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To duty doubly bound: A study of mel...

McGhee, Kimberly Kay.

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To duty doubly bound: A study of melancholy in Ingmar Bergman's "Persona", Toni Morrison's "Beloved", Andrei Tarkovsky's "The Sacrifice" and Fyodor Dostoyevsky's "The Idiot" (Sweden, Russia).

紀錄類型:	書目-電子資源 : Monograph/item
正題名/作者:	To duty doubly bound: A study of melancholy in Ingmar Bergman's "Persona", Toni Morrison's "Beloved", Andrei Tarkovsky's "The Sacrifice" and Fyodor Dostoyevsky's "The Idiot" (Sweden, Russia)./
作者:	McGhee, Kimberly Kay.
面頁冊數:	328 p.
附註:	Source: Dissertation Abstracts International, Volume: 59-09, Section: A, page: 3442.
Contained By:	Dissertation Abstracts International59-09A.
標題:	Literature, Comparative. -
電子資源:	http://pqdd.sinica.edu.tw/twdaoeng/servlet/advanced?query=9908129
ISBN:	0599060549

To duty doubly bound: A study of melancholy in Ingmar Bergman's "Persona", Toni Morrison's "Beloved", Andrei Tarkovsky's "The Sacrifice" and Fyodor Dostoyevsky's "The Idiot" (Sweden, Russia).
McGhee, Kimberly Kay.

To duty doubly bound: A study of melancholy in Ingmar Bergman's "Persona", Toni Morrison's "Beloved", Andrei Tarkovsky's "The Sacrifice" and Fyodor Dostoyevsky's "The Idiot" (Sweden, Russia). - 328 p.

Source: Dissertation Abstracts International, Volume: 59-09, Section: A, page: 3442.

Thesis (Ph.D.)--State University of New York at Buffalo, 1998.

Wishing to purify himself of the taint of the sacrificial act which he believes founded the symbolic, the melancholic submits himself to a merciless self-scrutiny that is itself a repetition of the very victimization which he would avoid. Bataille describes the sacrifice as a mechanism by which a witness can both confront and postpone death by first closely identifying with the victim and then allowing the sacrificial blow to sever that identification. The sacrificial witness knows death from the safety of the outside and is barred from any experience of its immediacy. Repelled by the violence and the deceit inherent in the survivor's gaze, the melancholic attempts rather to adopt that of the victim, and from that perspective claims the right to pass judgment on the symbolic made possible by the sacrifice.

ISBN: 0599060549Subjects--Topical Terms:

530051
Literature, Comparative.

To duty doubly bound: A study of melancholy in Ingmar Bergman's "Persona", Toni Morrison's "Beloved", Andrei Tarkovsky's "The Sacrifice" and Fyodor Dostoyevsky's "The Idiot" (Sweden, Russia).
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245 1 0 $a To duty doubly bound: A study of melancholy in Ingmar Bergman's "Persona", Toni Morrison's "Beloved", Andrei Tarkovsky's "The Sacrifice" and Fyodor Dostoyevsky's "The Idiot" (Sweden, Russia).
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500 $a Source: Dissertation Abstracts International, Volume: 59-09, Section: A, page: 3442.
500 $a Director: Gerard Bucher.
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520 $a Wishing to purify himself of the taint of the sacrificial act which he believes founded the symbolic, the melancholic submits himself to a merciless self-scrutiny that is itself a repetition of the very victimization which he would avoid. Bataille describes the sacrifice as a mechanism by which a witness can both confront and postpone death by first closely identifying with the victim and then allowing the sacrificial blow to sever that identification. The sacrificial witness knows death from the safety of the outside and is barred from any experience of its immediacy. Repelled by the violence and the deceit inherent in the survivor's gaze, the melancholic attempts rather to adopt that of the victim, and from that perspective claims the right to pass judgment on the symbolic made possible by the sacrifice.
520 $a In fact, however, it is not the victim's gaze but the sacrificer's which the melancholic has internalized. He submits to its cruel dictates to purge himself of any taint of the sacrificer but in so doing becomes victimized a second time, because that gaze finds such a stain in his every contemplated act and so ends by making action as such taboo. While any partial act remains prohibited because potentially a bearer of contamination, the melancholic nonetheless takes as his impossible duty the performance of an act that would serve as his own purified ground. The prohibition and the imperative doubly ensure that the melancholic will remain in silent paralysis. If the melancholic would free himself from the tyranny of his own internalized sacrificial gaze, he must risk a moment of merger with his hated adversary and so deprive that gaze of its authority, an authority founded on its promise of protection against just such a merger.
520 $a The structure of the surplus gaze is explored in Bergman's Persona, its insatiability and excessiveness in Morrison's Beloved and its temporal consequences in Tarkovsky's The Sacrifice and Dostoyevsky's The Idiot.
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