Open the gate and step into the hall, and it is still a respectable middle-class home of the attractively old-fashioned kind.
The body of work—clinical, intellectual, and artistic—that has emerged in response to his ideas is dizzying in its scope, and this article can only touch on the most salient commentaries and arguments. His own body of work—running to twenty-four volumes in the Standard Edition—that is at the center of this article is also vast and thus this bibliography is necessarily selective, identifying prominent works in areas of his thinking that have been organized conceptually and thematically.
Freud himself considered the discovery of unconscious mental life as being no less than Copernican in significance. It is what must be repressed for civilized life to go on existing, yet it is also that which cannot be contained by the better angels of our nature.
The Oedipus complex is the most exemplary instance of this dynamic, a developmental structure Freud literary culture identified in literary sources in conjunction with his clinical work.
The unconscious is the realm of thoughts, fantasies, and wishes that consist of difficult or indeed unacceptable content, and which are only tentatively permitted access to our conscious experience in altered, concealed, and compromised forms.
The focus of this article on Freud as an individual writer is not intended to elide the distinct and vast contributions of analysts in traditions subsequent to Freud, whose work also contributes a great deal to literary and critical theory; by the same token, a cursory inclusion of a rich body of work would risk positioning such writers as merely supplementary.
The most comprehensive and far-reaching analysis of the origins and emergence of Freudianism is Makari Lear describes the contribution Freudian theory makes to specifically philosophical and metaphysical questioning in a provocative and comprehensive way, ideal for those approaching his thought from a background in critical theory or the humanities.
Translated by Richard H. Borch-Jacobson, Mikkel, and Sonu Shamdasani. An Inquiry into the History of Psychoanalysis. Cambridge University Press, Twentieth Century Freud and the Death of Psychoanalysis. By Todd Dufresne, 16— Theory, Therapy, and Culture.
Edited by Edward Erwin, — The Foundation of the Unconscious: Schelling, Freud, and the Birth of the Modern Psyche. Translated by James Strachey.
By Sigmund Freud, — Anti-Semitism, Nazism and Psychoanalysis. The Creation of Psychoanalysis. Melbourne University Press, On the macro-level, Makari sketches the different debates and disciplines that Freud managed to bring together in his development of a complex theory of mind.
Two Voices from the Underground.
Freud, Biologist of the Mind: Beyond the Psychoanalytic Legend. Harvard University Press, Judaism Terminable and Interminable.
Yale University Press, Graham Frankland's central hypothesis in Freud's Literary Culture is that the inventor of psychoanalysis was a repressed literary critic whose “interpretive method was always intended to effect a gradual return to his first love, the interpretation of cultural objects” (p.
). Frankland. Freud's Literary Culture by Frankland, Graham available in Hardcover on grupobittia.com, also read synopsis and reviews.
This original study offers a comprehensive reappraisal of Freud??'s work from a literary-critical. Freudian Concepts: Id, Ego, Superego. According to Freud, the human psyche is composed of three parts: The Id, Ego, and Superego.
He asserts that all people are born with their Id, the pleasure-principle component of our psyche, and that we develop our Id as infants. Freud's influence permeates our thought and our culture, even our popular culture.
Recent examples: David Cronenberg's film A Dangerous Method, which portrays the relationship between Freud and his early disciple C. J. Jung; or the Broadway play Freud's Last Session, which stages a meeting and exchange between Freud (the confirmed atheist.
Freudian criticism: Freudian criticism,, literary criticism that uses the psychoanalytic theory of Sigmund Freud to interpret a work in terms of the known psychological conflicts of its author or, conversely, to construct the author’s psychic life from unconscious revelations in his work.
Freudian critics depart from. In literary criticism, Peter Brooks applied Freud’s claims about dream symbolism to his idea of how all novels are plotted in Reading for the Plot; Harold Bloom used the Oedipus complex to explore poetic rivalries in The Anxiety of Influence.
In the s, literary critic Lionel Trilling noted the “poetic quality” of Freud’s theories.