1. The Freudian Revolution
Chapter 33
The Freudian Revolution

3. Psychoanalysis = the talking cure

4. The Tripartite Psyche
The id—the repository of the libido. Demanding swift satisfaction and fulfillment of biological desires, it is lawless, asocial, amoral.
The ego—making the id’s energies nondestructive by postponing them or diverting them into socially acceptable actions.
The superego—similar to one’s conscience, operating according to the morality principle. (parents, institutions) (Dobie 51)

6. Erogenous 性感 Zone
The oral stage—associated with the drive to incorporate objects
The anal stage---The anal stage is sadistic, in that the child derives erotic pleasure from expulsion and destruction; but it is also connected with the desire for retention and possessive control, as the child learns a new form of mastery and a manipulation of the wishes of others through the ‘granting’ or withholding of the faeces.
The phallic stage---only the male organ is recognized (Eagleton 153)

7. Fixation 固戀
When one’s desire is tied to an object of desire connected to an earlier phase in one’s psychosexual development.
Example: a fixation on oral pleasure, which Freud would see as “stuck” at the oral phase, even though other aspects of one’s development may have proceeded normally. (Felluga)

8. Regression
When normally functioning desire meets with powerful external obstacles, which prevent satisfaction of those desires, the subject sometimes regresses to an earlier phase in normal psychosexual development. (Felluga)

9. Regression
Example 1: a normally functioning woman is dumped by her boyfriend and starts over-eating (thus regressing to the oral phase).

10. Regression
Example 2: the neurotic begins over-eating; the pervert gives up men and becomes a lesbian (a sexual identity that Freud saw as perversion, though many have since critiqued him on this point). (Felluga)

11. The Oedipus Complex
The boy’s close involvement with his mother’s body leads him to an unconscious desire for sexual union with her.
What persuades the boy-child to abandon his incestuous desire for the mother is the father’s threat of castration.

12. The Oedipus Complex
This threat need not necessarily be spoken; but the boy, in perceiving that the girl is herself ‘castrated’, begins to imagine this as a punishment which might be visited upon himself.
He thus represses his incestuous desire in anxious resignation, adjusts himself to the ‘reality principle’ The boy makes peace with his father, identifies with him, and is thus introduce into the symbolic role of manhood. (Eagleton )

13. The Oedipus Complex
It is the point at which we are produced and constituted as subjects.
It signals the transition from the pleasure principle to the reality principle, form the enclosure of the family to society at large, since we turn from incest to extra-familial relations; and from Nature to Culture. (Eagleton 156)

14. The Oedipus Complex
The human subject who emerges from the Oedipal process is a split subject, torn precariously between conscious and unconscious; and the unconscious can always return to plague it (Eagleton 156).

15. Dreams The “royal road” to the unconscious is dreams.
Dreams allow us one of our privileged glimpses of the unconscious at work (Eagleton, 157).

17. Neurosis
We may have certain unconscious desires which will not be denied, but which dare not find practical outlet either; in this situation, the desire forces its way in from the unconscious, the ego blocks it off defensively, and the result of this internal conflict is what we call neurosis.

18. Neurosis
The patient begins to develop symptoms which. . . at once protect against the unconscious desire and covertly express it.
Such neuroses may be obsessional (having to touch every lamp-post on the street), hysterical (developing a paralyzed arm for no good organic reason), or phobic (being unreasonably afraid of open spaces or certain animals). (Eagleton 158)

19. Psychosis
The link between the ego and the external world is ruptured, and the unconscious begins to build up an alternative, delusional reality. The psychotic, in other words, has lost contact with reality at key points, as in paranoia and schizophrenia.

20. Art & Literature
Literature and the other arts, like dreams and neurotic symptoms, consist of the imagined, or fantasied, fulfillment of wishes that are either denied by reality or are prohibited by the social standards of morality and propriety. (Abrams 248)

21. Art & Literature Manifest content Latent content
The disguised fantasies that are evident to consciousness
Latent content
The unconscious wishes

22. Art & Literature
What distinguishes artists from the patently neurotic personality is sublimation昇華.

23. Art & Literature
The artists possess an ability to shift the instinctual drive from their original sexual goals to nonsexual ‘higher’ goals. They could elaborate fantasied wish-fulfillments into the manifest features of a work of art in a way that conceals or deletes their merely personal elements, and so makes them capable of satisfying the unconscious desires of other people.

24. Psychoanalyst
The chief enterprise of the psychoanalyst as a therapist, is to reveal the true content, and thereby to explain the effect on the reader, of a literary work by translating its manifest elements into the latent, unconscious determinants that constitute their suppressed meanings. (Abrams 249)

25. References
Abrams, M. H. A Glossary of Literary Terms. 7th ed. Harcourt Brace, 1999.
Eagleton, Terry. Literary Theory. U of Minnesota, 1983.
Felluga, Dino.

26. Impact of New Psychology

27. Literature
Proust
Kafka
Joyce

28. Visual Arts Expressionism Metaphysical art and fantasy Dadaism
Surrealism

29. Expressionism
Munch
Kirchner

30. Munch,
The Scream,
1893

31. Munch,
Madonna,
1895

32. Munch,
Puberty,
1895

33. Munch <Self Portrait in Hell> 1893

34. Kirchner,
Berlin Street Scene,
1913

37. Metaphysical Art and Fantasy
De Chirico
Chagall

38. De Chirico,
Mystery and
Melancholy
of a Street, 1914

39. De Chirico, The Enigma of the Hour, 1912

40. De Chirico, The Nostalgia of the Infinite, 1913-14 “We experience the
most unforgettable
moments when certain
aspects of the world . . .
suddenly confront us
with the revelation of
mysteries lying all the
time within our reach,
which we cannot see ”

41. Chagall,
Green Violinist,

42. Chagall, I and the Village, 1911

43. Dada
"Dada had no unified formal characteristics as have other styles“. . .it is characterized only by its "destruction of all artistic forms a raging anti, anti, anti" (Richter).
Duchamp

44. “I wanted to get away from the physical aspect of painting, I was much more interested in re-creating ideas in painting. For me the title was very important I wanted to put painting once again at the service of the mind.”
Marcel Duchamp

45. Duchamp,
Bicycle Wheel,
1913/1964

46. Duchamp,
L.H.O.O.Q,
(She’s hot in the tail.)
1918

47. Duchamp,
Fountain,
1917

48. Surrealism
“psychic automatism, in its pure state”
André Breton

49. Surrealism: Two Trends
Abstract Surrealism (Automatism)
Picasso, Miro, and Klee
Visionary Surrealism
Magritte, Dali

50. Automatism
the automatic way in which the images of the subconscious reach the consciousness. These images should not be burdened with "meaning.“
believe that lack of form was a way to rebel against them
Miro, Pollock, de Kooning

51. Picasso,
Seated Woman,
1927

52. Miro, The Tilled Field

53. Miro, Person Throwing a Stone at a Bird, 1926

54. Miro, Dog Barking at the Moon

55. Klee, The Gold Fish, 1925

56. Klee, Embrace

57. Klee, Angelus Novus

58. Visionary Surrealism
saw academic discipline and form as the means to represent the images of the subconscious with veracity
hoped to find a way to follow the images of the subconscious until the consciousness could understand their meaning.
De Chirico, Dali, Magritte

59. Magritte, The Treason of Pictures, 1929

60. Magritte,
This Is Not An Apple,
1964

61. Magritte, The Lovers, 1928

62. Magritte,
Black Magic,
1933

63. Magritte,
The Therapist,
1937

64. Magritte,
Time Transfixed,
1938

65. Magritte, Collective Invention, 1934

66. Magritte, Song of Love, 1964

67. Magritte, Clairvoyance (Self-portrait), 1936

68. Magritte, Son of Man, 1964

69. Dali, The Persistence of Memory, 1931

70. Dali, Sleep, 1937

71. Women Surrealists:
Georgia O’Keeffe
Frida Kahlo

72. O’Keeffe,
Jack-in-the-Pulpit No.V,
1930

73. O’Keeffe, Yellow Calla, 1926

74. O’Keeffe, Poppy, 1927

77. O’Keeffe, Cow’s Skull: with Calico Roses, 1931 I painted my cow's head
because I liked it and in
its way it was a symbol
of the best part of
America I had found.

78. Kahlo, Self-Portrait between the Borderline of Mexico and the United States, 1932

79. Frida Kahlo, The Two Fridas, 1939

80. The End