Sie befinden Sich nicht im Netzwerk der Universität Paderborn. Der Zugriff auf elektronische Ressourcen ist gegebenenfalls nur via VPN oder Shibboleth (DFN-AAI) möglich. mehr Informationen...
According to Pethica, "the start of formal monetary patronage between the friends involved embarrassment on both sides, his anxieties and efforts to return the money being matched by Lady Gregory 's . . . vehemence in dismissing the subj ect from discussion" (174-75). Bloom acknowledges, "I take the term tessera from the psychoanalyst Jacques Lacan, whose own revisionary relationship to Freud might be given as an instance of tessera" (Anxiety, 67). [...]given that Bloom relies so heavily on Freud in formulating his theory of the anxiety of influence,14 it makes sense that we can read Lacan as a tessera of Bloom as well, especially as we apply "The Mirror Stage" to Cooney and the Old Man. [...]according to Yeats, "All writers, all artists of any kind, in so far as they . . . have been deliberate artists at all, have had some philosophy, some criticism of their art; and it has often been this philosophy, or this criticism, that has evoked their most startling inspiration... According to Bloom, "Shakespeare belongs to the giant age before the flood, before the anxiety of influence became central to poetic consciousness" (Anxiety, 11).