English (United Kingdom)

https://curated-unify.zendy.io/wp-json/zendy-region/v1/featured_content/oa?rat=en

https://curated-unify.zendy.io/wp-json/zendy-region/v1/highlighted_journal/

Global: Zendy Plus annual

Presents the access of premium content as premium feature

Premium Content

Presents the keyphrase highlighting as premium feature

Keyphrase Highlighting

Presents the summarisation as premium feature

Summarisation

Insights

Presents the pdf analysis as premium feature

PDF Analysis

Presents the zaia usage as premium feature

ZAIA

Global: Zendy Tools annual

Global: Zendy Free Plan

Global: Zendy Tools monthly

Global: Zendy Plus monthly

This article is an experiment in and interpretation of the ‘labyrinth analysis’ which is obliquely described by Jean-François Lyotard in his  Économie libidinale  of 1974. I take Lyotard to be pointing in the general direction of a mode of analysis in which associative and coincidental linkages take their place alongside causal ones in the production of interpretation. My own attempt at such an analysis starts with the Lyotardian labyrinth being read into Stephen King’s novel  The Shining , and Stanley Kubrick’s film adaptation of it, by the late cultural theorist Mark Fisher. Fisher’s reading, however, finds itself disturbed by an overwhelming logic of authoritative Freudianism which, I suggest, situates that reading in a series which also contains both King’s protagonist Jack Torrance, and King himself. From  The Shining ’s Overlook Hotel, my focus shifts to the Hotel Royal, Budapest, in 1919, where Sigmund Freud defended his vision for psychoanalysis against interlopers and upstarts, to an audience including Melanie Klein, who was encountering him in person for the first time. Labyrinth analysis pictures these hotels in a moment of brief mutual superimposition, as sites of a weird commingling of theoretical and interpretive authority and authoritarianism.

The family photo at the Overlook Hotel: Fisher, King, Freud, Klein and the image of psychoanalysis