Alter ego essay
Thus, the ego operates in accordance with the reality principle (Freud, 1984). But Iago at least insists that he is the divided one, and Othello initially claims that his soul is “perfect” or undivided; whatever the state to which Othello is reduced, Othello—like The Tempest—seems to me to encode the fantasy that the exotic other possesses a primitive unitary identity before his induction into a Western-style split self. If only he was thinking from his heart and not with his ego all of this pain and suffering could have been avoided. The structure of the first scene models Iago’s relation to the world that he calls up, for the play proper seems to arise out of Iago’s injured “I”: it is not only set in motion by Iago’s “I” but becomes in effect a projection of it, as Iago successfully attempts to rid himself of interior pain by replicating it in Othello. Alter Ego
When I began writing this paper, I had absolutely no idea what I was getting myself into. He hosts a talk show at the age of two hundred and fifty years old, and he still gets television ratings. [London and New York: Methuen, 1985], 119-43, esp. Thusly the three questions are answered; Algernon functions as an alter ego for Charlie Gordon due to their bond and the fact that both of them are the first of their kind, the ethical issues concerning the experiment are voiced and the effe. 14 Projection has classically been invoked as a mechanism in Othello, but usually in the other direction, from Othello to Iago; see, e. , 182); partly as a consequence, it can sometimes serve as “an important defence against envy” (Klein, Envy and Gratitude, 198). The clichйd ‘fine line between genius and insanity’ is the self exploration to find her inner self, her ‘alter ego’.
Bothcharacters, especially Cassius, show little resilience to potentially dangerous situations,and changed beliefs to satisfy the ego, behavior quite contrary of Roman creed; Cassiusand Caesar weren’t as competent as they appeared; things aren&#x. At this point in my teaching of the play, I normally point to all the ways in which Othello belies Iago’s description as soon as he appears; in the classroom my reading of race in Othello turns on this contrast as Shakespeare’s way of denaturalizing the tropes of race, so that we are made to understand Othello not as the “natural” embodiment of Iago’s “old black ram” gone insanely jealous but as the victim of the racist ideology everywhere visible in Venice, an ideology to which he is relentlessly subjected and which increasingly comes to define him as he internalizes it—internalizes it so fully that, searching for a metaphor to convey his sense of the soil attaching both to his name and to Desdemona’s body, Othello can come up with no term of comparison other than his own face (“My name, that was as fresh / As Dian’s visage, is now begrim’d, and black / As mine own face” [3. 76), as though returning them to the interior source of his vengeance. The idea that the alter-ego is elusive and unknown to the persona makes this a very deep and meaningful journey for the poet. Scaring tactics have proven to be very effective, even ifthe violating states understand that they are just being threatened in order to alter theirexisting policies on human rights. Instead, she puts all the energy that should be spent on loving herself into loving her children. For a good summary of these controversies—and a sensible middle position—see Alan Sinfield, Cultural Politics—Queer Reading (Philadelphia: U of Pennsylvania P, 1994), 12-14. Warnken, “Iago as a Projection of Othello” in Shakespeare Encomium 1564-1964, Anne Paolucci, ed. Thusly the three questions are answered; Algernon functions as an alter ego for Charlie Gordon due to their bond and the fact that both of them are the first of their kind, the ethical issues concerning the experiment are voiced and the effe. Instead, she would relatively think that it is another little boy named Charles. ) Jealousy is a derivative of envy but is more easily recognized and more socially acceptable (Klein, Envy and Gratitude, 198; Joseph in Feldman and Spillius, eds. “The Moor already changes with my poison”: the line marks what is distinctive about projection in this play—and distinctively Kleinian. And in response, he effectively neutralizes the erotic potency that mocks his own lack. This trope makes the blackness Iago would attribute to Othello—like his monstrous generativity—something already inside Iago himself, something that he must project out into the world: as though Iago were pregnant with the monster he makes of Othello.
Invention, in other words, becomes the male equivalent of pregnancy, the production of a sticky dark baby. Yet the professional practical joker is certainly driven. Hedwig creates an alter ego for Tommy, and his new last name is Gnosis, meaning “knowledge. But doubtfully, he witnesses his alter-ego, his other self, as a result of leaving his homeland and coming back thirty-three years later. When Jack finally realizes that Tyler is merely his testosterone driven alter ego, he foresees the terror that project mayhem will create, and tries to turn himself in to the police, or do anything to stop Tyler. The clichйd ‘fine line between genius and insanity’ is the self exploration to find her inner self, her ‘alter ego’. Laurie creates an alter ego named Charles and uses him to take all the flaws that Laurie has in kindergarten. Gene was quiet, smart, and envied Finny, while Finny excelled at sports, was outgoing, and did not envy Gene. Iago cannot imagine ordinary eating, in which matter is taken in for the body’s nourishment; any good object taken in will be violently transformed and violently expelled.
A Separate Peace: Alter Egos Gene and Finny are alter egos. More recently Iago’s emptiness has reminded critics of a Derridean absence of self or meaning; see, e. This poem tries to tell the. 19 Iago’s obsessive suspicion that Othello has leaped into his seat, along with his heavily eroticized account of Cassio’s dream, similarly lend themselves to a classically psychoanalytic reading of Iago as repressed homosexual. Although Demian is the title figure for the novel, he is not a true character but an alter ego of Sinclair who symbolizes Sinclair’s inward journey and development to self-awareness. It is women who give this wonderful praise to Gilgamesh; it is women who inflate his ego. And it is just here, in this fantasy, that Othello’s blackness becomes such a powerful vehicle for Iago. In these accounts projection is loosely used to indicate that Iago expresses unacknowledged doubts or desires in Othello’s mind (or, in Orgel’s reading, Othello’s unacknowledged need for a punitive superego); they generally do not explore the mechanism of projection or consider the degree to which the structure of the play posits Iago—not Othello—as its psychic starting point. Ko-Ko is very bold and rambunctious. What I have earlier called Iago’s injured “I”—his sense that he is chronically slighted and betrayed, his sense of self-division—produces (or perhaps is produced by) fantasies of his body as penetrated and contaminated, especially by Othello. , Graham Hammill’s brief discussion of Iago’s anal eroticism, “The Epistemology of Expurgation: Bacon and The Masculine Birth of Time” in Queering the Renaissance, Jonathan Goldberg, ed. But even the image of the body as a breached and contaminated “palace” suggests rather more interior structure than most of Iago’s other images for the body.
These experiments showed a behavior pattern that was distinct from the personality of the individual when he was in the waking state compared to when he was under hypnosis. 47-48); by the end, he is a “quat” rubbed almost to the sense (5. This is suggesting that to know herself fully there needs to be a resolution between her ego and alter ego. Marilyn Manson gets publicity for dressing up in ridiculous clothing then says the most absurd things in his lyrics. In Alessandro Serpieri’s brilliant semiotic reading, Iago suffers from an “envy of being” that is the deconstructionist’s equivalent of the state Auden describes: “Iago cannot identify with any situation or sign or énoncé, and is thus condemned to deconstruct through his own énonciations the énoncés of others, transforming them into simulacra. ) Mockery—especially of the meat he might feed on—is Iago’s signature: different as they are, Othello, Cassio, and Roderigo share an almost religious awe toward Desdemona; Iago insists that “the wine she drinks is made of grapes” (2. Another observation I made was about Laurie’s behavior. But even the image of the body as a breached and contaminated “palace” suggests rather more interior structure than most of Iago’s other images for the body. 35) on Cassio and the duke’s servants because blackness has not yet been poisoned for him. 8 For some, Othello is split long before Iago begins his work. 32 In Kleinian terms, Othello has reached the depressive position, characterized by the capacity to mourn for the damaged object and to make reparations to it (see especially Klein, “A Contribution to the Psychogenesis of Manic-Depressive States” [1935] and “Mourning and its Relation to Manic-Depressive States” [1940], both in Love, Guilt and Reparation, 262-89 and 344-69); Iago functions from within the more primitive paranoid-schizoid position, with its characteristic mechanisms of splitting and projection/introjection (see especially Klein, “Notes on Some Schizoid Mechanisms” in Envy and Gratitude, 1-24). There is no doubt that a slight structural change took placeaE”and later it became a major oneaE”in both the inner organization of ego and superego and in the representations of the ego as self. The shrewdness in Lord Henry’s egotistical nature causes him to alter Dorian’s innocent personality. However, I wish to stress two things: 1) this is not the only way.
Thus, the ego operates in accordance with the reality principle (Freud, 1984). This poem tries to tell the audience about her attempted journey to self discovery. Another observation I made was about Laurie’s behavior. You are in an altered state of consciousness in which you let things happen through your subconscious mind rather than trying to make them happen with your conscious mind. Loving but narrow-minded, the parents do not get involved. Axel Beruin, Lawrence Duran, Mary Diane Lacia, Kristine Hyacinth. The prototype for Kleinian envy is the hungry baby, experiencing itself as helplessly dependent, empty, or filled only with badness, confronted with the imagined fullness of a source of goodness outside itself: “the first object to be envied is the feeding breast, for the infant feels that it possesses everything he desires and that it has an unlimited flow of milk, and love which the breast keeps for its own gratification. When Jack finally realizes that Tyler is merely his testosterone driven alter ego, he foresees the terror that project mayhem will create, and tries to turn himself in to the police, or do anything to stop Tyler. The first question concerns Algernon and how he acts as an alter ego for Charlie Gordon. Thusly due to their deep rooted connection, Charlie and Algernon can be seen as alter egos of one another. Through projective identification, that is, Iago invents blackness as a contaminated category before our eyes, enacting his monstrous birth through Othello, and then allowing the Venetians (and most members of the audience) to congratulate themselves—as he does—on their distance from the now-racialized Othello. But the trope through which Iago imagines that destruction makes Iago himself into the monstrous progenitor, filled with a dark conception that only darkness can bring forth: “I ha’t, it is engender’d,” he tells us; “Hell and night / Must bring this monstrous birth to the world’s light” (1. But this paper is required to be completed, so I’m going to finish what I have started. A Separate Peace: Alter Egos Gene and Finny are alter egos. The Wages of Sin King Lear, a play by Shakespeare, is a detailed look at the consequences of one man’s decisions, which greatly alter his life and the lives around him. The Harlot has a very brief, impersonal role in the epic, but nevertheless she incredibly important, for she embodies a weakening power that has the ability to forever alter the life of the character Enkindu.
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The cardinal feature of the narcissistic personality is the grandiose sense of self importance, but paradoxically underneath this grandiosity the narcissist suffers from a chronically fragile low self esteem. Dramatic irony -between what the character thinks to be true and what we (the reader) know to be true. Harwood uses natural references, feminist points of view and even a possible religious telling to the poem. The existence of “another self” was first recognized in the 1730s. 454], he calls on “black vengeance” to arise as though from within the hollow of himself. The clichйd 'fine line between genius and insanity' is the self exploration to find her inner self, her 'alter ego'. But this paper is required to be completed, so I’m going to finish what I have started. A parent corporation is the alter ego of a subsidiary corporation if it controls and directs its activities so that it will have limited liability for its wrongful acts. What does it mean to take another person’s body as the receptacle for one’s own contents. This allegory to Mozart is showing Harwood's insecurities about being a woman, although this may be just a coincidence. The closer he is to his goal, the flatter his language becomes; by the end, there is no inside left, no place to speak from. 369], he says, after managing Cassio’s cashiering) goes in tandem with his extraordinarily vivid sense of vulnerability: unable to be gardener to himself, he will sadistically manage everyone else, simultaneously demonstrating his superiority to those quats whose insides are so sloppily prone to bursting out, and hiding the contamination and chaos of his own insides. Instead, she would relatively think that it is another little boy named Charles. Although my parents were observant and I was quick to learn that it’s not good to lie. Brydon observes his ghostly double as a success since the alter-ego is dressed in formal clothing. [London and New York: Methuen, 1985], 119-43, esp. The penultimate stanza is not so much focused on time directly, but the effect of time in the evolution of mankind and is focusing on the future.
42 With the kind of psychological intuition that everywhere animates his portrayal of Satan, Milton reworks Emilia’s comment: unable to stand the “debt immense of endless gratitude” to the God who has created him (Paradise Lost, Bk. If the structure of the first scene predicts the process through which Iago becomes the progenitor of Othello’s racialized blackness, the trope of the monstrous birth in the first act’s final lines perfectly anticipates the mechanism of projection through which Iago will come to use Othello’s black skin as the container for his own interior blackness. And it is just here, in this fantasy, that Othello’s blackness becomes such a powerful vehicle for Iago. A distinct meaning of alter ego can be found in literary analysis, wherein it describes characters in different works who are psychologically similar, or a fictional character whose behavior, speech or thoughts intentionally represent those of the author. The ego not only has to balance the id with reality, but also with the superego. Only children have sufficient flexibility (and vulnerability) to adapt to trauma by means of creating alter personalities (Boyy 1). At this point in my teaching of the play, I normally point to all the ways in which Othello belies Iago’s description as soon as he appears; in the classroom my reading of race in Othello turns on this contrast as Shakespeare’s way of denaturalizing the tropes of race, so that we are made to understand Othello not as the “natural” embodiment of Iago’s “old black ram” gone insanely jealous but as the victim of the racist ideology everywhere visible in Venice, an ideology to which he is relentlessly subjected and which increasingly comes to define him as he internalizes it—internalizes it so fully that, searching for a metaphor to convey his sense of the soil attaching both to his name and to Desdemona’s body, Othello can come up with no term of comparison other than his own face (“My name, that was as fresh / As Dian’s visage, is now begrim’d, and black / As mine own face” [3. Through this process, Othello becomes assimilated to, and motivated by, his racial “type”—becomes the monstrous Moor easily made jealous—and Iago escapes our human categories altogether, becoming unknowable, a motiveless malignity. This story shows the ways children invent shadow figures as a means of confronting problematic feelings while forming their identities. 30]—to register the gnawing effects of jealousy on him); and in Othello itself, insofar as its own narratives of jealousy are far more legible and recognizably “human” than the envy represented through Iago and dismissed in him as unrecognizable, inhuman, or demonic. 10; and Measure for Measure, 2. The grandiosity of the narcissist, however, is often so pervasive that we tend to dehumanize him or her. Through this metaphor, Iago’s mental production becomes his substitute birth, in which he replaces the world outside himself41—the world of time’s womb, or of Desdemona’s—with the projection of his own interior monstrosity; thus conceived, his plot manages simultaneously to destroy the generativity that he cannot tolerate and to proclaim the superior efficacy of his own product. In any case, despite the echo of lime, birdlime seems to have been dark, not white. With very little plausibility but some interest for my argument, Andrew Becket (1815) transforms “mocke” to “muck, ” glossing it as to “bedaub or make foul”: two other commentators—Zachariah Jackson and Lord John Chedworth—approved of this emendation enough to come up with candidates for the monstrous animal that befouls its food, mouse and dragon-fly, respectively (179). , Bonnie Melchior, “Iago as Deconstructionist,” Publications of the Arkansas Philological Association 16 (1990): 63-81, esp. But this paper is required to be completed, so I’m going to finish what I have started.
The mother’s reaction would be quite embarressedWhy is he hinting to his parents instead of coming right out and telling them. If Iago imagines himself enacting a substitute birth, making the world conform to the shape of his envy by undoing the contours of the already-existing generative world, Emilia expresses the wish behind his metaphor: the wish to be begot upon oneself, born on oneself, no longer subject to—dependent on, vulnerable to—the generative fullness outside the self and the unendurable envy it provokes. This comparison also shows her view of how men are more dominant in society. Aqa product design coursework exemplar, artikel essay kesehatan, 5-paragraph descriptive essay rubric, alter ego essay example University of Illinois, Chicago (UIC). “Alter ego” Alter ego, by Gwen Harwood, is a poem about self discovery through inner journey and spiritual realization. 67-68), he says, like a stage manager, or like a magician calling forth spirits to perform his will; and with his words, the action begins. Through this process, Othello becomes assimilated to, and motivated by, his racial “type”—becomes the monstrous Moor easily made jealous—and Iago escapes our human categories altogether, becoming unknowable, a motiveless malignity. By using characters as a portal, Harwood recaptures the past in her poetry and constructs a deep foundation on which she builds an ensemble of emotions. Brydon observes his ghostly double as a success since the alter-ego is dressed in formal clothing. The ego operates on the reality principle.
He knows Hedwig”s songs, and he knows about his “one inch moundaE (after he and Hedwig were becoming intimate), but he wasn”t the person who created them, and he doesn”t have the spirit that created the songs. Each of these gives the poem a different meaning and different perspective of the poet’s life. He is characterized as alternating from one to the other, and the struggle between his personas causes his feeling of guilt to. As Klein suggests, “Excessive envy of the breast is likely to extend to all feminine attributes, in particular to the woman’s capacity to bear children. “Put money in thy purse,” he repeats insistently, and then adds, “Thus do I ever make my fool my purse” (1. In fact, any traffic between inner and outer is dangerous for Iago, who needs to keep an absolute barrier between them by making his outside opaque, a false “sign” (1. I know that a lot of young children are clever enough to do a lot of things, and some times they go unnoticed, like Laurie’s travesty. The poem can be interpreted from a number of ways a feminist reading, spiritual (or religious) reading or a psycho-analytical reading. For if the infant cannot tolerate either the discrepancy between its own badness and the goodness outside itself or the sense of dependency on this external source of goodness, the good breast will not be available for the infant’s use: its goodness will in effect be spoiled by the infant’s own envious rage. Harwood uses natural references, feminist points of view and even a possible religious telling to the poem. Alter ego essay example and 1000 words essay on corruption. Sigmund Freud”s views on psychoanalysis have “shaped the way we see the mind, altered the way we interpret literature and brought talk therapy to the world at large. For a discussion of the significance of visible difference in early modern England, see Kim Hall, “Reading What Isn’t There: ‘Black’ Studies in Early Modern England,” Stanford Humanities Review 3 (1993): 23-33, esp. Expresses itself as a need for punishment. Basically, I began talking about the history of music, then decided to talk about how my dead friend inspired me to play piano, then I was going to talk about how the music I produce had deeper meaning behind it, then I said screw it. Instead, she would relatively think that it is another little boy named Charles. Caesar’s andCassius’s conversion of beliefs is justified because of a human’s proclivity towardssolutions which help satisfaction of the ego and mind. [London and New York: Methuen, 1985], 119-43, esp.
In Iago’s fantasy, as I have suggested, there is no uncontaminated interior space: he can allow no one access to his interior and has to keep it hidden away because it is more a cesspool than a palace or a garden
By the time he reaches her bed, he has decided not to shed her blood (5. This subconscious desire can also be interpreted in a psycho-analytical reading. In order to harness all of this libido that Freud describes, society sets up boundaries (super-ego) and imposes those boundaries unto the individuals naturally aggressive ego. But Iago’s only joy comes in spoiling good objects: Othello mourns being cast out from the garnery/fountain that has nourished him; Iago mocks the meat he feeds on (3. 219-20]); Jones, 274-75; and Susan Isaacs, “Penis-Feces-Child,” Internationaljournal of Psycho-analysis 8 (1927): 74-76. ” No reassuring gardener with his tidy—or even his untidy—rows here: Iago’s “inwards” are hideously vulnerable, subject to a poisonous penetration. Although my parents were observant and I was quick to learn that it’s not good to lie. I, I, I: Iago’s name unfolds from the Italian io, Latin ego; and the injured “I” is his signature, the ground of his being and the ground, I will argue, of the play. Iago’s voice inducts us into the play: long before Othello has a name, much less a voice, of his own, Iago has a distinctive “I. Obsessively—six times in fourteen lines—Iago tells Roderigo to “Put money in thy purse. There were claims of negligence, premise liability, lost wages, alter ego. Essays written about Alter Ego including papers about Sigmund Freud and himself. Harwood using the metaphor of life is a journey, to suggest that we are in seek of our alter-ego, although how close you come you will never be able to become one with in until “time reclaim music and manifest”, only in death. 28-30]; “And I, God bless the mark, his worship’s ancient” [1. If the word motive is given its normal meaning of a positive purpose of the self like sex, money, glory, etc. Nonetheless, in Iago’s capacity to make Othello’s blackness the primary signifier of his otherness—as Boose observes, “once his Ensign has raised the flag inscribing Othello within the difference of skin color, all the presumably meaningful differences Othello has constructed between himself and the infidel collapse” (38)—the text insists on the visible difference of skin color that will increasingly come to define race, perhaps because, unlike religion, it (proverbially) cannot be changed. The mother’s reaction would be quite embarressedWhy is he hinting to his parents instead of coming right out and telling them.
If Desdemona becomes a “black weed” (4. 10; and Measure for Measure, 2. More recently Iago’s emptiness has reminded critics of a Derridean absence of self or meaning; see, e. , then the practical joker is without motive. I would rather be thinking something up on the piano, instead of pulling words out of my ass and typing them on a keyboard. Laurie creates an alter ego named Charles and uses him to take all the flaws that Laurie has in kindergarten. For Iago calls up the action of the play as though in response to this sense of injury: “Call up her father. 12 See Neill’s powerful account of the ways in which the audience is implicated in Iago’s invocation of the horrors of miscegenation, the improper sexual mixture that medieval theologians called adultery (395-99 and 407-9). Alter Ego essaysWhen I began writing this paper, I had absolutely no idea what I was getting myself into. 419-32), and Othello himself (in the coded language—”the lustful Moor / Hath leap’d into my seat” [2. Registered office: Venture House, Cross Street, Arnold, Nottingham, Nottinghamshire, NG5 7PJ. What we have here, I suggest, is the vindictive fantasy of a faecal pregnancy and delivery that can project Iago’s inner monstrosity and darkness into the world:44 initially displaced upward to the evacuated pate, this faecal baby is then returned to its source as his monstrous birth, the baby he has conceived in response to Desdemona’s request for praise (2. Must be lee’d, and calm’d” [11. 1 Quotations follow the Arden edition of Othello, edited by M. In order to harness all of this libido that Freud describes, society sets up boundaries (super-ego) and imposes those boundaries unto the individuals naturally aggressive ego. Sigmund Freud”s views on psychoanalysis have “shaped the way we see the mind, altered the way we interpret literature and brought talk therapy to the world at large. The disadvantages that Harwood is expressing is that a woman must be a wife and a mother before she has time her own self, “beyond times desolating drift”, this is implying her time is wasted doing such mediocre things. This poem tries to tell the audience about her attempted journey to self discovery.
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The idea that the alter-ego is elusive and unknown to the persona makes this a very deep and meaningful journey for the poet. This is not, presumably, his experience of his own body’s interior or of his management of it; it seems rather a defensive fantasy of an orderly pseudo-Eden, in which man is wholly in control both of the inner processes of his body/garden and of the troublesome business of gender, and woman is wholly absent. The penultimate stanza is not so much focused on time directly, but the effect of time in the evolution of mankind and is focusing on the future. Being the superego, Basil believes and hopes for the positive in the id and ego. This baby’s emergence here marks, I think, both the source of his envy and the exchange that envy will demand: he will attempt in effect to replicate his dark sticky baby in her, soiling her generative body by turning her virtue into pitch,45 spoiling the object whose fullness and goodness he cannot tolerate by making it the receptacle for his own bodily contents. Seems to become a popular theme for the Victorian writers as that in Robert Louis Stevenson’s Dr. Smith, Homosexual Desire in Shakespeare’s England: A Cultural Poetics (Chicago and London: U of Chicago P, 1991), 61-63 and 75. Revolving around three central characters; a nameless narrator (Edward Norton), his alter ego Tyler Durden (Brad Pitt), and his girlfriend Marla Singer (Helena Bonham Carter), Fight Club is a movie about an individual who is engrossed in everything around him he does not know where it ends and he begins. 248-50); for serve my turn, see Costard’s exchange with the king (Love’s Labor’s Lost, 1. But Shakespeare does not need to have the category of the “homosexual subject” available to him in order to represent Iago as acting out of desires inadmissible to him, including sodomitical desires; and critics who insist that we do away with “the homosexual” as a category sometimes throw out the baby with the bathwater. 116), always in the process of achieving the “incorporate conclusion” (2. “40 In conceiving of his monstrous birth, that is, Iago not only mocks but also displaces Desdemona’s generativity by taking on its powers for himself, denying the difference—between her fruitfulness and his barrenness, between her fullness and his emptiness—that he cannot tolerate. 35-40; see also John Gillies, Shakespeare and the geography of difference (Cambridge: Cambridge UP, 1994), for the claim that early modern otherness was based on geography rather than on the anachronistic category of race (25). The speaker expresses a longing for a ‘wholeness’ to understand this ‘alter ego’. There were claims of negligence, premise liability, lost wages, alter ego. 47-48); by the end, he is a “quat” rubbed almost to the sense (5. Free alter ego papers, essays, and research papers.
Thus, I believe there is merit in Freud’s belief (1923) that the ego is built up out of abandoned object relations. Common equitable ownership, directors, and officers are not alone sufficient to a formal alter ego finding. In Iago’s fantasy of the body, what is inside does not need to be contaminated by a foul intruder because it is already pus or faeces; in fact, anything brought into this interior will be contaminated by it. 27 For an early statement of this position, see Klein, “Early Stages of the Oedipus Conflict” (1928) in Love, Guilt and Reparation and Other Works 1921-1945 (London: Hogarth Press and the Institute of Psycho-Analysis, 1975), 186-98, esp. 21 For historically based arguments against Iago-as-repressed-homosexual, see Jonathan Dollimore, Sexual Dissidence (Oxford: Clarendon Press, 1991), 157-62; and Bruce R. The Harlot has a very brief, impersonal role in the epic, but nevertheless she incredibly important, for she embodies a weakening power that has the ability to forever alter the life of the character Enkindu. The Super Ego represents our moral standards as to what is right and wrong. (New York: The City College, 1964), 1-15; and Orgel, 258-73. , Freud, “On the Sexual Theories of Children,” on the cloacal theory of birth (“If babies are born through the anus, then a man can give birth just as well as a woman” [9:205-26, esp. Experiences trance and possession states (altered states of. Rabkin and Jeffrey Brown, who read Iago as a Horneyan sadist, assuaging his pain by projecting his self-contempt and hopelessness onto others (“Some Monster in His Thought: Sadism and Tragedy in Othello” Literature and Psychology 23 [1973]: 59-67, esp. 39 This destruction also has the effect of separating the two figures whose conjunction has haunted Iago’s imagination.
You are in an altered state of consciousness in which you let things happen through your subconscious mind rather than trying to make them happen with your conscious mind. In Alessandro Serpieri’s brilliant semiotic reading, Iago suffers from an “envy of being” that is the deconstructionist’s equivalent of the state Auden describes: “Iago cannot identify with any situation or sign or énoncé, and is thus condemned to deconstruct through his own énonciations the énoncés of others, transforming them into simulacra. (2-5) The reference is made to the man being one who is very narrow minded and one to stereotype, his evil side has his own way, which is the right way, and is “hermetically sealedaE(2) to it. Essays written about Alter Ego including papers about Sigmund Freud and himself. The image half-echoes Hamlet’s linking of conception and breeding with the stirring of maggots in dead flesh,38 for the “fertile climate” that Iago will transform into a breeding ground for plague is Desdemona’s generative body. For being fresh” (pg 8) was Laurie’s replay to his mother asking him what happened in school. The Super Ego represents our moral standards as to what is right and wrong. The poem can be interpreted from a number of ways a feminist reading, spiritual (or religious) reading or a psycho-analytical reading. Dissociation is an act of disconnecting, locking the memory or pain in a “suitcaseaE and storing the “suitcaseaE in the back of the brain (White 2). The first question concerns Algernon and how he acts as an alter ego for Charlie Gordon.
Having poured the pestilence of himself into Othello, Iago has nothing left inside him: his antigenerative birth hollows him out, leaving him empty
Rabkin and Jeffrey Brown, who read Iago as a Horneyan sadist, assuaging his pain by projecting his self-contempt and hopelessness onto others (“Some Monster in His Thought: Sadism and Tragedy in Othello” Literature and Psychology 23 [1973]: 59-67, esp. 19 On the relationship between money and faeces, see Sigmund Freud, “Character and Anal Eroticism” in The Standard Edition of the Complete Psychological Works of Sigmund Freud, ed. 6 Othello is everywhere associated with the kind of interior solidity and wholeness that stands as a reproach to Iago’s interior emptiness and fragmentation: if Iago takes Janus as his patron saint (1. ” In fantasy, that is, Iago uses Desdemona and Othello to contaminate each other; they become for him one defiled object as he imagines them on that wedding bed. Dorian’s only influence is the selfish ego. For turn, see Othello’s later “she can turn, and turn, and yet go on, / And turn again” [4. Being the superego, Basil believes and hopes for the positive in the id and ego.
Although my parents were observant and I was quick to learn that it’s not good to lie. While this formulation is suggestive for Iago, I think that Chausseguet-Smirgel is hampered by her Lacanian milieu, with its overvaluation of the phallus and the father’s law; Iago is at least as intent on imitating and ultimately replacing the mother’s generative function as the father’s law. This allegory to Mozart is showing Harwood's insecurities about being a woman, although this may be just a coincidence. Insofar as perversion attempts to replace God’s differentiated universe with its own undifferentiation, it is “the equivalent of Devil religion” (9); the undifferentiated anal universe “constitutes an imitation or parody of the genital universe of the father” (11). Davis Bryant from Bellevue was looking for alter ego essay example. Feeling abandoned and incomplete now that he has been denied by the animals, the Harlot inflates Enkindu’s ego. The dualities of life must be accepted. Iago’s substitution in fact proceeds by stages. Word Count: 904; Approx Pages: 4; Save Essay; View my Saved Essays. Having poured the pestilence of himself into Othello, Iago has nothing left inside him: his antigenerative birth hollows him out, leaving him empty. They begin by altering their physical environment and then their social environment. The superego focuses on how one ought to behave, their ideas andmorals.
He will not only use Desdemona’s virtue; he will turn it into pitch, in a near-perfect replication of the projection of faeces into the good breast that Klein posits. This subconscious desire can also be interpreted in a psycho-analytical reading. Parents, by definition are thought to be mentally advanced than their children (when they are at such a young age such as Laurie) but are outsmarted by the imagination and creativity of a clever little nipper. I would rather be thinking something up on the piano, instead of pulling words out of my ass and typing them on a keyboard. Brydon observes his ghostly double as a success since the alter-ego is dressed in formal clothing. 349-50]); when Desdemona is “sated” with Othello’s body (1. “Alter ego” Alter ego, by Gwen Harwood, is a poem about self discovery through inner journey and spiritual realization. 21 For historically based arguments against Iago-as-repressed-homosexual, see Jonathan Dollimore, Sexual Dissidence (Oxford: Clarendon Press, 1991), 157-62; and Bruce R. “40 In conceiving of his monstrous birth, that is, Iago not only mocks but also displaces Desdemona’s generativity by taking on its powers for himself, denying the difference—between her fruitfulness and his barrenness, between her fullness and his emptiness—that he cannot tolerate.
