Emre Koyuncu

Freud’s psychoanalysis of Little Hans is a defining moment in psychoanalytic theory, because it marks the first psychoanalytic attempt ever to analyze childhood as an actuality rather than a set of recollected experiences. This article aims to explain Deleuze and Guattari’s dismissal of Freud’s interpretation as an act of silencing the children that is meant to corroborate his own theories of psychosexual development and particularly the Oedipus complex. Deleuze and Guattari are not against psychoanalytic interpretation in and of itself as a creative intervention into the lived actuality of the analysand, but they think that Freudian psychoanalysis misses the opportunity by tracing every aspect of individual existence back to familial figures and relationships. While Freud considers the case of Little Hans as a verification of his theory of sexuality, Deleuze and Guattari regard the case as a perfect example of how psychoanalytic suggestion often distorts the utterances of the analysand for its own interests, thereby failing altogether to grasp the logic of becoming as an escape from familial determinations.

Scholarship on the early modern practice of animal trials in Europe has grown substantially in the last few decades. After a critical literature review pointing at the shortcomings of positivist approaches and of the interpretation of the phenomenon as a purely religious practice, I present Foucauldian genealogy as a more rigorous framework for understanding the purpose this peculiar practice may have served. The benefits of adopting a Foucauldian perspective are twofold. First, it allows for a subtle functionalism that does not treat this tradition as a homogeneous block. Second, it gives an opportunity to introduce the animal body into Foucault’s genealogy of power, which rather focuses on the human body and interhuman relationships.

A significant portion of philosophical questions concerning the Holocaust revolve around the problem of representation, that is, how the event can be represented in a concept or in an image, if at all. This article argues that Nuit et brouillard (Night and Fog, 1956) by Alain Resnais and Inglourious Basterds by Quentin Tarantino (2009) respond to the problem of representation in an original way by challenging the conventions of their respective genre. The juxtaposition of past and present images in Nuit et brouillard proposes a new form of remembering that liberates memory from the confines of the past in order not to lose sight of what is happening now. Inglourious Basterds, similarly, circumvents the problem of realistic representation by means of a counter-historical story in which Hitler is brutally killed in Paris. Pushing to the extreme the Americanisation that is typical of the Hollywood treatments of World War II, Tarantino offers a multi-layered spectacle of violence that culminates in the burning down of a film theatre as a symbol of Tarantino’s having done with representation.

A significant portion of philosophical questions concerning the Holocaust revolve around the problem of representation, that is, how the event can be represented in a concept or in an image, if at all. This article argues that Nuit et brouillard (Night and Fog, 1956) by Alain Resnais and Inglourious Basterds by Quentin Tarantino (2009) respond to the problem of representation in an original way by challenging the conventions of their respective genre. The juxtaposition of past and present images in Nuit et brouillard proposes a new form of remembering that liberates memory from the confines of the past in order not to lose sight of what is happening now. Inglourious Basterds, similarly, circumvents the problem of realistic representation by means of a counter-historical story in which Hitler is brutally killed in Paris. Pushing to the extreme the Americanisation that is typical of the Hollywood treatments of World War II, Tarantino offers a multi-layered spectacle of violence that culminates in the burning down of a film theatre as a symbol of Tarantino’s having done with representation.