The Sadist Meaning
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THE SADIST
In 1929, the German city of Dusseldorf was afflicted by a horrifying series of brutal, random and often fatal attacks upon women and young girls. With weapons ranging from knives and hammers to his bare strangling hands, a shadowy predator left a mounting trail of sexual assault, carnage and murder in his wake, fomenting mortal terror amongst the local populace. Police finally arrested Peter Kurten, a convicted felon, in connection with the crimes; his subsequent confessions revealed a staggering career of evil, documented in at least 69 cases of theft, arson, rape, throttling, stabbing, hammering, hacking, mutilation, blood-drinking and corpse immolation spanning some 30 years. THE SADIST, an in-depth forensic and psychiatric report on Kurten by Dr. Karl Berg, was published in 1931 in the "Deutschen Zeitschrift fur die Gesamte Gerichtliche Medizin”, revealing fully for the first time the irreconcilable lusts, compulsions, obsessions, pathologies and atrocities of a remorseless and psychopathic sex-killer – the inhuman monster known as the Vampire of Dusseldorf. The report is illustrated by 8 pages of detailed and disturbing forensic photographs.
The Meaning of Irony
Author: Frank Stringfellow Jr.
language: en
Publisher: State University of New York Press
Release Date: 1994-07-01
Genuinely interdisciplinary in approach, The Meaning of Irony brings together literary analysis and, from psychoanalysis, both theory and case studies. Its investigation ranges from everyday examples of verbal irony—conscious and unconscious—to the complex irony of literature. This book provides the first full account of verbal irony from a psychoanalytic point of view. Stringfellow shows how the rhetorical tradition, by viewing the literal level of irony as something the speaker doesn't really mean, flattens out the rich ambiguities of irony and misses the unconscious meanings that are hidden behind ironic statement. He argues that only psychoanalysis can recover these unconscious meanings and reveal the origins of irony.
Witnessing Sadism in Texts of the American South
Looking at works by Carrie Mae Weems, Toni Morrison, Emily Dickinson, Flannery O'Connor, Dorothy Allison, Carson McCullers, and Zora Neale Hurston, Claire Raymond uncovers a pattern of femininity constructed around representations of sadistic violence in American women's literature and photography from the late nineteenth and twentieth centuries. Dickinson's poetry is read through its relationship to the Southern Agrarian critics who championed her work. While the representations of violence found in Carrie Mae Weems's installation From Here I Saw What Happened and I Cried, Morrison's Beloved, Dickinson’s poetry, O'Connor's 'A View of the Woods' and 'A Good Man Is Hard to Find,' Allison's Bastard Out of Carolina, McCullers' Ballad of the Sad Café, and Hurston's Mules and Men are diverse in terms of artistic presentation, all allude to or are set in the antebellum and Jim Crow South. In addition, all involve feminine characters whose subjectivity is shaped by the practice of seeing acts of violence inflicted where there can be no effective resistance. While not proposing an equivalence between representing violence in visual images and written text, Raymond does suggest that visual images of violence can be interpreted in context with written evocations of violent imagery. Invoking sadism in its ethical sense of violence enacted on a victim for whom self-defense and recourse of any kind are impossible, Raymond's study is ultimately an exploration of the idea that a femininity constructed by the positioning of feminine characters as witnesses to sadistic acts is a phenomenon distinctly of the American South that is linked to the culture's history of racism.