Kelly Oliver

In lieu of an abstract, here is a brief excerpt of the content:Little Hans’s Little SisterKelly OliverIn an important sense, Freud’s metapsychology is built on the back of animal phobias, which he repeatedly trots out whenever he needs to substantiate his theories of the castration complex, anxiety, and even the foundational Oedipal complex.1 From a feminist perspective, it is fascinating that behind the animal phobias that define Freud’s work—Little Hans’s horse, the Rat Man, the Wolf Man—there are consistently fantasies of matricide, self-birth, and womb envy. Perhaps more significantly, there are sisters who both torment and titillate their brothers and thereby contribute to the onset of their phobias. Freud relegates to the background these terrible sisters and their abjected mothers to put the father at the center of animal phobia. In this essay, I will explore the mothers and sisters effaced by the father-animal and the ways in which they “bite back” in Freud’s own analysis of animal phobias.Eat or Be EatenIn the major cases of animal phobia that Freud analyzes and repeatedly invokes throughout his writings, from the “Analysis of Phobia in a Five-Year-Old Boy” (1909a) on, he identifies the threat posed by the animal with the father’s castration threats; the boy-child’s fear of being bitten by the animal in question is interpreted as a fear of castration. For example, in his analysis of Little Hans (the Five Year-Old Boy), Hans is afraid that a horse will bite him. Freud interprets his horse phobia as the substitution of the horse for his father, from whom he fears castration as punishment for his desires for his mother. Hans has ambivalent feelings toward his father, whom he both loves and fears, and “solves” the problem by splitting his father into the good father and the [End Page 9] bad father, the latter represented by the horse. The Rat Man and the Wolf Man both get their names from the animals that they fear will bite or devour them.The Rat Man is named for his famous story of an “Eastern” punishment whereby rats used their teeth to bore into the anus of the victim (Freud 1909b, 166). It doesn’t take long for Freud to discover that one of the imagined victims of this punishment is the patient’s father. The rest of the analysis turns around the patient’s relationship with his father, his father’s disapproval of his sexual relations, and the patient’s imagined punishment associated with sex. The Rat Man’s phobic fantasies involve being devoured by rats, or his father being devoured by rats as a sort of punishment levied for his father’s cruelty and the patient’s own sexual indiscretions. Later in his analysis, Freud links the rat phobia to anal eroticism associated with the patient’s childhood being plagued by worms. The rats come to represent many things, including money, disease, the penis, and children. The association between rats and children involves, among other things, the fact that as a child, the patient liked to bite people.The Wolf Man is also afraid of being devoured by animals. Although the fear of being devoured or bitten by wolves is central to Freud’s analysis, the patient reports other animal phobias—butterflies, caterpillars, swine—some involving similar fears. In the case of the Wolf Man, Freud interprets the dreaded wolf as a father substitute that threatens to devour the patient as he had seen a wolf devour seven little goats in a fairy-tale book that his sister used to torment him with as a child: “Whenever he caught sight of this picture [of a wolf] he began to scream like a lunatic that he was afraid of the wolf coming and eating him up. His sister, however, always succeeded in arranging so that he was obliged to see this picture, and was delighted at his terror” (Freud 1918, 16). Freud surmised that in the cases of the Wolf Man and of Little Hans, their fathers used to pretend to want to gobble them up (Freud 1925, 104). He likens this to another case of a young American whose father read him stories aboutan...

The development of the emerging science of ecology influenced the later work of both Heidegger and Merleau-Ponty. Both use zoology, biology, and ecology intheir attempts to navigate between mechanism and vitalism, but their interpretations and use of the life sciences take them on divergent paths and lead them to radically different conclusions regarding the relationship between man and animal. This essay takes up the problematic of kinship with animals in Heidegger and Merleau-Ponty. Beyond the texts of these two thinkers are the more general stakes of the relationships between humans and animals and the question of whether or not animals can be our kin.

Between the Psyche and the Social is the first collection that specifically features the field of psychoanalytic social theory emerging in and between psychoanalysis, feminism, postcolonial studies, and queer theory, and across the disciplines of philosophy, literary, film, and cultural studies. This collection of essays takes the psychoanalytic study of social oppression in some new directions by engaging—indeed, stirring up—unconscious fantasies and ethical tensions at the heart of social subjectivity

Between the Psyche and the Social is the first collection that specifically features the field of psychoanalytic social theory emerging in and between psychoanalysis, feminism, postcolonial studies, and queer theory, and across the disciplines of philosophy, literary, film, and cultural studies. This collection of essays takes the psychoanalytic study of social oppression in some new directions by engaging—indeed, stirring up—unconscious fantasies and ethical tensions at the heart of social subjectivity

Critically engaging the work of Immanuel Kant, Hannah Arendt, Martin Heidegger, and Jacques Derrida together with her own observations on contemporary politics, environmental degradation, and the pursuit of a just and sustainable world, Kelly Oliver lays the groundwork for a politics and ethics that embraces otherness without exploiting difference. Rooted firmly in human beings' relationship to the planet and to each other, Oliver shows peace is possible only if we maintain our ties to earth and world. Oliver begins with Immanuel Kant and his vision of politics grounded on earth as a finite surface shared by humans. She then incorporates Hannah Arendt's belief in plural worlds constituted through human relationships; Martin Heidegger's warning that alienation from the Earth endangers not only politics but also the very essence of being human; and Jacques Derrida's meditations on the singular worlds individuals, human and otherwise, create and how they inform the reality we inhabit. Each of these theorists, Oliver argues, resists the easy idealism of world citizenship and globalism, yet they all think about the earth against the globe to advance a grounded ethics. They contribute to a philosophy that avoids globalization's totalizing and homogenizing impulses and instead help build a framework for living within and among the world's rich biodiversity

abstract: This essay explores the connections between speculation, spectacle, and the death penalty, particularly insofar as they bear on what is “proper to man” and on the man–animal distinction. Returning to a scene of death from Derrida's seminar The Beast and the Sovereign, specifically the scene of an elephant's autopsy, we see how what he calls “the globalization of the autopsic model” of sovereignty requires the death of the animal (Derrida 2009, 296). Following Derrida, we see how man's dominion over other animals is built on a model of sovereignty as necropsy that erects itself through the autopsic model of power, which ultimately is built on the scaffolding of death and the death penalty. Following the history of the death penalty, however, we see that it becomes the property of man through its exercise on animals, particularly through the capital punishment of animals, which inaugurated the codification of law in Europe, and Thomas Edison's electrocution of animals, which inaugurated the electric chair as a form of execution in the United States. Moreover, the case of Edison (who invented both the electric chair and the first moving pictures, many of which were images of execution) makes manifest the connection between spectacle, animals, and the death penalty

Julia Kristeva is known as rejecting feminism, nonetheless her work is useful for feminist theory. I reconsider Kristeva's rejection of feminism and her theories of difference, identity, and maternity, elaborating on Kristeva's contributions to debates over the necessity of identity politics, indicating how Kristeva's theory suggests the cause of and possible solutions to women's oppression in Western culture, and, using Kristeva's theory, setting up a framework for a feminist rethinking of politics and ethics