By Simon R. Green

ISBN-10: 1101466898

ISBN-13: 9781101466896

John Taylor, P.I., has come into ownership of the mythical Excalibur. to determine why, he'll need to seek advice the final Defenders of Camelot, a bunch of knights who stay in a spot extra scary than the Nightside: London. John has been there in years-and there are solid purposes for that...

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Additional resources for A Hard Day's Knight (Nightside, Book 11)

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This conflict emerged for Freud most vividly both in the taboo and in the psychoanalytical transference, but I think that Freud always repressed his rather shady basing of the structure of the transference upon the structure of the taboo. Fletcher acutely notes the presence of heightened emotive ambivalance in the literary Sublime, in Gnosticism, and in the Freudian dialectic of Negation, and also in really fierce satire. I quote Fletcher at his most sublimely illuminating: In a way Freud's term "negation" names the process by which, unconsciously, the mind selects terms to express its ambivalence.

Coppelius becomes the castrating bad father who destroys the good father, and who ruins every erotic possibility for Nathanael. Fixated upon Coppelius as the representation of the dead father, the psychically castrated Nathanael is incapable of loving a woman. But surely Freud cannot, as a reader, persuasively give us a Sandman whose pattern is at once dialectical and self-contradictory, at Page 6 once Sublime and castrating. I think though that we can learn from Freud here, as everywhere, because Freud has stumbled brilliantly, in one of his errors that are also grand insights.

The central problem in the study of fantasy, then, is not merely to define another genre, but to circumscribe the tools and methods needed to approach works of art from a new perspective. Each of the essays presented in this volume seeks to provide a coherent theoretical model for such an approach. " These are only starting points, however, and each study uses its particular angle not to confine a given text or problem, but rather to open it out. The goal, in each case, is to investigate particular ways in which these categories ultimately interact to produce a work of fantasy.

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A Hard Day's Knight (Nightside, Book 11) by Simon R. Green

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