sexual identity. The anthropological concept of liminality looks at a situation of “being between”. The liminar faces a situation of having to renegotiate their values and perceptions in order to proceed. Liminality always involves the existence of limits which have to be transgressed and against which the individual negotiates a personal situation. I further hypothesise that the transgression of limits can be seen as an instrument to create order. I take an anthropological approach to my thesis. Arnold van Gennep’s early studies on rites of passage and Victor Turner’s study of liminality originate in the observation of tribe-internal, social structures of personal development. Van Gennep assumes a tripartite structure among which liminality is the middle stage, the phase in which the initiand has to perform tasks to re-enter and become part of the community. Turner isolates the middle stage and transfers this concept to western societies. This theory is taken up and developed further by several literary critics and anthropologists. While the transgression of limits is often regarded as a violation of those norms which regulate societies, the transgression of limits in a rite of passage and connected with liminality is a vital aspect and socially necessary. Several concepts are related to this theory, which will play a major role in my thesis: Turner’s permanent liminality, Mikhail Bakhtin’s carnivalesque as well as Foucault’s transgression. In the first chapter, I contrast two of Alasdair Gray’s novels, stating that the most powerful message of social and capitalist criticism is not just visible on the surface of the hyperbolic texts, but particularly prominent in liminal passages. The theories of Bakhtin and Turner plays the most important role in this chapter. In the second chapter, A. L. Kennedy’s novels are contrasted. In So I am Glad a difficult psycho-social issue is solved by a liminal trigger-figure, Paradise is an example of the destructive and restrictive effects of permanent liminality. In chapter three, I deal with the issue of passing and an individual redefinition of gender identity. The performativity of masculinity reveals ambiguous definitions of gender and morale. The Wasp Factory portrays a form of masculinity which has destructive effects on the individual and its environment. It is the tension in the liminal situation of a gender myth, a brutally performed masculinity and the character’s biological sex which expresses a harsh criticism of society’s definition of masculinity. In Trumpet, the binary model of gender is questioned. The text suggests a different definition of identity as fluid, passing between the two ‘extremes’, formulating the possibility of a state of being ‘something in-between’. It is the confrontation with this ‘otherness’ which provokes a wave of rejection and protest in the environment of the individual passing as a member of the ‘other sex’. In this case, it is not the obvious liminal individual, but his son who undergoes a process of change and thus a process of renegotiating his strict value system. The final chapter deals with liminal spaces and how these reflect and support the internal development which the protagonists undergo. The choice of Orkney as a mystical place and the fictional setting in a war game show that liminal spaces – both real and fictitious – trigger a personal development and reconnect present day life in Scotland with historical events which have had a shaping role for Scottish and European life.
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Hyde, Spencer. ""Let It Run"." Thesis, University of North Texas, 2018. https://digital.library.unt.edu/ark:/67531/metadc1248507/.

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Let It Run is the story of Oakley Isom, a neurotic, disturbed young woman stuck in a small town of two thousand people where she lives with her father, Waldemyre, a fly-fishing guide. Oakley works at the local newspaper as the editor of the "What's Biting?" section, something the fishermen live by. Oakley also works nights at a therapeutic boarding school for troubled youth. Entrenched in a world of self-loathing and obsessive thoughts, Oakley spends her time dreaming of a way out of Victor, Idaho. When a murder in the small town pulls Oakley into its eddy, she attempts to escape into her own compulsive thoughts, and the friendship of a striking young therapist at the boarding school. Unusual events continue to unfold, reeling Oakley in, and she must face a reality far more disturbing than a killer on the loose. Cosmic bottom line, the dissertation novel is about the issues of human identity, and if memory is fixed or dynamic, unified or multiple—and how readers deal with loss, guilt, and regret.
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Kuntz, William George. "A translation of Victor Kolupaev's "The bandit over the world" with a critical essay." Instructions for remote access. Click here to access this electronic resource. Access available to Kutztown University faculty, staff, and students only, 1985. http://www.kutztown.edu/library/services/remote_access.asp.

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Thesis (M.A.)--Kutztown University, 1985.
Source: Masters Abstracts International, Volume: 45-06, page: 2853. Typescript. Translation of: Tolsti︠a︡k nad mirom. Includes bibliographical references (leaves [133]-137).
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Bube, June Johnson. ""No true woman" : conflicted female subjectivities in women's popular 19th-century western adventure tales /." Thesis, Connect to this title online; UW restricted, 1995. http://hdl.handle.net/1773/9508.

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Moutet, Muriel Colin René-Pierre. "Un homme de trop à bord figuration du monde maritime dans les récits de fiction de Joseph Conrad, Herman Melville et Victor Hugo /." [S.l.] : [s.n.], 2001. http://theses.univ-lyon2.fr/sdx/theses/lyon2/2001/moutet_m.

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Glacet, Astrid. "Les identités mensongères : Victor Segalen, Romain Gary, Agota Kristof." Amiens, 2008. http://www.theses.fr/2008AMIE0009.

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Moutet, Muriel. "Un homme de trop à bord : figuration du monde maritime dans les récits de fiction de Joseph Conrad, Herman Melville et Victor Hugo." Lyon 2, 2001. http://theses.univ-lyon2.fr/documents/lyon2/2001/moutet_m.

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Dans la seconde moitié du XIXe siècle, les écrivains se heurtent à un monde perçu comme chaotique, dont l'espace maritime va devenir une image privilégiée. Ce monde nouveau met en question leur pouvoir de représentation et ébranle les fondements de l'identité de l'individu occidental. L'espace ouvert de l'océan semble témoigner de la perte de tout centre signifiant, de toute vérité établie qui marque l'entrée dans la modernité. Face à cette découverte, exaltante et terrifiante à la fois, les auteurs vont avoir recours à l'image ancienne du navire. Ce dernier, représentant d'une nation conçue comme une entité stable, semble un refuge dans cet univers livré au désordre. Mais la micro-société de l'équipage peut aussi servir d'espace d'expérimentation pour le modèle démocratique et le navire peut être perçu comme un instrument technique porteur de Progrès, à même de faire advenir l'utopie. Le passage de la voile à la vapeur figure en ce sens une véritable rupture épistémologique. Le navire est, en somme, un lieu de transition entre deux mondes, où vont se révéler et s'amplifier les conflits (raciaux, sociaux ou culturels) qui déchirent le rivage. Ces conflits se cristallisent le plus souvent autour de la figure d'un individu "déviant" par rapport au groupe des hommes embarqués ou sont mis au jour par un narrateur marginal. Cet "homme de trop à bord", personnage ou narrateur, va obliger chacun, lecteur compris, à se siturer, à s'engager et à interroger les fondements de sa propre identité comme les valeurs qui sont les siennes
In the second half of the 19th century, the world begins to change and to appear in many ways chaotic, challenging the writer's power of representation and questioning the basis of an individual's identity in Western countries. In the literature of the time, the apparent incoherence and mystery of maritime space thus become significant metaphors for this New World. The open space of the sea also gives evidence of the loss of the centre, which signals the emergence of modernity. In order to face the horrifying but also exhilarating prospects generated by a new perception of the world, the authors resort to the old image of the ship. The ship represents the nation, which is conceived as an irremovable entity. She seems as such to be one of the last refuges in a disorderly universe. But the crew as a micro-society can also be used to experiment a democratic existence and the ship can be perceived as a technical instrument, bearing Progress all around the world. In a way, the ship functions as a transitional space between two worlds, where the conflicts of the shore come to light and grow in intensity. These conflicts develop around a deviant character or else are revealed by a marginal narrator. The presence of this " extra man on board ", character or narrator compels everyone, readers included, to commit themselves and to examine the grounds of their own identity and values
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Beeler, Connie. "Miscegenated Narration: The Effects of Interracialism in Women's Popular Sentimental Romances from the Civil War Years." Thesis, University of North Texas, 2011. https://digital.library.unt.edu/ark:/67531/metadc67958/.

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Critical work on popular American women's fiction still has not reckoned adequately with the themes of interracialism present in these novels and with interracialism's bearing on the sentimental. This thesis considers an often overlooked body of women's popular sentimental fiction, published from 1860-1865, which is interested in themes of interracial romance or reproduction, in order to provide a fuller picture of the impact that the intersection of interracialism and sentimentalism has had on American identity. By examining the literary strategy of "miscegenated narration," or the heteroglossic cacophony of narrative voices and ideological viewpoints that interracialism produces in a narrative, I argue that the hegemonic ideologies of the sentimental romance are both "deterritorialized" and "reterritorialized," a conflicted impulse that characterizes both nineteenth-century sentimental, interracial romances and the broader project of critiquing the dominant national narrative that these novels undertake.
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Meyer, Luciano Augusto. "Esquizofrenia pós-soviética: sonhos, vazio e identidade em A metralhadora de Argila." Universidade de São Paulo, 2018. http://www.teses.usp.br/teses/disponiveis/8/8155/tde-07122018-120841/.

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Notadamente um dos escritores russos mais bem-sucedidos na decada de 1990, Victor Pelevin se caracteriza por uma obra pouco convencional no que concerne a construção de personagens e mundos em que elas habitam. A transicão poltica e cultural ocorrida após a queda do governo soviético, em 1991, e um dos fatores que influenciam as obras de grande parte dos autores pós-modernos na Rússia; entretanto, o sucesso de Pelevin se deve também as peculiaridades de sua escrita que, em vez de apenas promover críticas a sociedade que o precedeu, também inclui reflexões filosóficas e metafisicas por vezes consideradas pretensiosas demais pela critica que abordam essa transição. Em A metralhadora de argila, romance de 1996, o autor remonta as batalhas da Guerra Civil Russa, em 1919, colocando-as como um mundo paralelo a uma instituição psiquiátrica em 1991. O interesse, então, e estudar o processo de recriação que Pelevin faz da realidade pré-soviética e como ele a compara ao periodo pos-sovietico, apontando aspectos no romance que identifiquem a nocao de identidade e a mudanca a que este conceito esta sujeito apos as transformacoes sociais nesses periodos da historia recente da Russia.
One of the most renowned Russian writers of the 1990s, Viktor Pelevi distinguishes himself for the construction of characters and worlds in which they inhabit. The political and cultural transition after the end of the Soviet government, in 1991, is one of the factors that have an effect on most of the literary works from Post-Modern authors in Russia; although, Pelevin\'s success as well is due to singularities in his writing, which instead of only criticise the Soviet society before him, also includes philosophical and metaphysical thoughts sometimes viewed as too pretentious by the critics that discuss the transition. In The clay machine-gun, a 1996 novel, Pelevin remembers the battles of the Russian Civil War, in 1919, putting them as a parallel world within a madhouse in 1991. So, the interest in this study is to understand Pelevin\'s recreation of the Pre-Soviet reality and how he compares it to the Post- Soviet period, highlighting elements on the novel that trace the notion of identity and the adjustment it takes after the social transformation in these both recente Russian times.
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Parent-Durand, Sébastien. "Fiction, folie et traitement de l'histoire dans La grande tribu de Victor-Lévy Beaulieu." Mémoire, 2012. http://www.archipel.uqam.ca/5220/1/M12738.pdf.

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La fondation d'une littérature « nationale » n'est possible que dans la réactualisation du mythe ou de l'événement mythique, qui restent tous deux introuvables ici, chez nous, nous dit Victor-Lévy Beaulieu dans une entrevue réalisée en 1979, suite à la parution de Monsieur Melville. Ce mémoire reconnaît donc, dans un premier temps, cette alliance que fait systématiquement Beaulieu entre la question nationale du Québec et son inscription « dans » l'histoire, toutes deux encore non-advenues selon lui, et pourtant essentielles au développement et à la postérité d'une littérature dite « nationale ». L'apparition du texte historique, tel qu'on le retrouve finalement dans La grande tribu, reste un événement singulier dans l'œuvre de Victor-Lévy Beaulieu. Inspiré par la méthode de Michelet, qui, tel un romancier a su donner corps et voix aux grandes figures de l'histoire, l'auteur choisit de présenter huit personnages du XIXe siècle, en alternance avec un récit de fiction, comprenant l'invention d'une épopée québécoise (reprenant le parcours allant de la Bretagne à la grande traversée, à la rencontre des « sauvages » d'Amérique aboutissant au premier métissage, à la Nouvelle-France jusqu'à la Conquête anglaise) qu' il présente à travers le trou du crâne d'un interné. L'auteur suggère une façon nouvelle de raconter, fondée sur une apparente tension axiomatique entre la fiction et l'histoire. Par conséquent, nous croyons que le roman appelle une analyse détaillée des enjeux liés au traitement de l'histoire. L'essai philosophique Temps et récit, de Paul Ricœur, propose un regard pertinent pour étudier cette complexité narrative, et sera convoqué à divers endroits dans le mémoire pour éclairer les enjeux soulevés. Nous proposons donc une entrée en matière abordant exclusivement le travail d'écriture historiographique de Beaulieu, qui se trouve dans la partie des Libérateurs. Seront soulevées, à travers une analyse de ces textes biographiques, bon nombre de questions liées au discours proprement historique de Beaulieu. Dans le deuxième chapitre, et à partir de l'un des entrecroisements narratifs majeur, impliquant le libérateur Jules Michelet et le personnage lésionnaire Habaquq Cauchon, nous nous pencherons sur les chapitres de fiction, en abordant l'un des éléments clés, soit la folie, présentée sous diverses appellations, dont l'« hystérie-historique ». Les auteurs placés en bibliographie par Beaulieu seront convoqués afin d'éclairer certains aspects du récit, et ainsi faire la lumière sur les différents enjeux reliés au contexte de l'enfermement psychiatrique. Au troisième chapitre, il nous faudra étudier le jeu sur les registres mythologique, épique, grotesque, qui donnent à ce roman sa forme et sa matière, et mettent en acte le désir de hausser l'histoire et la mémoire de ce pays au statut des mythes universels. La langue de Beaulieu est la proie de métamorphoses et offre au récit une portée avant tout littéraire. La plasticité de la langue, incarnée par les figures signifiantes de Claude Gauvreau et de Walt Whitman, cherche à nous ramener aux origines de l'humanité, tout comme le recours à l'animalité, omniprésent dans l'œuvre de l'écrivain. L'usage du grotesque mène à la guérison de l'« hystérie historique » du personnage (la fusion du cerveau porcin et humain, la révolution carnavalesque du Québec), et au rétablissement du rapport au temps, dorénavant équilibré. Dans ce mémoire, ce sont ces complexes intrications du grotesque, de l'épique et du sublime qu'il faudra reconnaître. ______________________________________________________________________________ MOTS-CLÉS DE L’AUTEUR : Victor-Lévy Beaulieu, La grande tribu, Historiographie, Folie, Mémoire/Oubli, Internement.
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Books on the topic "Tausk, Victor, in fiction"

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Brother animal: The story of Freud and Tausk. New York: New York University Press, 1986.

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Brother animal: The story of Freud and Tausk. New Brunswick, U.S.A: Transaction Publishers, 1990.

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Vienna triangle: A novel. San Antonio, Tex: Wings Press, 2009.

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Templeton, Julia. Victor. New York: Kensington Publishing Corp., 2010.

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Griffiths, Niall. Kelly + Victor. London: Jonathan Cape, 2002.

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Griffiths, Niall. Kelly & Victor. London: Vintage, 2003.

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Lavette, Lavaille. Victor Vain. Gretna: Pelican Pub. Co., 2007.

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The Victor. [Place of publication not identified]: Nicole Flockton, 2015.

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Victor. Montréal: Québec/Amérique, 1992.

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Reeman, Douglas. The only victor. Toronto: Stoddart, 1990.

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Book chapters on the topic "Tausk, Victor, in fiction"

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Sussex, Lucy. "A Jill-of-All-Writing-Trades: Metta Victoria Fuller Victor (‘Seeley Regester’)." In Women Writers and Detectives in Nineteenth-Century Crime Fiction, 142–63. London: Palgrave Macmillan UK, 2010. http://dx.doi.org/10.1057/9780230289406_9.

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"VICTOR SÉJOUR (1817–1874)." In Nineteenth-Century Southern Gothic Short Fiction, 7–18. Anthem Press, 2020. http://dx.doi.org/10.2307/j.ctvsn3nn9.5.

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"Brother Animal’s Long Tail: Sigmund Freud, Victor Tausk and Intellectual Infl uence." In The Psychology and Politics of the Collective, 29–43. Routledge, 2012. http://dx.doi.org/10.4324/9780203123225-6.

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"Exotic Polyphony: Victor Segalen and Les Immémoriaux." In Exotic Subversions in Nineteenth-Century French Fiction, 83–103. Routledge, 2017. http://dx.doi.org/10.4324/9781315094229-5.

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"Victor Hugo and the Other as Divided Self in Bug-Jargal." In Exotic Subversions in Nineteenth-Century French Fiction, 45–62. Routledge, 2017. http://dx.doi.org/10.4324/9781315094229-3.

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"« La fiction historique et l’apprentissage des valeurs républicaines » : Quatrevingt-treize (Victor Hugo)." In Brücken bauen - Kulturwissenschaft aus interkultureller und multidisziplinärer Perspektive, 377–84. transcript-Verlag, 2016. http://dx.doi.org/10.14361/9783839433607-026.

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Daut, Marlene L. "Victor Hugo and the Rhetorical Possibilities of “Monstrous Hybridity” in Nineteenth-Century Revolutionary Fiction." In Tropics of Haiti, 152–96. Liverpool University Press, 2015. http://dx.doi.org/10.5949/liverpool/9781781381847.003.0004.

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Hingston, Kylee-Anne. "Grotesque Bodies: Hybridity and Focalization in Victor Hugo’s Notre-Dame de Paris." In Articulating Bodies, 19–48. Liverpool University Press, 2019. http://dx.doi.org/10.3828/liverpool/9781789620757.003.0002.

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This chapter argues that Victor Hugo’s historical Gothic novel Notre-Dame de Paris (1831)—especially in its popular English translation, Hunchback of Notre Dame (1833)—set a precedent in Victorian fiction for investigating the disabled body through narrative form and focalization. The chapter shows how Hugo uses external focalization from a perspective outside the narrative action to portray the disabled body as grotesque and thus inherently deviant but uses strategic internal focalization through characters inside the narrative to destabilize the boundaries between normalcy and abnormality. In particular, focalizing externally on Quasimodo, Hugo separates reader empathy from him and dehumanizes his body; but focalizing through Quasimodo forces readers to share his embodiment, removing the distinction between self and other. Moreover, the chapter contends that the novel’s structural hybridity, which combines disparate genres, enables the dialogic conflict of these two opposing voices and so provides a structural prototype whereby Victorian novels approached disability.
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Nelson, Brian. "9. After the Rougon-Macquart." In Émile Zola: A Very Short Introduction, 104–22. Oxford University Press, 2020. http://dx.doi.org/10.1093/actrade/9780198837565.003.0010.

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‘After the Rougon-Macquart’ considers the final novel of the Rougon-Macquart cycle, Doctor Pascal. This novel explores the themes of science and religion, renewal and rebirth. The latter theme was of personal significance to Zola, as he had recently fathered two children with his mistress, Jeanne Rozerot. Zola’s later fiction is discussed in the context of the climate of ideas in France in the fin de siècle. The writer’s involvement in the Dreyfus affair brought him glaringly into the public eye, and may indeed have led to his death: he died from carbon monoxide poisoning, suspected to be the result of foul play. His remains were interred in the Panthéon alongside Voltaire, Rousseau, and Victor Hugo.
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Dahlquist, Marina. "The Attractions of the North: Early Film Expeditions to the Exotic Snowscape." In Films on Ice. Edinburgh University Press, 2015. http://dx.doi.org/10.3366/edinburgh/9780748694174.003.0022.

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This chapter examines a large number of actualités - short non-fiction films from the early history of cinema - set in the Scandinavian Arctic. Exemplifying with early documentaries made by primarily Swedish and French film companies, including Pathé Frères, Svenska Biografteatern, Svensk Kinematograf and Svensk Filmindustri, Dahlquist discusses the exoticization and racialization of the Sámi population that were constituent of the these early films. Such tropes, Dahlquist shows, were common also in other forms of visual mass media at the time, exhibits at the Stockholm open-air museum Skansen included. The chapter traces production, distribution, circulation, and reception history of these films. Dahlquist also presents key thematic and visual components of Victor Sjöström’s silent drama film Daughter of the Peaks (1914).
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