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This paper starts from the observation of the symptomatic absence regarding the interpretation of the mytheme of the encounter with the Sphinx, both in Freud's analysis of Sophocles' Oedipus Rex and in his theory of the Oedipus complex. A detailed study is made of the allusions to the figure of the Sphinx in Freud's work and in the Sophoclean text, as well as their repercussions in the biography of the founder of psychoanalysis. A critical review is also made of later approaches to the subject, with particular emphasis on the work of Marie Delcourt and Didier Anzieu. Following a review of the concepts of castration and the primary scene in Freud's work, it is proposed to interpret the mytheme in question as a mythological manifestation of the primary scene, promoted to the status of gateway to the Oedipus complex and seen as the castration scene of the phallic mother. As the psychoanalytical reflection is developed, simultaneously the anthropological one is created. Freud's reflections on matriarchy are reviewed and the thesis is formulated that Sophocles' version of the Oedipus myth constitutes a precise manifestation of the patriarchal revolution, which put an end to a previous matriarchal regime in the Mediterranean world. [ABSTRACT FROM AUTHOR]

In this paper we study the heroism of Max Rockatansky in Mad Max: Fury Road, the fourth part of the iconic post-apocalyptic saga. Based on the perspective of Professor Jesús González Requena, this character appears shortly before the eighties, within the displacement of mass cinema to the post-classical story mode. After an intertextual analysis, we find that the post-classical saga, would reflect concerns of its historical context of production, representing, nonetheless a horizon of redemption with the heroic act. Mad Max: Fury Road narrates the restitution of a stripped and denied hero, confronted with an army of religious fundamentalists, a story that claims the return of a mythical heroism from and for a civilization, the West, traumatized after 9/11 and its consequences, stripped of any mythological symbolic system and capable of the worst barbarism, which would find in DAESH the embodiment of its nightmares. [ABSTRACT FROM AUTHOR]

Recent research in neuroscience, developmental psychology and evolutionary design offers a perspective on the evolution of human culture in relation to the biological requirements for the survival of the species. This paper reflects on the relationship between this research and semiotic theory on symbol construction and symbolic efficacy. [ABSTRACT FROM AUTHOR]

The textual object, Un mundo sin Xóchitl, is articulated around a central axis, the incestuous love between two brothers entering puberty, a theme already announced by the writer in his first novel, El viejo saurio se retira (1969). Our hypothesis of analysis is that the prohibition is to be read as an initiatory experience, so we propose to approach the text from the bias of the hero's journey, understood according to the pattern proposed by Campbell in The Hero with a Thousand Faces (2014), namely the representation of the formula of initiation rites: separation, initiation, return. Based on a traditional literary analysis that we will combine with a sociocritical approach, we will begin by questioning the discourse on the family, focused on the reciprocal role of the father, Don Elías, and the mother, Constanza. The second part of this paper will delve into the various transgressions of her two children, Güencho (Wenceslao) and Xóchitl who, in the name of an absolute love, find through incest a way to 'flee from the father and the Others' and, especially for Xóchitl, a paradigm that makes possible the emergence of consciousness from the diffuse darkness of the collective unconscious. [ABSTRACT FROM AUTHOR]

This paper proposes a reflection on the relationship between threshold and time from the piece I am easy to find (Mike Mills/The National). To do so, it will problematise the commonplace in the readings of Joseph Campbell's forging of the hero, that pretend to make a template destined to maintain an idea of the unwounded and allpowerful hero from the structure of the monomyth. Instead, it will be suggested that precisely what is most proper to the heroic experience --a transcript of the psychoanalytic experience, at least for the Campbell of the 1950s-- is the acceptance of pain and of the fall of those signifiers and identifications, that allow us to accept the absence of definitive symbolic guarantees. [ABSTRACT FROM AUTHOR]

The similarity of the dream with hallucination and psychosis is a constant idea that runs, in the background, throughout Freud's work. It is therefore quite surprising that Freud does not pay attention to the specific status of the nightmare in relation to both. The aim of this paper is, in its starting point, to fill this gap: to bring to light, by examining the two Freudian texts --the 14th of his Introductory Lectures on Psychoanalysis (1915-1917) and the Scheme of Psychoanalysis (1938)--, the theoretical place of the nightmare at the frontier that separates dream and psychosis, by pointing out certain common significant uses by Freud in his description of both nightmare and psychosis. In the light of which the borderline position of the nightmare in relation to psychosis --in which insomnia comes to occupy a prominent position-- is established, and the central deficit of the psychotic ego is examined, concluding that it is the result of the failure in the construction of the superego. [ABSTRACT FROM AUTHOR]

A semblance of the classic myth of Paris and Helen of Troy reappears in the 1993 advertising spot for Chico Martini, which tells the story of how a very attractive and seductive young blonde, the partner of a very wealthy, powerful and unfriendly senior man, is drawn, as if attracted by a magnet, by a kind of very attractive and sensual man tart, who suddenly appears by sea, without anyone being able to prevent him from doing so. The Martini Boy represents an attractive, shallow man, with a powerful image full of sensuality. If the myth of Paris begins with wine, the Chico Martini begins with the vermouth of the same brand. This paper will try to analyse how this connection is reached, from the classical myth to the postmodern one. [ABSTRACT FROM AUTHOR]

This paper proposes a textual analysis of the film A Ghost Story (David Lowery, 2017), from its psychoanalytical and philosophical dimensions. To do so, it uses a methodology of textual analysis that considers both the Lacanian apparatus as well as the one derived from the hauntology outlined by Mark Fisher from the texts of Jacques Derrida. Thus, the relationship between love and death is explored taking as axis, the writing, the function of the word and its implications in memory. [ABSTRACT FROM AUTHOR]

This paper studies the insistent presence of Ernst Kris's case known as the fresh 'brains man' in Jacques Lacan's speech. We identify direct allusions to it, we specify certain notable distortions and contradictions -never declared- that contains, as well as we review other forms of influence that not for being indirect are less relevant. This makes it possible to establish the profound shock that the knowledge of Kris's case and interpretation produced in the French psychoanalyst, all of which motivated by a shared family constellation and a very similar passion for plagiarism. This work is part of a textual analysis of Lacan's discourse that sheds a specifically psychoanalytic -and we could also say clinical- light on some of the most characteristic features of his rhetoric, on the way he led the institutions in which he participated, and on the peculiar nature of the way these institutions work. [ABSTRACT FROM AUTHOR]

In this paper, I will explain how the Feminine Oedipus Complex appears in the couplet, displaying the constellation that surrounds it, around the phallic phase, castration and the work of grieving. As an artistic expression, the couplet, for its dramatism and overwhelming emotivity is a privileged means to the popular expression of intrapsychic conflicts. Taking fragments of several couplets I will try to illustrate how the feminine Oedipus drama has been expressed in the couplet. [ABSTRACT FROM AUTHOR]

In this paper we are going to tackle the singularity and the power of the great cinematographic close-up. We will argue its relationship with the primordial imago -and, hence, with the figure of the female face. Next, we will address the display of that presence -that of the primordial imago- in the fantasmatic scene that is found in many cinematographic stories. Lastly, we will analyse the act that this presence summons and the drive impulse that nests within it. This reflexion is projected historically through the concise analysis of the nuclear scenes of Broken Blossoms (1919, D.W. Griffith), Alfred Hitchcock's The Birds, (1963, Alfred Hitchcock), Prometheus (2012, Ridley Scott)), The Good Star (1997, Ricardo Franco), The Searchers (1956, John Ford) and Casablanca (1942, Michael Curtiz). It can be recognised how the opposite to the impulse to violence is conducted in the classical and postclassical cinema. Finally, and in the light of such analysis, we propose an explanation of the plethora of the meaning that characterises the hero's act in the classical story: that is due to the hero's capacity to put a stop and therefore contain the scene that could have been unleashed in its absence -this is, the violent and disintegratory scene that, contrarily to the classical story, reigns in the postclassical spectacle. [ABSTRACT FROM AUTHOR]

Through the analysis of some sequences of a couple of films from different countries, this paper proposes that the phenomenon of violence stands as an obstacle to the protagonists who have to deal with it inescapably. When the subject of the story has a symbolic destination is possible to overcome the violent acts and integrate them into a life experience that results in the maturation of the individual. On the contrary, the absence of symbolic destination, or sinister reversal causes experience to become a meaningless event that triggers the drive. [ABSTRACT FROM AUTHOR]

The Rose Seller is one of the most paradigmatic films of the contemporary Columbian cinema. It touches everyone as it has been criticed by some for its portrayal of poverty and by its strong violent scenes, as well as praised and exploited by the popular culture. The film takes place between the 23rd and the 25th of December, key date for the Christmas festivities where the Jesus's birth is re-enacted. What seems paradoxical is that this re-enactment is surrounded by consumerism, death and violence directed to the children themselves. The religious celebration is nothing but another carnival, an empty gesture that cannot achieve to redeem nor to direct the prevailing chaos. This paper will focus on anlysing the good and bad maternal and paternal figures, portrayed by its three main characters: Andrea, who does a kind of initiation trip to the rough street, running away from her violent mother; Monica, who dies tragically confounding her loving grandmother with a static plaster figure of the Virgin Mary; and Diana, who is rescued from the violent street thanks to the firm and convincing words of her father. [ABSTRACT FROM AUTHOR]

The idea of infancy developed in Modernism conceived the child as a central and untouchable figure in Western society. Today this idea could be changing due to multiple variables, taking principally the threatening increase of violence among children. In this paper we will go deeper in the topology of violence with the purpose of either refuting or confirming this hypothesis. Furthermore, we will deal with the possible compatibility, dichotomy or negation that could exist between the notions of infancy and violence. In order to tackle this, we will take a multidisciplinary theoretical approach using the methodology of textual analysis proposed and promoted by Professor González Requena for more than two decades. In order to delve into the issue, I will use Colombian cinematic works, principally, The Rose Seller (1998) by Víctor Gaviria. [ABSTRACT FROM AUTHOR]

It is proposed in this paper a vision of the female character known as Bond girls, from the perspective of the status of Goddess. Women serving a powerfull man, eternal and invulnerable that seduces and controls, subjecting them to their own existential universe. No permission to progress out of this universe, the Bond girls for decades fulfilled its purpose, making them eternal with it, but accepting the inevitable change that will always be part of the side of the vanquished. [ABSTRACT FROM AUTHOR]

In this paper we will try to focus on the concept of "anguish" as it was thought by the german philosopher Martin Heidegger. At the same time, we will look for several echoes in Stanley Kubrick's filmography. In the first place, we will analyse the famous 40th paragraph of Being and time, as well as other works that explore the connections between architecture and the possibility of "dwelling". After that, we will look for the possibility of "unveiling", or the relationship between truth, art and dwelling - the way this is connected with anguish and their effects on the contemporary texts. [ABSTRACT FROM AUTHOR]