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  • noun

Words related to melancholia

extreme depression characterized by tearful sadness and irrational fears

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References in periodicals archive ?
Hippocrates first described melancholia as a condition that pulls people into a state of bleakness.
Dark, sad, and seductive was Dak Bonite's F/W 2018 "Melancholia" collection.
During melancholia, energy shifts from growth and reproduction to cognition as the person ruminates, wrestling with complex problems.
Firstly, because shame has been all too often disregarded as a worthwhile affect by both psychoanalysis and trauma studies; secondly, because, unlike other affects like guilt or disgust, shame attacks the global system of self-esteem and points to an individual and social failure of the person who suffers it and, lastly, because I will refer to a type of invisible shame which, due to its structural resemblance with melancholia, recalls a highly painful affective reaction since it involves painful self-scrutiny, and feelings of worthlessness and powerlessness.
The films that I will look at are Roland Emmerich's The Day After Tomorrow (2004) and 2012 (2009), and Lars von Trier's Melancholia (2011).
Cultural Melancholia: US Trauma Discourses Before and After 9/11
Melancholia (2011) is arguably von Trier's most 'mainstream' film, a fact that he loudly bemoaned on its initial release.
Modernism and Melancholia: Writing as Countermourning.
Laurinda Dixons exploration of melancholia begins, naturally, with Albrecht Durer's 'cryptic' Melencholia I (1514).
The book's final chapter and brief epilogue ("Afterthoughts") turn toward the theme of melancholia (specifically "Cuban Melancholia," as he calls it in the epilogue), a seeming digression that in retrospect makes sense, as it encapsulates where the book has been heading all along.
couple of years ago I was persuaded to see Lars von Trier's "Melancholia.'' It was an end-of-the-world movie, although I had a feeling it was not going to be another "2012,'' "Armageddon,'' or even "Deep Impact.'' Hey, it was titled "Melancholia.'' It lived up to the title.
This negative revolution, directed against the Enlightenment ideals of communism, led to a rejection of the universal and the turning of society against itself in a manner analogous to the Freudian structure of melancholia. However, he argues, negativity and melancholia are integral parts of any revolution--as he seeks to demonstrate with a comparative analysis of the French Revolution--even if the post-Soviet transformation, as a negation of a negation, resulted in the unprecedented interiorization of negativity by society which led to collective melancholia.
The screenings began with "Melancholia" directed by Lars von Trier and ended with Ole Christian Madsen's "Superclasico."