The relationship between literature and psychoanalysis has never been one of equals. Traditional (particularly in American tradition), literature has been relegated to the position of foil for its more abstract counterpart—a mere body of language to be explained through the theoretical authority of psychoanalysis and, through its need to be interpreted, to add justification anjd pretige to Freudian theory. Such a relationship has always bothered literary critics—who feel that psychoanalysis refuses to even to recognize literature as such—and, of late, it has begun to both some scholars of psychoanalysis, as well. This volume proposes a fundamental reorientation of the relationship between literature and psychoanalysis, arguing that neither discipline dominates the othr. Instead, the contributors assert that the subjects traverse each other's boundaries and that their relationship is one of give and take.

This is the author's most influential work of literary theory and criticism in which she explores the relations between literature, philosophy, and psychoanalysis.

In 1977, Shoshana Felman opened up the question of how literature and psychoanalysis speak to each other's most intimate concerns with her landmark volume of Yale French Studies entitled Literature and Psychoanalysis: The Question of Reading ("Otherwise"). That relationship, she proposed, needed to be reinvented and transformed into a real dialogue between two different bodies of language and two different modes of knowledge. Over the forty years that have elapsed since the publication of Felman's 1977 volume, the encounter between literature and psychoanalysis has participated in the emergence of several new fields of critical inquiry, such as trauma, testimony, affect theory, neuro-psychoanalysis, and performance studies, and has been a privileged space for reflections on mourning, singularity, translation, transference, and translatability, the death drive, repetition, violence, cruelty, virtual reality, the clinic, and sexuality. In a world that has become enamored with modes of knowledge production that respond to ever increasing demands for quantifiable verification (the science of the brain) or for programmatic applicability, literature and psychoanalysis continue to offer an intractable resistance. Inspired (both directly and indirectly) by Felman's 1977 volume and working from the premise that this intractability is itself a source of potential transformation, the essays in this issue of Paragraph look to literature and psychoanalysis to invent new forms for the future.

Felman analyzes Lacan's investigation of psychoanalysis not as dogma but as an ongoing self-critical process of discovery. By focusing on Lacan's singular way of making Freud's thought new again, Felman shows how this moment of illumination has become crucial to contemporary thinking and has redefined insight as such.

Examines the question ("what does a woman want?") through close readings of autobiographical texts by Virginia Woolf, Simone de Beauvoir, Adrienne Rich, Sigmund Freud, and Honore' de Balzac.

A young woman starts working as a governess at the isolated estate of Bly outside London. There, she is greeted by the two orphaned children she is to take care of, an ambiguous housekeeper, and an icy, supernatural atmosphere. Soon, a couple of peculiar figures begin to appear unannounced, and a creeping horror tightens its grip on both the governess and the reader. The Turn of the Screw is one of the most classic ghost stories of all time, written by the master of the psychological novel, Henry James. Perhaps more than anyone from his time, James came to inspire our modern horror mythologies, from the image of innocence as evil to schizoid labyrinths a la Roman Polanski. HENRY JAMES [1843-1916] was born in New York but emigrated early to Europe. He is one of the most important names in Anglo-Saxon literature, renowned as a great stylist and as a link between the Victorian era and modernism. Among his most famous novels are The American [1877], Portrait of a Lady [1881], and especially The Turn of the Screw [1898].