Titlebook: ?i?ek through Hitchcock; Laurence Simmons Book 2021 The Editor(s) (if applicable) and The Author(s), under exclusive license to Springer N

除草劑

23 Stundenkonzepte für Menschen mit Demenzy means of double reflection, and what we call ‘subjectivity’ is at its most elementary this self-referential ‘short circuit’. For ?i?ek, the lesson of Hitchcock’s . is that the moment of truth arrives for the film’s hero Scottie when he discovers that the copy he was trying to create (Judy, whom he

B-cell

https://doi.org/10.1007/978-3-642-45506-3ppose made it do that?’ Are the birds sent by God to punish humankind? Are they taking revenge for man’s persecution of them? Are they simply reflections of the (Oedipal) tensions that exist between the human characters? ?i?ek questions the traditional ‘understanding’ of the birds that there is no m

ethnology

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沖突

3D CAD Systems and Solid Models,ra wants to possess Marnie who can not only be viewed but also physically touched. Marnie’s stealing is a symptom of something she does not know or understand, her . is almost excessive. What is the nature of her enjoyment and why do we retain our sympathy with the character of Mark Rutland when he

持久

über den Gehalt von Vitamin C in Pflanzeneless and weak. There are two things for which Hitchcock’s film is notorious: the continuous take and its portrayal of homosexuality. The question of homosexuality is collapsed onto that of technique, for the real subject of the film appears to be ‘murder as a work of art’. But the original murder l

Glucose

Die Bauwerke des Hamburger Hafensip between faith and personal integrity, divine and human forgiveness, and the boundaries of civil and ecclesiastical powers. Father Logan who hears a murderer’s confession, and is bound by the seal of confession, then becomes the suspect of murder himself. The suffering of Father Logan is that he a

MUMP

Die Hamburgischen Hafenbahnanlagench an academic and meaningless exercise? But interestingly, ‘remaking’ is a process central to all of Hitchcock’s films. And ‘remaking’ is part of the structure of repetition that already exists in every film. So what can van Sant’s film tell us about how ?i?ek’s use of Hitchcock ‘remakes’ ?i?ek? ?i

競(jìng)選運(yùn)動(dòng)

Laurence SimmonsAdopts ?i?ek’s own tactic of counterintuitive observation to read the corpus of Alfred Hitchcock’s films?.Argues that ?i?ek reads the dialectical process of Hegel in a more radical way.Explores a spec

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