FRINK Linked Data Fragments server

Matches in SemOpenAlex for { <https://semopenalex.org/work/W2088653092> ?p ?o ?g. }

• W2088653092 endingPage "238" @default.
• W2088653092 startingPage "217" @default.
• W2088653092 abstract "Fragments and Mastery: Dora and ClarissaElizabeth W. Harries La maîtrise, chez Lacan, n'est pas separable de quelque chose qui est fondamentalement lié à la femme, à sa figure referentielle, l'hystérique. L'hystérique ferait échec au maître et à l'universitaire, au pouvoir et au savoir.1 Two of our current critical storms centre on two wronged young women: Dora, the hysteric of the turn of the twentieth century, and Clarissa, the paragon of the eighteenth. Dora and Clarissa have become contemporary critical heroines, subjects of (or subjected to) endless analysis and questions. Both controversies show, in a particularly acute form, the difficulties we encounter in working with texts that work with violence to women (and perhaps do some violence of their own). And both dramatize the struggle of a male writer to contain the potentially disruptive force of fragmentary feminine narratives. In his Fragment of an Analysis of a Case of Hysteria (1905), Freud reports his attempt to treat Dora, a young Viennese woman of good family who has been subject to various hysterical attacks (difficulty in breathing, a nervous cough, inability to speak, migraines, finally threatened suicide) for years. Throughout the case history, Freud alternates between treating Dora as a real person, stubbornly other, and treating her as a character in a rather sordid family romance, as the centre of consciousness or Jamesian ficelle through whom he can reveal the com1 Catherine Clément and Hélène Cixous, La jeune Née (Paris: Union générale d'éditions, 1975), p. 258. EIGHTEENTH-CENTURY FICTION, Volume 5, Number 3, April 1993 218 EIGHTEENTH-CENTURY FICTION plexities of family relationships and of sexual motivations.2 In his novel Clarissa (1748-49), Richardson presents his heroine Clarissa both as a fictional character whose fate is under his control and as a real woman who determines her own life and death. His ambivalence about Clarissa, the significance of his attempts to both honour and subvert her, is thrown into relief when we read them next to or through Dora. Just as Freud simultaneously gives Dora a voice and silences her, Richardson both preserves Clarissa's integrity and permits her violation. Freud, of course, is reading the text of Dora's life, while Richardson is inventing Clarissa's. Dora existed outside of Freud's narrative, while Clarissa exists only in and through Richardson's. Dora can and does ultimately walk out the door; Clarissa remains tangled in Richardson's ambiguous fictions. But both threaten, and are threatened by, the narratives that promise and then deny them autonomy. I can find no evidence that Freud knew Clarissa, though he was quite well read in English literature (and thought Tom Jones, which he had enjoyed , unsuitable as a gift for his fiancée Martha Bernays).3 The lives of these two young women, however, are full of curious parallels and uncanny similarities. Dora is eighteen when she undergoes analysis with Freud; Clarissa eighteen when she leaves her father's house. Both young women are pawns in family sexual or financial manoeuvres: Dora suspects that she has been handed over to Herr K. in exchange for his tolerance for her father's affair with his wife; Clarissa's family attempts to force her to marry the odious Solmes in order to consolidate further the family land and fortune. Neither expects help from her mother, reportedly absorbed in household routine, ineffectual and powerless in a patriarchal world. Both are subjected to continuous, unrelenting pressure to do what others want; neither has real freedom of action, or even what was called in eighteenth-century England the right of refusal. Both are forced to extreme measures in order to escape these pressures: Dora retreats into hysterical illness and debility, only to undergo further pressures in Freud's attempt to cure her; Clarissa (much against 2 See Steven Marcus, Freud and Dora, Partisan Review (Winter, 1974); reprinted in his Representations (New York: Random House, 1975) and in In Dora's Case: Freud—Hysteria— Feminism, ed. Charles Bernheimer and Claire Kahane (New York: Columbia University Press, 1985). Susan Rubin Suleiman refers, half-jokingly, to Freud's transference to Balzac in her essay Mastery and Transference: The Significance..." @default.
• W2088653092 created "2016-06-24" @default.
• W2088653092 creator A5088893168 @default.
• W2088653092 date "1993-01-01" @default.
• W2088653092 modified "2023-10-17" @default.
• W2088653092 title "Fragments and Mastery: <i>Dora</i> and <i>Clarissa</i>" @default.
• W2088653092 cites W1492012388 @default.
• W2088653092 cites W1502430466 @default.
• W2088653092 cites W1507533606 @default.
• W2088653092 cites W1508780889 @default.
• W2088653092 cites W1938672534 @default.
• W2088653092 cites W1989479769 @default.
• W2088653092 cites W1994857209 @default.
• W2088653092 cites W1999690353 @default.
• W2088653092 cites W2013764604 @default.
• W2088653092 cites W2022360331 @default.
• W2088653092 cites W2038060106 @default.
• W2088653092 cites W2045869091 @default.
• W2088653092 cites W2089886846 @default.
• W2088653092 cites W2327674055 @default.
• W2088653092 cites W2330775682 @default.
• W2088653092 cites W2333534912 @default.
• W2088653092 cites W588916749 @default.
• W2088653092 cites W625425225 @default.
• W2088653092 cites W639675177 @default.
• W2088653092 doi "https://doi.org/10.1353/ecf.1993.0016" @default.
• W2088653092 hasPublicationYear "1993" @default.
• W2088653092 type Work @default.
• W2088653092 sameAs 2088653092 @default.
• W2088653092 citedByCount "0" @default.
• W2088653092 crossrefType "journal-article" @default.
• W2088653092 hasAuthorship W2088653092A5088893168 @default.
• W2088653092 hasConcept C111472728 @default.
• W2088653092 hasConcept C11171543 @default.
• W2088653092 hasConcept C124952713 @default.
• W2088653092 hasConcept C138885662 @default.
• W2088653092 hasConcept C142362112 @default.
• W2088653092 hasConcept C15744967 @default.
• W2088653092 hasConcept C161191863 @default.
• W2088653092 hasConcept C186720457 @default.
• W2088653092 hasConcept C199033989 @default.
• W2088653092 hasConcept C2524010 @default.
• W2088653092 hasConcept C2777855551 @default.
• W2088653092 hasConcept C2780775679 @default.
• W2088653092 hasConcept C2780861071 @default.
• W2088653092 hasConcept C2781402107 @default.
• W2088653092 hasConcept C33923547 @default.
• W2088653092 hasConcept C41008148 @default.
• W2088653092 hasConcept C518914266 @default.
• W2088653092 hasConceptScore W2088653092C111472728 @default.
• W2088653092 hasConceptScore W2088653092C11171543 @default.
• W2088653092 hasConceptScore W2088653092C124952713 @default.
• W2088653092 hasConceptScore W2088653092C138885662 @default.
• W2088653092 hasConceptScore W2088653092C142362112 @default.
• W2088653092 hasConceptScore W2088653092C15744967 @default.
• W2088653092 hasConceptScore W2088653092C161191863 @default.
• W2088653092 hasConceptScore W2088653092C186720457 @default.
• W2088653092 hasConceptScore W2088653092C199033989 @default.
• W2088653092 hasConceptScore W2088653092C2524010 @default.
• W2088653092 hasConceptScore W2088653092C2777855551 @default.
• W2088653092 hasConceptScore W2088653092C2780775679 @default.
• W2088653092 hasConceptScore W2088653092C2780861071 @default.
• W2088653092 hasConceptScore W2088653092C2781402107 @default.
• W2088653092 hasConceptScore W2088653092C33923547 @default.
• W2088653092 hasConceptScore W2088653092C41008148 @default.
• W2088653092 hasConceptScore W2088653092C518914266 @default.
• W2088653092 hasIssue "3" @default.
• W2088653092 hasLocation W20886530921 @default.
• W2088653092 hasOpenAccess W2088653092 @default.
• W2088653092 hasPrimaryLocation W20886530921 @default.
• W2088653092 hasRelatedWork W136924775 @default.
• W2088653092 hasRelatedWork W1843937446 @default.
• W2088653092 hasRelatedWork W2101181564 @default.
• W2088653092 hasRelatedWork W2338203292 @default.
• W2088653092 hasRelatedWork W2385547788 @default.
• W2088653092 hasRelatedWork W2393941505 @default.
• W2088653092 hasRelatedWork W2748952813 @default.
• W2088653092 hasRelatedWork W2781818226 @default.
• W2088653092 hasRelatedWork W3081083396 @default.
• W2088653092 hasRelatedWork W4247555305 @default.
• W2088653092 hasVolume "5" @default.
• W2088653092 isParatext "false" @default.
• W2088653092 isRetracted "false" @default.
• W2088653092 magId "2088653092" @default.
• W2088653092 workType "article" @default.