000			03283nam a22003135i 4500
001			403296
003			ES-MaUEC
005			20240603113742.0
007			cr nn 008mamaa
008			240104s2023 sz | o |||| 0|eng d
020			_a9783031423277
024	7		_a10.1007/978-3-031-42327-7 _2doi
040			_aES-MaUEC _bspa _cES-MaUEC _dES-MaUEC
050		4	_aBF173-175.5 _b2023 EB
100	1		_aSherritt, Megan. _eauthor. _4aut _4http://id.loc.gov/vocabulary/relators/aut
245	1	0	_aDancing an Embodied Sinthome : _bBeyond Phallic Jouissance _cby Megan Sherritt
250			_a1st ed. 2023
264		1	_aCham _bSpringer International Publishing _c2023
300			_a1 recurso en línea
336			_atexto _btxt _2rdacontent
337			_aelectrónico _bc _2rdamedia
338			_arecurso electrónico _bcr _2rdacarrier
490	0		_aThe Palgrave Lacan Series _x2946-420X
505	0		_aChapter 1 -- Chapter 2 -- Chapter 3 -- Chapter 4 -- Chapter 5 -- Chapter 6 -- Chapter 7 -- Chapter 8 -- Chapter 9 -- Chapter 10 -- Chapter 11.
520			_aThis book provides the first in-depth analysis of Lacanian psychoanalytic theory and the art of dance and explores what each practice can offer the other. It takes as its starting point Jacques Lacan's assertion that James Joyce's literary works helped him create what Lacan terms a sinthome, thereby preventing psychosis. That is, Joyce's use of written language helped him maintain a "normal" existence despite showing tendencies towards psychosis. Here it is proposed that writing was only the method through which Joyce worked but that the key element in his sinthome was play, specifically the play of the Lacanian real. The book moves on to consider how dance operates similarly to Joyce's writing and details the components of Joyce's sinthome, not as a product that keeps him sane, but as an interminable process for coping with the (Lacanian) real. The author contends that Joyce goes beyond words and meaning, using language's metre, tone, rhythm, and cadence to play with the real, mirroring his experience of it and confining it to his works, creating order in the chaos of his mind. The art of dance is shown to be a process that likewise allows one to play with the real. However, it is emphasized that dance goes further: it also teaches someone how to play if one doesn't already know how. This book offers a compelling analysis that sheds new light on the fields of psychoanalysis and dance and looks to what this can tell us about-and the possibilities for-both practices, concluding that psychoanalysis and dance both offer processes that open possibilities that might otherwise seem impossible. This original analysis will be of particular interest to those working in the fields of psychoanalysis, aesthetics, psychoanalytic theory, critical theory, art therapy, and dance studies. Megan Sherritt completed her PhD at the Centre for the Study of Theory and Criticism at Western University, Canada, and is in training to become a psychoanalytic psychotherapist.
856	4	0	_uhttps://go.openathens.net/redirector/universidadeuropea.es?url=https://doi.org/10.1007/978-3-031-42327-7 _zAcceso a este recurso digital (usuarios Universidad Europea de Madrid)
942			_2lcc _cLE
988			_aSpringer_Psychology_2023
999			_c403296 _d403296