All 2 entries tagged Sigmund Freud
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October 14, 2010
Writing about web page http://sall.exeter.ac.uk/research/conferences/papers/criticaltheory/
In the final panel of ‘Violence and Reconcilation’, there were a number of papers that talked about the violence of youth culture and how that might be reconciled within society.
The first was by Robert Lawson who talked about his sociological research with teenage boys in Glasgow. Talking about their reasons for being violent, Lawson discovered that, especially in working class communities, there was a code of honour, shame and fearlessness, which the young men felt that they had to adhere to in order to survive. I found this quite interesting, having grown up in a working class town in South Wales, and talking to Lawson afterwards, we agreed that this code of honour, shame and fearlessness can also apply to working class teenage girls too.
Jen Baker talked about representations of evil children in fiction and film. Tackling texts such as John Wyndham’s The Midwich Cuckoos and Lionel Shriver’s We Need to Talk about Kevin, Baker used Freud and Melanie Klein to present a psychoanalytic reading of the evil child and society’s fear of the latent desires and aggressive impulses in children.
Finally, Giovanni Parenzan gave an interesting talk on Anthony Burgess’s A Clockwork Orange and he commented particularly on the two endings of the book – one for a British and the other for an American audience. In the twentieth chapter of A Clockwork Orange, the (anti?)hero Alex is converted back to violence after being brainwashed by the Ludovico technique, but in chapter twenty-one, he returns to a normal, domestic life. The twenty-first chapter, however, was omitted from the American edition of the book. After the paper, we had an interesting discussion about the implications of this omission. Is Burgess saying that the violent subject can never go back to a normal life? We also talked about the fact that Burgess wrote the novel as a means to try and work out his feelings about his own wife’s rape. Women’s voices are remarkably absent from Burgess’s novel, however.