Working with emotional injuries: Letting go and forgiveness.

2015 ◽  
pp. 259-280
Author(s):  
Leslie S. Greenberg
Keyword(s):  
Letting Go

Holding On… and Letting Go

ASHA Leader ◽  
2015 ◽  
Vol 20 (2) ◽  
pp. 48-53 ◽  
Author(s):  
Maggie Vescovich
Keyword(s):  
Letting Go

Review of Letting Go: A Parents' Guide to Today's College Experience.

1989 ◽  
Vol 34 (3) ◽  
pp. 297-297
Author(s):  
No authorship indicated
Keyword(s):  
College Experience ◽  
Letting Go

Letting Go of Grief Work.

2000 ◽  
Author(s):  
G. A. Bonanno ◽  
S. Kaltman
Keyword(s):  
Grief Work ◽  
Letting Go

Power, Intersubjectivity, and Letting Go

2007 ◽  
Author(s):  
Frank C. Richardson ◽  
Kathryn M. Frost
Keyword(s):  
Letting Go

scholarly journals Being Present, Letting Go, and Moving On: Reflections on Editorial Transitions

2021 ◽  
Vol 45 (3) ◽  
pp. 323-339
Author(s):  
Kathy Lund Dean ◽  
Jeanie M. Forray
Keyword(s):  
Letting Go

Inherited Crypts of the Wife/Mother: Ang Lee's Hulk Meets Zechariah 5:5–11 in Contemporary Apocalyptic Discourse

2006 ◽  
Vol 14 (1-2) ◽  
pp. 127-142
Author(s):  
Erin Runions
Keyword(s):  
Foreign Policy ◽  
The Political ◽  
Biblical Text ◽  
Repetition Compulsion ◽  
Biblical Allusion ◽  
Letting Go ◽  
Conservative Christian ◽  
Conservative Christians ◽  
Christian Discourse ◽  
Lost Object

AbstractThis paper puts the political concerns expressed by secular apocalypse in Ang Lee's Hulk (2003) into conversation with the political concerns expressed by religious apocalypse in conservative Christian discourse. The film sets a revised version of the Akedah, in which the wife/mother is killed instead of the son, at the heart of its plot and of its critique of U.S. foreign policy. Set within Lee's apocalyptic analysis of repressed trauma, this quasi-biblical allusion points toward the repeating biblical tradition of the murdered wife/mother. One such repetition of this originary trauma can be found in what Diana Edelman has argued to be Yahweh's murder of his wife Asherah in Zechariah 5:5-11, a text which can be read in the same psychoanalytic terms that the film evokes. Both film and text represent the missed encounter of trauma and the entombment of the lost love object. In both film and text, the lost object, the mother, is entombed, encrypted and forgotten. But because this proto-apocalyptic text is one that conservative Christians take up in their defence of the war on Iraq as the precursor to the doomed Whore of Babylon, this text, uncannily, brings the film into contact with its religious apocalyptic roots. But where the biblical text is read in ways that only increase a violent repetition compulsion, the film models mourning and letting go as a way of working through the trauma. Thus, the film offers an alternate way of reading the biblical text in culture.

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