Portraying 9/11: Essays on Representations in Comics, Literature, Film and Theatre by Véronique Bragard, Christophe Dony, and Warren Rosenberg (review)
Portraying 9/11: Essays on Representations in Comics, Literature, Film and Theatre by Véronique Bragard, Christophe Dony, and Warren Rosenberg (review)
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描绘 9/11:维罗尼克·布拉加德、克里斯托夫·多尼和沃伦·罗森伯格关于漫画、文学、电影和戏剧表现的论文(评论)
DOI:
10.1353/mfs.2013.0008
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发表时间:
2013
期刊:
影响因子:
--
通讯作者:
R. Gardner
中科院分区:
文献类型:
--
作者:
R. Gardner
their biographical and textual resonances. Moving from werewolves to Woolfian dogs, Ellmann links Freud's analysis of the Wolf Man's experience of the primal scene to Woolf's elegiac exorcism in To the Lighthouse, suggesting the convergence of trauma and scene-making. Ellmann offers a very Freudian conclusion when she refers to Woolf's infamous declaration that she "'meant nothing by the Lighthouse,'" suggesting to her reader that the Wolf Man might have echoed, "I meant nothing by the wolf-tree" (92). In this chapter as in others, Ellmann, like Woolf, the Wolf Man, and Freud, makes her own scene, staging "the unoccurred and unoccurable" (92). In The Nets of Modernism, Ellmann, like the authors she studies, is "caught in the nets of intersubjectivity and intertextuality" (1). However, unlike Joyce's Stephen Dedalus who is "torn between the dream of flight and the recognition of entanglement," Ellmann revels in the tangles (1). Although The Nets of Modernism does not impact the field in the manner of some of Ellmann's earlier work, it does present a productive and playful model of academic constellating, providing context in the upper-level classroom and inspiration for the academic seeking to get all tangled up.