|--cannot be pointed at; can only be "diagnosed."
--the reverse of consciousness
Making itself manifest through "gaps"-- unintended lapses in memory,
slips of tongue, puns and dreams,
Three types of the unconscious
descriptive,--the conscious, the preconscious and the unconscious
dynamic,--the unconscious were a throbbing energy center, active
and busy, but hidden from the Subject¡¦s conscious mind.
hydraulic metaphors: engery "flows,"¨ is "cathected"¨ (attached
to an object), and pulsates; repressed thoughts "build up the pressure,"¨
and at times put enough pressure on the repression barrier so as to "leak
through"; . . .esire is "displaced" or "transferred"¨ to "relieve
the tension"¨ which the intrusion of the trauma into the unconscious
and the systematic --id, ego, superego. The American--
toward "ego psychology"; the French --a "return to the real Freud"
Literature and psychoanalysis:
for Freud, the story of Oedipus traces the unconscious wish of every
(male) child: sexual union with the mother and a concomitant elimination
of the father, so as to take his place. the "other" he seeks is
in fact himself. ..notions such as "destiny," "fate," "self-knowledge,"
and the "other" are all interconnected as partaking of what psychoanalysis
calls the unconscious.
Literature. . . like a dream, uncovering deep, otherwise invisible
workings of unconscious activity.
--a text is only a symptom of an author's psychological state. At its
best, such an approach will ultimately tells us something about the author
(his neurosis, obsessions, traumas, and so on), but it will tell us little
about the text itself.
the conscious as the personal unconscious or the collective unconscious
racial memories of human past, which makes us respond to certain myths
and stories in the same way.
These memories exist in the form of archetypes: patterns or images of
repeated human experiences (such as birth, death, rebirth, the four seasons,
and motherhood) that express themselves in our stories, our dreams
e.g. "The Uncanny"
heimlich-- "familiar," "homely,"
to "secret and hidden" to "dangerous
Freud explores the psychology of the uncanny on two levels of child
development: the pre-oedipal stage of primary narcissism and oedipal-level
primary narcissism -- double, reflection and shadow
castration fear-- the example of Offenbach's
of Hoffmann. "The Sandman": tear the kids' eyes out to induce
In the unconscious, he represents the castrating oedipal father
Hoffman's story "The Sandman" -- Nathanael's
fear of the Sandman=the lawyer=anybody whose business is related to eyes
This story is
"uncanny," says Freud, because
Nathanael's fear of the "sandman"
is at once incomprehensible and strangely familiar: it partakes of
Psychoanalysis will provide the explanation for this fear,
. . .and
thus neutralize the uncanniness of the story. Nathanael fears losing his
eyes; but that fear is the displacement (and disguise) for another, more
fundamental, fear: castration.
Eyes = male genitals
Now that we know this, F claims, the uncanny in the story dissolves.
The text's neurotic symptom, it would seem, has been "cured."
criticism ---This way of viewing fictional texts--
symptoms, disguised shapes of unconscious fears or wishes . . . is frequently
inadequate and unconvincing for students of literature. Moreover, there
is something in the reader-critic that would like to keep some texts uncanny.
the case study is then the narrative of a narrative which attempts to
persuade readers of the accuracy of the reading.
example--- a 40-yr-old patients slated to inherit ten million
dollars on his ailing father's death dreamed that he was
in love with the wife of an old friend. Not seen his friend in years, never
met his wife, only knew that the wife was a dancer as his own mother had
His friend---Mr. Zandemann
The maternal eye has an earlier, reflective, mirroring function, while
paternal eye is the source of later superego retribution for real or imagined