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首页> 外文期刊>New Review of Film & Television Studies >‘Principles that transcend drugs or money or anything like that’: the monstrosity of morality in No Country for Old Men
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‘Principles that transcend drugs or money or anything like that’: the monstrosity of morality in No Country for Old Men

机译:“超越毒品,金钱或类似事物的原则”:《无国度老人》中的道德怪异

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摘要

This paper analyzes the film No Country for Old Men (Joel Coen and Ethan Coen, 2007) through the lens of Freudian and Lacanian psychoanalysis. Rather than deploy psychoanalytic theory to explore the vicissitudes of spectatorship of the film (say: identification), this paper appropriates the concepts of Freud and Lacan (specifically: the Freudian myth of the primal horde murder of the father and the Lacanian theory of the phallus) to illuminate the aporetic structure of the film. I begin with the distinction between nature and culture - or landscape and law - depicted in the opening sequence of the film. I first argue that Llewelyn's original crime - to steal the suitcase full of cash at the site of the heroin deal gone awry - figures him as the outlaw brother of the primal horde who refuses the pact among the brothers that promises to repress the ferocity of their desires in order to make peace for the survivors of the murder of the primal father. This original crime destabilizes the function of the phallus - namely, to coordinate and balance the structure of the social order - and spawns the figure of a dysfunctional phallus - namely, Anton. My main argument is that the sadistic figure of Anton represents a perversion of the law - a dysfunctional deployment of the phallus. This dysfunctional phallus demonstrates a rigid morality inimical to the proper role of the phallus as defender of the ethical sphere of mediation and compromise. The conclusion to the paper asserts that the redemption of the structural father - in the place of the primal father - promises a return to the proper function of the phallus.View full textDownload full textKeywords No Country for Old Men , Coen brothers, primal horde, phallic functionRelated var addthis_config = { ui_cobrand: "Taylor & Francis Online", services_compact: "citeulike,netvibes,twitter,technorati,delicious,linkedin,facebook,stumbleupon,digg,google,more", pubid: "ra-4dff56cd6bb1830b" }; Add to shortlist Link Permalink http://dx.doi.org/10.1080/17400309.2011.585862
机译:本文通过弗洛伊德主义和拉康主义的精神分析视角,对电影《老人没有国度》(乔尔·科恩和伊桑·科恩,2007)进行了分析。本文没有采用心理分析理论来探讨电影的观众身份的变迁(例如:鉴定),而是采用了弗洛伊德和拉康的概念(具体是:父亲的原始部落谋杀的弗洛伊德神话和阴茎的拉卡尼亚理论) )以照亮薄膜的孔结构。我首先从影片的开场顺序中描绘出自然与文化(或风景与法律)之间的区别。我首先辩称,Llewelyn最初的罪行-在海洛因交易现场偷走装满现金的手提箱-错了-认为他是原始部落的out徒,拒绝在承诺压制他们凶残行为的兄弟中达成协议。渴望为谋杀原始父亲的幸存者和平。最初的罪行破坏了阳具的功能,即协调和平衡社会秩序的结构,并产生了功能失调的阳具的形象,即安东。我的主要论点是,安东的虐待狂人物代表了对法律的歪曲-阴茎功能失调。这种功能失调的阴茎显示出僵化的道德,不利于阴茎作为调解和妥协的道德领域的捍卫者的适当作用。本文的结论断言,结构性父亲的救赎-代替原始父亲-有望恢复阳具的正常功能。查看全文下载全文关键字无老人之乡,科恩兄弟,原始部落,阳具功能相关的var addthis_config = {ui_cobrand:“泰勒和弗朗西斯在线”,servicescompact:“ citeulike,netvibes,twitter,technorati,delicious,linkedin,facebook,stumbleupon,digg,google,更多”,发布:“ ra-4dff56cd6bb1830b”};添加到候选列表链接永久链接http://dx.doi.org/10.1080/17400309.2011.585862

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