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In this short afterword, I speculate about two scenarios in other disciplines where thinking through psychoanalytic categories might afford new historical sensitivities. In experimenting with the possibilities of psychoanalysis, I draw examples from fields that are non literary or at most adjacent to literary studies. The provocative contributions to this colloquium, "The Time of Psychoanalysis," showcase the advantages of psychoanalytic perspectives in the study of medieval literature, whether in teaching or in further research. How might we imagine these advantages in other disciplines, and indeed, how might those literary scholars who work inside the frame of psychoanalysis demonstrate its value to colleagues in other linguistic and disciplinary traditions, persuading scholars in other fields to use it?

Since its invention, photography has been imbued with the promise of providing a sense of fullness and has been believed to possess the unique capacity to capture the entirety of a moment. On the other hand, such assumed potentiality to capture all is yet found subject to the surface, and photography turns out to be a sort of art that lacks depth. This paper intends to focus on the tension between surface and depth in the representation of photographs in literature, a topic that is often neglected in literary studies. Through the theoretical lens of Walter Benjamin’s and Roland Barthes’s discourses on photography, this paper examines Joy Kogawa’s Obasan and Paul Auster’s The Invention of Solitude, both of which expose the discrepancy between what is visible on the surface and what lies beneath, as well as between what is within the frame and what exists beyond it. This paper is divided into two parts. The first part discusses how Benjamin’s and Barthes’s discourses on photography lead to the discussion of the surface and depth issues. The second part deals with the photographs in the two literary works, exploring how theoretical concepts of photography, including Benjamin’s “the optical unconscious” and Barthes’s “punctum,” will help shed light on them. By juxtaposing critical discourses on photography with these literary works, this paper concludes that their representation of photographs grapples with the tension between surface and depth and resonates with Benjamin’s and Barthes’s notions on photography.

In what way can Derek Jarman’s work help us question the relationships between painting and cinema beyond mere quotations? Given that both his pictorial and filmic works display the same thematic and formal preoccupations, this article examines how pictorial issues infuse his films, in particular through two main questions in art history, first the dichotomy between surface and depth, second, the tension between figuration and abstraction. In both cases, the questions are conveyed in filmic terms through the use of light and colour, resulting in two seemingly opposite aesthetic trends, from austere monochromes to flamboyant superimpositions and montage. The pictorial question thus enables us to understand how these two trends are part and parcel of the same filmic poetics, characterised by non-realism and a desire to explore the limits of representation. Film is no longer considered a mere photographic support to print but a genuine pictorial support to shape.

This article reviews the current state of play in youth justice, taking particular note of the rhetoric and initial reform proposals of the incoming coalition government. The recent history of youth justice and the nature of previous debates in this area of practice are considered, in order to 'set the scene'. In reflecting on past experience, it is suggested that there have been certain predictable patterns to policy debates, and that these have essentially been constrained within a fairly limited ideological framework, reflecting conventional narratives of progress and failure. The question of whether policy and practice in youth justice is best represented in terms of 'continuity' or 'rupture' is considered, and it is concluded that in the recent past, at least, there has been a tendency to overstate the degree of disagreement between policy positions between governments of different political persuasions, in order to justify reforms which have, in fact, been of relatively modest proportions. At the same time, established trends towards greater liberalisation or authoritarianism appear to have operated more or less independently of the policy process. This pattern is likely to be reproduced under the incoming 2010 government's proposed reforms, given their reliance on well-established rhetorical arguments, and their lack of engagement with fundamental processes of social division and 'othering'. [ABSTRACT FROM AUTHOR]