Keep your distance!

2020 ◽  
Vol 43 (2) ◽  
pp. 102-107
Author(s):  
Robert Heim
Keyword(s):  
Sigmund Freud ◽  
Melanie Klein

Der Autor vertritt die Hypothese, dass mit der Corona-Krise die Welt gerade dabei ist, von einer langen Epoche der Zerstreuung Abschied zu nehmen. Ausgangspunkt dafür ist Pascals kurze Bemerkung, alles Unglück der Menschen rühre von ihrer Unfähigkeit, ruhig in einem Zimmer zu sitzen. Im Kontrast zu den global erforderten Werten der Kooperation und Solidarität zur Bekämpfung der Krise beschreibt er die ebenso wichtige Fähigkeit des Menschen, allein sein zu können, ja nötigenfalls Einsamkeit zu ertragen. Der Autor erörtert diese Fähigkeit anhand Schopenhauers Parabel der Stachelschweine, ein ironisches Modell menschlichen Zusammenlebens, das mit dem englischen Keep your distance! das neue Leitwort unserer Gegenwart bereits enthält. Er untermauert diese Fähigkeit mit psychoanalytischen Erkenntnissen von Sigmund Freud, Donald W. Winnicott und Melanie Klein.

Notes on Loving a Mourner (with Roland Barthes and Others)

Paragraph ◽  
2017 ◽  
Vol 40 (2) ◽  
pp. 211-227
Author(s):  
Matt Phillips
Keyword(s):  
Sigmund Freud ◽  
Ethics Of Care ◽  
Roland Barthes ◽  
Melanie Klein ◽  
Personal Observation ◽  
Late Work ◽  
Point Of Departure

This essay examines the place of love in grief, staging a relation between a mourner and her lover. Taking as its point of departure Freud's observation that mourning leads to a ‘loss of the capacity to love’, it considers the effects bereavement might have on the bereaved's relations with those that love them, and the possibilities, pitfalls and ethics of care in such a context. This is explored largely through a reading of Roland Barthes's late work (both as a writer of grief and a theorist of love), as well as ideas drawn from Sigmund Freud, Melanie Klein, Sara Ahmed, Hamlet and personal observation. Love and care are thought through alongside notions of ‘tact’, ‘benevolence’ and ‘parrying against reduction’ in late Barthes.

Beauvoir and the Risks of Freedom

PMLA ◽  
2009 ◽  
Vol 124 (1) ◽  
pp. 224-230 ◽  
Author(s):  
Julia Kristeva
Keyword(s):  
Sigmund Freud ◽  
Marcel Proust ◽  
Melanie Klein ◽  
Simone De Beauvoir ◽  
The Past ◽  
Louis Aragon ◽  
Jean Paul ◽  
Society Of The Spectacle ◽  
The Status ◽  
The University

Julia Kristeva's recent interest in the work of Simone De Beauvoir stems from a concern to identify transformative possibilities in the “society of the spectacle”—a term Kristeva appropriates from Guy Debord to diagnose contemporary society's reduction of personal identity, sociality, and meaning to the status of mere representation. Over the last fifteen years, the spectacle constitutes one of the central notions employed by Kristeva to measure the significance of twentieth-century figures as diverse as Sigmund Freud, Marcel Proust, Jean-Paul Sartre, Louis Aragon, and Roland Barthes (discussed in The Sense and Non-sense of Revolt and Intimate Revolt), as well as the three women she addresses in her biographical trilogy on female genius—Hannah Arendt, Melanie Klein, and Sidonie-Gabrielle Colette. In 1996, in The Sense and Non-sense of Revolt, Kristeva promised to return to the work of Beauvoir in the light of her analyses of Sartrean revolt. The past several years have begun to fulfill that promise. In 2002 Kristeva dedicated the conclusion to her trilogy on female genius to Beauvoir, and in 2003 she presented a lecture entitled “Beauvoir présente,” subsequently included in La haine et le pardon in 2005. The essay published here was presented in January 2008 as the keynote lecture at a conference in celebration of Beauvoir's centenary, which was initiated by a committee from the University of Paris 7 chaired by Kristeva.

A Dark Trace

2021 ◽  
Author(s):  
Herman Westerink
Keyword(s):  
Sigmund Freud ◽  
Psychoanalytic Theory ◽  
Central Issue ◽  
Melanie Klein ◽  
Mental Life ◽  
Freudian Psychoanalysis ◽  
Individual Life ◽  
Key Concepts ◽  
Carl Gustav Jung

Sigmund Freud, in his search for the origins of the sense of guilt in individual life and culture, regularly speaks of “reading a dark trace”, thus referring to the Oedipus myth as a myth on the problem of human guilt. The sense of guilt is indeed a trace that leads deep into the individual’s mental life, into his childhood life, and into the prehistory of culture and religion. In this book this trace is followed and thus Freud’s thought on the sense of guilt as a central issue in his work is analyzed, from the earliest studies on the moral and “guilty” characters of the hysterics, via the later complex differentiations in the concept of the sense of guilt, unto the analyses of civilization’s discontents and Jewish sense of guilt. The sense of guilt is a key issue in Freudian psychoanalysis, not only in relation to other key concepts in psychoanalytic theory, but also in relation to debates with others, such as Carl Gustav Jung or Melanie Klein, Freud was engaged in.

scholarly journals Freud, Klein, Lacan e a constituição do sujeito

2017 ◽  
Vol 11 (1) ◽  
Author(s):  
DANIELA PAULA DO COUTO
Keyword(s):  
Sigmund Freud ◽  
Jacques Lacan ◽  
Melanie Klein

Apresentam-se as ideias de Sigmund Freud, Melanie Klein e Jacques Lacan a respeito da constituição subjetiva, destacando-se como eles contribuíram para que a criança fosse considerada um sujeito e não apenas um objeto de intervenção. Por meio da escuta de seus pacientes adultos, Freud teorizou o desenvolvimento da sexualidade infantil a partir da organização libidinal em fases psicossexuais. Mas, a psicanálise de crianças ganhou contornos precisos a partir de Klein, que atendeu crianças pequenas e teorizou aspectos dos estágios iniciais do desenvolvimento do bebê, estabelecendo o campo pré-edipiano. Lacan resgatou da filosofia o termo sujeito, dando-lhe uma nova concepção: o sujeito não é o indivíduo, pelo contrário, é um sujeito marcado pela divisão consciente/inconsciente.

scholarly journals Wrestling with the Inner Demons of Contemporary Life: A Brief Overview of Psychoanalytic Thought

2021 ◽  
pp. 1-11
Author(s):  
Ian I. Mitroff ◽  
Ralph H. Kilmann
Keyword(s):  
Sigmund Freud ◽  
Human Condition ◽  
Melanie Klein ◽  
John Bowlby ◽  
Scientific Experts ◽  
Key Concepts ◽  
Contemporary Life ◽  
The Absolute ◽  
Psychoanalytic Thought ◽  
Donald Winnicott

AbstractWe begin our examination of Enlightened Leadership by exploring a number of Psychoanalytically based theories, in particular with regard to what they have to teach us about the human condition. Thus, we briefly examine some of the key concepts and ideas of Melanie Klein, Sigmund Freud, Donald Winnicott, Eric Berne, and John Bowlby. One of the major benefits is that they illuminate important aspects of the Coronavirus that are difficult to ascertain otherwise. For one, each provides a different take on the enormous stress we are experiencing as a result of the Virus. They also reinforce the absolute necessity of following the dictates of reputable scientific experts and science itself if we are to stand any hope at all in dealing with the Virus.

‘I only loved’: Restitution in Psychoanalysis

2020 ◽  
pp. 79-96
Author(s):  
Magdalena Zolkos
Keyword(s):  
Sigmund Freud ◽  
Status Quo ◽  
Melanie Klein ◽  
History Of ◽  
Reparative Action

This chapter offers a reading of texts by Sigmund Freud and Melanie Klein on undoing, restitution and reparation. It elaborates psychoanalytic the insights into the theory of restitution alongside two non-identical, though overlapping, trajectories—the concept of retroactive annulment (Undgeschehenmachen) and Klein’s theory of reparative action—as well as into the discussion on status quo ante, which has been very closely connected to the history of the concept of restitution. It contrasts restitution-as-undoing and restitution-as-repair in Klein’s writings and her important theory of the subject’s reparative and curative undertaking following their destructive impulse towards the love-object. It links Klein’s theory of reparation with a text by Joan Riviere, which presents status quo ante as an expression of the subject’s refusal to submit to analysis. Riviere outlines a figure of an ‘unrestitutable subject’, who refuses ‘to get better’, and obstinately clings to the neurotic state.

Introduction

2019 ◽  
pp. 1-21
Author(s):  
Alicia Mireles Christoff
Keyword(s):  
Sigmund Freud ◽  
George Eliot ◽  
Domestic Fiction ◽  
Melanie Klein ◽  
Late Nineteenth Century ◽  
Object Relations Theory ◽  
Victorian Novels ◽  
Psychic Life ◽  
Novel Reading

This introductory chapter explains that the book provides a background on Victorian novels by George Eliot and Thomas Hardy—two writers who have set the fundamental terms for contemporary critical conceptualizations of late nineteenth-century realism, domestic fiction, and psychological novel. Both writers' works demonstrate an abiding interest in character and readerly interiority and in making overarching claims about social and psychic life. It talks about the practices of narration and characterization deployed by Eliot and Hardy, which are more fruitfully uneven and unintegrated than retrospective accounts that place these writers in a realist tradition. The chapter reveals some of the ways in which the profound relationality of novel reading has been foreclosed and opened back up again. In an effort to draw out the relationality of the Victorian novels, the chapter places them in conversation with a key theoretical discourse: British psychoanalysis, whose mid-twentieth- century theorists and practitioners developed “object relations” theory by building from the foundational writings of Sigmund Freud and Melanie Klein.

Psychoanalytic Film Theory

2011 ◽  
Author(s):  
Todd McGowan
Keyword(s):  
Sigmund Freud ◽  
Jacques Lacan ◽  
Film Theory ◽  
Primary Source ◽  
Symbolic Order ◽  
Melanie Klein ◽  
Subject Formation ◽  
Theory And Criticism ◽  
A Site ◽  
Second Wave

Psychoanalytic film theory occurred in two distinct waves. The first, beginning in the late 1960s and early 1970s, focused on a formal critique of cinema’s dissemination of ideology, and especially on the role of the cinematic apparatus in this process. The main figures of this first wave were Christian Metz, Jean-Louis Baudry, and Laura Mulvey. They took their primary inspiration from the French psychoanalyst Jacques Lacan, and they most often read Lacan through the Marxist philosopher Louis Althusser’s account of subject formation. The second wave of psychoanalytic film theory has also had its basis in Lacan’s thought, though with a significantly different emphasis. Beginning in the late 1980s and early 1990s, this manifestation of psychoanalytic film theory, which continues to remain productive even today, shifted the focus from cinema’s ideological work to the relationship between cinema and a trauma that disrupts the functioning of ideology. In Lacan’s terms, the terrain of psychoanalytic film theory shifted from the axis of the symbolic order and the imaginary to that of the symbolic order and the real. Although psychoanalytic film theorists continue to discuss cinema’s relationship to ideology, they have ceased looking for ideology in the cinematic apparatus itself and begun to look for it in filmic structure. Cinema remains a site for the dissemination of ideology, but it has also become a potential site of political and psychic disruption. The main proponents of this second wave of psychoanalytic film theory are Joan Copjec and Slavoj Žižek. Though the latter has received much more recognition and has produced far more work, one could contend that Copjec’s early work was more revolutionary, as it was her reading of Laura Mulvey’s critique of the male gaze as a Foucaultian critique rather than as a Lacanian one that genuinely commenced the new epoch of psychoanalytic film theory. According to the main figures of the second wave, the initial wave of psychoanalytic film theory failed to be psychoanalytic enough, and the result was a hodgepodge of Marxism and psychoanalysis that produced a straw position that anti-theorists such as David Bordwell could easily attack. The initial aim of the second wave was to create an authentic Lacanian film theory that would approach the cinema with the complexity that it merited. Though there have been isolated works of film theory and criticism dealing with other psychoanalytic thinkers (such Carl Jung, Melanie Klein, or D. W. Winnicott), the primary source for both waves of psychoanalytic film theory has remained Jacques Lacan and, to a lesser extent, Sigmund Freud.

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