Cet article revient sur le surréalisme pour montrer de quelles façons la psychanalyse a fourni une lingua franca internationale à la critique de l’humanisme européen et du racisme colonial du milieu du siècle dernier. La Première Guerre mondiale a initié une remise en question des valeurs européennes, qui a été exacerbée par le modernisme de l’entre-deux-guerres et la Seconde Guerre mondiale. Les écrits de Freud ont contribué à cette remise en question. Cela a non seulement été le cas pour l’École (...) de Francfort et la philosophie française, mais également pour les intellectuels et artistes surréalistes des deux côtés de l’Atlantique. Entre leurs mains, des concepts tels que l’inconscient, l’aliénation et le mythe ont proposé un vocabulaire commun pour s’attaquer à la hiérarchie raciale et esquisser un nivellement culturel entre l’Europe et ses autres. Lire le surréalisme en même temps que ses ramifications, de la négritude au structuralisme, permet aux théoriciens contemporains de renouer le dialogue avec ces ancêtres qui ont été oubliés à mesure que l’influence de Freud s’affaiblissait au cours du xxe siècle. (shrink)

This chapter contains section titled: “The Ego and the Id”.

Marx, K. Preface to A contribution to the critique of political economy. From Capital.--Freud, S. From The psychopathology of everyday life.--De Saussure, F. From Course in general linguistics.--Tynianov, Y. and Jakobson, R. Problems in the study of language and literature.--Jakobson, R. Linguistics and poetics.--Jakobson R. and Lévi-Strauss, C. Charles Baudelaire's "Les chats."--Barthes, R. The structuralist activity. To write: an intransitive verb?--Lévi-Strauss, C. The structural study of myth. Four winnebago myths. History and dialectic.--Althusser, L. Marx's immense theoretical revolution.--Foucault, M. The human (...) sciences.--Lacan, J. The insistence of the letter in the unconscious. (shrink)

This out-of-print, two-volume, photocopy packet, in the area of "Surrealism and the Politics of the Particular" includes readings on language, meaning, and surrealism from Adorno, Benjamin, McCumber, Breton, Heidegger, Freud, Kristeva, Ricouer, and Bataille.

Poststructuralism--as a name for a mode of thinking, a style of philosophizing, a kind of writing--has exercised a profound influence upon contemporary Western thought and the institution of the university. As a French and predominantly Parisian affair, poststructuralism is inseparable from the intellectual milieu of postwar France, a world dominated by Alexandre Kojève's and Jean Hyppolite's interpretations of Hegel, Jacques Lacan's reading of Freud, Gaston Bachelard's epistemology, George Canguilhem's studies of science, and Jean-Paul Sartre's existentialism. It is also inseparable from (...) the structuralist tradition of linguistics based upon the work of Ferdinand de Saussure and Roman Jacobson, and the structuralist interpretations of Claude Lévi-Strauss, Roland Barthes, Louis Althusser, and the early Michel Foucault. Poststructuralism, considered in terms of contemporary cultural history, can be understood as belonging to the broad movement of European formalism, with explicit historical links to both Formalist and Futurist linguistics and poetics, and with aspects of the European avant-garde, especially André Breton's surrealism. Each essay in this unique collection by and for educators is devoted to the work and educational significance of one of ten major poststructuralist philosophers. (shrink)

This article sets out to show that Wittgenstein and Freud have exerted a considerable - though narrow - influence on Bourdieu’s sociology. But their influence also pervades the theoretical development of two other currents that have emerged in French sociology in the last few years, and that were developed by L. Boltanski and L. Thévenot on the one hand, and B. Lahire on the other. Although they do not make it explicit, the advocates of these two currents have nevertheless been (...) influenced by Wittgenstein and Freud. Thus Boltanski has drawn on Wittgenstein to develop a sociology which gives primacy to the social actor’s interpretation of his or her situation through lay theorizing. Lahire’s work clearly pays a debt to Freud with his psychological sociology. It would therefore be interesting, in the first instance, to tease out how Wittgenstein and Freud, respectively, have influenced these two systems to demonstrate that they can indeed be used to generate new sociological currents, other than Bourdieu’s own. This would then allow us to explore how they could be used to fill any gaps in Bourdieu’s work, thus giving the latter renewed relevance and staunching its stagnating tendencies. Ultimately, this analysis aims to show how Wittgenstein’s and Freud’s theoretical influences can lead the way towards a theoretical synthesis between Bourdieu’s critical sociology, Boltanski’s social actor theory and Lahire’s psychological sociology. Currently, these three currents operate independently of each other, without any kind of dialogue. And yet, far from being incompatible, these sociologies offer opportunities for exploring how they might complement and mutually enrich each other. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Diacritics 31.2 (2001) 35-48 [Access article in PDF] Film, Freud, and ParanoiaDalí and the Representation of Male Desire in An Andalusian Dog Ignacio Javier López An Andalusian Dog, one of the most universally acclaimed films in cinema history, is frequently mentioned by critics as a privileged point of reference for the Surrealist rebellion. The film remains enigmatic to this day. Criticism has concentrated on the validity and effectiveness of (...) its images to exemplify the avant-garde attack against social conventions and against the exclusive dominance of rationality in epistemology and social discourse. But this contextual approach does not take account of the script's fragmented narrative, which finds support in Freud's psychoanalytical theories and articulates a radical proposal for identity and culture. Largely neglected by critics, this narrative has been highly influential in the history of cinema. An Andalusian Dog is central to a long list of films that explore different aspects of the irrational, among them Jean Cocteau's Le sang du poète, Hunt Stromberg's The Strange Woman, Guy Debord's script Howling in Favor of the Marquis de Sade, Alfred Hitchcock's Spellbound, David Lynch's Blue Velvet, Jonathan Demme's The Silence of the Lambs, and Philip Kaufman's Quills. This impressive list underscores the need for an interpretative critical effort that accounts for the authors' proposal in the context of the Surrealist reaction to convention and tradition.Conventionally An Andalusian Dog has been viewed as a film about sexuality; I suggest that sexuality appears in the film as the pretext for a discussion of the threat sexual desire poses for male identity. In this respect, the film develops ideas that begin to appear in paintings completed by Dalí after his initial contact with Freud's works in the mid-1920s. These paintings display male identity as a fragile form of subsistence unfolding between two alternate forces, desire and fear: the desire for sexual realization and the opposed fear that sexual intercourse will conclude in disease and ultimately in death. Given the scarcity of Buñuel's production prior to 1929, I suggest that Dalí's monumental production of paintings during these years served as a preliminary visual point of reference for the design of some of the images in An Andalusian Dog.By concentrating on Dalí's work, I do not mean to suggest that he deserves exclusive credit for the film; a careful examination of Buñuel's writings clearly indicates that the movie included most of his interests as well. Nonetheless, I would like to correct what has become a common trend in the study of An Andalusian Dog. In the early 1940s, Buñuel and Dalí's friendship came to an abrupt end, and in the following years each claimed sole authorship for the ideas in the film. The conflict between the two artists contaminated critical attitudes, which were guided exclusively by Buñuel's pre-1929 writings on cinema. The recurrence of images in the filmmaker's subsequent work was employed to confirm critics' initial intuitions that the film was exclusively Buñuel's. As a result, Dalí's name became increasingly dissociated from the movie, as is illustrated by the absence of the painter's name on the cover of the English edition of the script. However, the antagonism that separated the artists more than ten years after An [End Page 35] [Begin Page 37] Andalusian Dog premiered in Paris on June 6, 1929, should not be a consideration in our critical understanding of this work. Although Buñuel directed the movie and deserves to be recognized for his undeniable input, we should not forget that he eagerly sought the painter's cooperation in writing the script. Moreover, contrary to Buñuel's later practice of frequently altering the initial script during the course of the film's production, An Andalusian Dog closely follows the original plan. This furthers the idea of the importance of Dalí's contribution, and, despite the opposing claims made by both artists in later years, it certainly appears... (shrink)

Structuralism, in so far as its essence can be pinned down, seems to be the view that the surface aspects of social phenomena are best explained in terms of complex, elusive, below-the-surface "structures," patterns, or model systems. Examples of such underlying structures are the unconscious motivation schemes of individuals, a taken-for-granted economic order, customs of social strata, ingrained moral philosophies, and religious institutions. The De Georges’ pioneer sourcebook [[sic]] presents selections, infused with the structuralist viewpoint, from the writings of (...) Marx, Freud, and the linguist Ferdinand de Saussure, who are structuralism’s patriarchs; Claude Lévi-Strauss, its present high priest; Roman Jakobson, teacher of structural linguistics at Harvard and M.I.T.; Louis Althusser, who rejects affiliation with structuralism; and four others. Some of these selections include extremely difficult passages, in which the authors seem to be striving to squeeze a deep disclosure out of a surface act or function. Other selections are clearer, somewhat smoother, and more convincing. A well-made index concludes the volume.—W. G. (shrink)

The study of literature from the point of view of the search for archetypal images and the study of artistic creativity from the standpoint of structuralism are two important trends. Both of these trends have emerged in the contexts of different scientific paradigms. The origin of archetypal criticism is associated with the figure of Herman Northrop Fry, and the basis of archetypal criticism is psychology, namely the concept of psychoanalysis, founded by Sigmund Freud and Carl Gustav Jung. While the (...) origin of structuralism is associated with linguistics and the name of Ferdinand de Saussure, who first began to consider language as a system of signs in which each element defines other elements and is itself determined by them. With all the difference in origin, in general, both theories do not contradict each other - on the contrary, they complement each other. Archetypal literary criticism and structuralist theory of art have deep internal theoretical connections in several ways: both theories look for repetitive elements in literature, both consider literature as a space of memory about the past. Archetypal literary criticism and the structuralist theory of art direct the appeal to the psychology of man as the creator of works of art. Both directions are also largely based on the idea of binary oppositions: within the framework of the archetypal criticism of the pair, many archetypes are grouped into pairs, whereas within the framework of structuralism, the idea of structure itself is based on elementary concepts opposed to each other; finally, both methods have been criticized for the same shortcomings, such as the denial of author subjectivity and the denial of human progress. This article attempts to show that the theory of archetypes in literature and the structuralist theory of art complement each other, and how exactly this complementarity is achieved. (shrink)

Foucault's rejection of the repressive hypothesis is generally taken as a critique of Freud. Its real target is, however, the left Freudian tradition, which received its paradigmatic articulation in the work of Herbert Marcuse. Marcuse sought to show that the conflict between the repressive demands of civilization and instinctual desires of the individual didn't represent a transhistorical state of affairs, as Freud maintained. He argues, rather, that it represents a particular historical constellation that can be transcended. Foucault purports to reject (...) the entire structure in which the problem arises, that is, the conflict between the demands of civilization and bodily based desire. The thesis of this article is, however, that he doesn't reject the conflict, but simply displaces it. In his scheme, the displaced conflict takes place between the apparatus of sexuality and bodies and pleasures. Furthermore, Foucault maintains that the emancipation of bodies and pleasures from their entrapment in the apparatus of sexuality constitutes the desirable political program. The diagnosis of the situation and the suggested political remedy are, in other words, exactly parallel to Marcuse's. (shrink)

This dissertation reassesses the complex philosophical relationship between Sartre and psychoanalysis. Most scholarship on this topic focuses on Sartre’s criticisms of the unconscious as anathema both to his conception of the human psyche as devoid of any hidden depths or mental compartments and, correlatively, his account of human freedom. Many philosophers conclude that there is little common ground between Sartrean existentialism and psychoanalytic theory. I argue, on the contrary, that by shifting the emphasis from concerns about the nature of the (...) unconscious to questions about the role of imagination in psychical life, we can see that Sartre and Freudian-Lacanian psychoanalytic theory develop strikingly similar accounts of human subjectivity. After establishing the historical background of Sartre’s career-long engagement with psychoanalysis, I demonstrate the proximity of Sartre and Lacan on the nature of unconscious thought. I proceed to develop the claim that there is a homology between the concept of unconscious fantasy in psychoanalysis and the concept of the imaginary in Sartre’s philosophical corpus. Despite the concept of fantasy being one of the more structuralist-inspired aspects of Lacan’s metapsychology, I show that Sartre’s concept of the imaginary is likewise a structural feature of the psyche, one which establishes the coordinates within which the subject engages with the world. For Sartre, Freud, and Lacan fantasies form the core of subjectivity, giving form to the basic patterns of one’s character. Taken together, these three thinkers furnish a nuanced view of fantasy/the imaginary. On the one hand it is determining insofar as it is responsible for many of the psychopathologies met with in psychoanalysis. On the other hand, it is liberating insofar as the agency of the subject is implicated in the formation of fantasy. I thereby show that Sartre does not fit the caricatured picture of a radical voluntarist that is often attributed to him and that psychoanalysis can accommodate a conception of human freedom. (shrink)

The article examines the unconscious uncontrolled side of the human psyche, analyzes approaches to determining the structure of the unconscious, its constituent elements and their relationships from the point of view of the concepts of prominent psychoanalysts Z. Freud, C. Jung and J. Lacan. The significance of the "mirror stage" described by Lacan is revealed. in the understanding of human self-consciousness. Particular attention is paid to Lacan's thesis that the unconscious is, first of all, language; and it is he who (...) acts as a manifestation of a structure that has clear patterns. It is through language that we can approach understanding of the connection of the unconscious with the conscious world in the context of Lacan's definition of the triad of "real", "imaginary" and "symbolic". The purpose of the study is to show the relationship between the concepts of the structure of the unconscious and the fusion of psychoanalysis with philosophical and linguistic structuralism, which gives rise to a variety of approaches and interdisciplinary research in understanding the essence of the unconscious and interpreting social phenomena through the linguistic structures of myth. (shrink)

Biologist Richard Dawkins coined the term “meme” by which he meant a unit of culture. Dan Dennett continued by defining a meme as a bunch of bits of information. This paper explores the “meme” and how it is semiotic, both in its technical sense and in its popular sense and explores how memes signify both in terms of classical semiotics and also in terms of post-structuralist thought.

In this paper I attempt to help clarify the nature of structuralism as a philosophical approach by examining the way in which Freud, Lévi-Strauss and Chomsky use the concept of structure. I argue that in each of these thinkers there is an important tension between their attempts to develop, on the one hand, a theory within the framework of determinism and, on the other, to emphasize the meaningfulness of certain aspects of human behavior. I suggest that the ability of (...) the term "structure" to refer either to a universal or a particular helps the two sides of their thinking from coming into conflict with one another, and that this is a magor reason why these figures were attracted to a structural approach. (shrink)

Beyond the Pleasure Principle is Freud's most philosophical and speculative work, exploring profound questions of life and death, pleasure and pain. In it Freud introduces the fundamental concepts of the "repetition compulsion" and the "death drive," according to which a perverse, repetitive, self-destructive impulse opposes and even trumps the creative drive, or Eros. The work is one of Freud's most intensely debated, and raises important questions that have been discussed by philosophers and psychoanalysts since its first publication in 1920. The (...) text is presented here in a contemporary new translation by Gregory C. Richter. Appendices trace the work's antecedents and the many responses to it, including texts by Plato, Friedrich Nietzsche, Melanie Klein, Herbert Marcuse, Jacques Derrida, and Judith Butler, among many others. (shrink)

In this paper, the author reconsiders the role played by Lacan in Ricœur’s philosophy of psychoanalysis by reconstructing the history of the relationship between psychoanalysis and philosophy, and by focusing on some of the important aspects of the reception of Ricœur’s work in France. The reception of his work is directly connected to Lacan’s School and the role played by his followers, who were against Ricœur. Some of the unpublished documents kept at the Fonds Ricœur should help to clarify some (...) points in this regard. These documents should help to demonstrate how the incompatibility of Ricœur’s interpretation with Lacan’s structural perspective was determined more by their personal incompatibility and their different interests than by a genuine incommensurability in their theories. (shrink)

First Published in 1999. Routledge is an imprint of Taylor & Francis, an informa company.

One of 15 volumes in this series, this title is part of a plan to generate non-specialist Freud titles for a wide readership - beyond the institutional/clinical ...

Sigmund Freud, the founder of psychoanalysis, declared that religion is a universal obsessional neurosis in his famous work of 1927, The Future of an Illusion. This work provoked immediate controversy and has continued to be an important reference for anyone interested in the intersection of philosophy, psychology, religion, and culture. Included in this volume is Oskar Pfister's critical engagement with Freud's views on religion. Pfister, a Swiss pastor and lay analyst, defends mature religion from Freud's "scientism." Freud's and Pfister's texts (...) have been updated in Gregory C. Richter's translations from the original German. (shrink)

The book stands somewhat apart from the rest of Freud's writings as a study of normal, rather than pathological psychology, and, although it contains the most closely reasoned accounts of complicated psychological processes that Freud ever gave, it remains one of his most readable works. It includes a rich collection of jokes, particularly those of Jewish folk tradition, in which Freud clearly revelled.

Vorlesungen zur Einführung in die Psychoanalyse mit drei Teilen: Fehlleistung - Traum - Allgemeine Neurosenlehre, Nachdruck des Originals von 1920.

Presents Freud's classic study of the Moses legend and its role in the growth of Judaism and Christianity.

VSEBINA Uredniška opomba I II III IV V VI VII VIII IX X XI Dodatki A Modifikacije prejšnjih stališč a) Odpor in nasprotna investicija b) Tesnoba iz preoblikovanja libida c) Potlačitev in obramba B Dopolnilo k tesnobi C Tesnoba, bolečina in žalovanje.

Ludwig Binswanger (1881-1966) came from a distinguished Swiss psychiatrist dynasty which had run the internationally-renowned sanatorium Bellevue in Kreuz-lingen for generations. In 1907 he spent a year at the Zurich Burgh lzli under Bleuler and Jung, and indeed it was Jung who took Binswanger with him to Vienna that year for his first visit to Freud.

First Published in 1999. Routledge is an imprint of Taylor & Francis, an informa company.

A reconstruction of Leonardo's emotional life from his earliest years, it represents Freud's first sustained venture into biography from a psychoanalytic perspective, and also his effort to trace one route that homosexual development can take.