Chapter 5 Psychoanalysis

1. Chapter 5Psychoanalysis

2. Sigmund Freud invented psychoanalysis with the publication of The Interpretation of Dreams in 1901. • The book was revolutionary because it broke with the tradition in psychology that assumed that what goes on in the mind is limited to what happens in consciousness.

3. Fiction, like dreams, are fantasies, and they can be expected to contain a large amount of unconscious material. • The unconscious material that Freud found in dreams had over-whelmingly to do with the most powerful feeling we as humans experience.

4. Children can either learn to accept the curtailment of those natural urges or hang on to the urges in some other form. • The mind, according to Freud, often finds alternate ways of expressing urges, desires, and yearning that are deemed unacceptable by society or that for some other more local reason have to be repressed.

5. Shakespeare in Macbeth, for example, depicts feeling of guilt as hand-washing, a symbolic substitute form of expression that represents the guilty feelings through their opposite, a cleansing of guilt. • Freud divided the mind initially into the conscious part and the unconscious.

6. These taxonomies often coincided with different forms of neurosis or mental illness, such as compulsive obsessive disorder and paranoia. • An important concept in this regard is compromise formation. • Nevertheless, the man is trapped in a repetition compulsion; he repeatedly replays the same personal scenario because he has failed to come to terms through therapy with the core conflict in his personality.

7. Freud found that the conscious mind often performed significant transformations on unconscious material that meant that its final expressed form little resembled the unconscious urge or conflict that inspired. • Literature is full of examples of such hypocrisy, especially in religious characters.

8. Other defenses include intellectualization, projection, rationalization, reaction formation, regression, sublimation, and suppression. • In suppression, we deny access to expression of unacceptable unconscious material. • Freud did not limit his study of mental processes to the dynamic of desire and repression.

9. Feelings of lack of control were thus turned into their opposite. • Later theorists such as Melanie Klein, Margaret Mahler, and Bernard Winnicott took these ideas much further. • If the care-giver provides the child with a sense that his or her object world is constant and stable, the child will mature successfully as a separate person with a strong sense of its own independent identity.

10. A crucial issue in this process is boundaries and how they are formed. • And this usually means that there is neither too much yearning for fusion with the parent nor too much of a sense of dangerous, anxiety-provoking separation. • Interestingly for the study of literature and culture, an important component of this process has to do with representation, with the ability to make images of the world.

11. Such mental representations can either be complex and differentiated, or simple and undifferentiated. • Separation is fraught with anxiety, and it can inspire neurotic behavior. • People can also experience yearnings for the reparation of wounds or for the restoration of lost objects by constantly seeking out romantic partners who resemble parents or who perform reparative function that heal very old wounds.

12. Melanie Klein focused on the dynamic of introjection and projection. • Fearing disintegration, we split our objects, project inner impulses onto them, and treat others as part-objects. • One of the more influential psychoanalytic approaches was developed by Jacques Lacan in France in the mid –twentieth century.

13. It provides us with an imaginary sense of being fully identified with our conscious self. • Using Saussure, Lacan constructed a linguistic account of the mind. • All language is metaphoric in that it substitutes a word for a thing, but all languages also metonymic in that it involves a displacement from one word to the next in an endless chain of difference.

14. Lacan could be justifiably accused of absorbing the sexist assumptions of his era. • It makes our identities in as much as we are members of societies that impose restritions on our desires, and assigns us identities as members of families, classes, nations, and the like. • A tather different concept of the place of the mother in psychic development and in civilization was developed by Julia Kristeva.

15. By distancing or abjecting matter, the power of the mother over male children that is a prerequisite of all human development is undone and reversed. • Klaus Theweleit develops a similar argument in his psychoanalytic study of the fantasies associated with radical rightwing thinking, Male Fantasies.

16. A failure of initial care created yearning that later in life were satisfied by violent fantasies directed against women and communists, and feeling of strong attachment to rigid authority figures such as the Fuhrer. • Developments in feminist object relations psychology have also attracted the attention of literary scholars in recent decades, and the work of Nancy Chodorow has been especially influential.

17. Because boundary fluidity is associated with contact with their mother, their tendency is to seek more rigid boundaries in constructing their identities. • Literary scholars have also taken note of work being done on the theory of trauma in recent years.

18. They can engage in revictimization because a diminished sense of shame allows them to abuse others. • There are thus two different strands of thinking regarding human psychology. • Both extremes are types of psychopathology. • Several reading strategies emerge from these psychoanalytic theories.

19. Finally, language itself can be studied as a means of instantiating unconscious processes.

20. Exercise 5.1William Shakespeare, King Lear(1) • If Lear is a psychologically symbolic story, then it is noteworthy that it begins with a discussion of male children in relation to a mother who is characterized in sexual terms. • Notice how the mother of Edmund is described. How might she be seen as a male fantasy?

21. Exercise 5.1William Shakespeare, King Lear(2) • If the implicit maternal fantasy in the play is of a sexually available body that evokes the possibility of incest, then one might expect the play to breach cultural restrictions on sexuality in other ways. • Is he a version of the role of the father in culture?

22. Exercise 5.1William Shakespeare, King Lear(3) • Children who fear separation from the mother and who as a result yearn for fusion with her suffer from an inability to regulate their own emotions and to monitor and control their self boundaries. • Let’s now consider the relation of language to psychic and physical processes.

23. Exercise 5.1William Shakespeare, King Lear(4) • Anxiety over engulfment of ne’s boundaries by a mother perceived to be overly proximate might take the form of images of her body as something that resists symbolization. • Now, consider the end of Act1, scene1. what kind of language forms are associated with Cordelia?

24. Exercise 5.1William Shakespeare, King Lear(5) • How does Cordelia link literality- a use of language that has no symbolic or metaphoric distance between word and thing with her sisters? • Throughout, Goneril and Regan will be associated with an almost frightening image of the female body, one that evokes violent fantasies from Lear as well as provoking strong anxiety about disintegration and loss of self-identity.

25. Exercise 5.1William Shakespeare, King Lear(6) • Lear’s language is initially filled with symbolic allusions but notice how it breaks down as the play progresses and as he loses power. • The fool’s taunts are full of sexual innuendo. • A powerful bad mother would be one who would overwhelm the child.

26. Exercise 5.1William Shakespeare, King Lear(7) • The fool ends the first act with a rather obvious allusion to castration. • Which interpretation seems more justified? • How would you interpret the rest of the play using these ideas? • The mad scene on the heath is especially important in this regard.

27. Exercise 5.2Elizabeth Bishop, Sestina and In the Village(1) • In reading in the village which can be found as an appendix to this book, you realize rather quickly that Bishop is describing events that might justifiably be called traumatic. • A central question for this exercise, then, would be: how does Bishop deal with trauma in the poem and in the prose piece?

28. Exercise 5.2Elizabeth Bishop, Sestina and In the Village(2) • And how at the end of the paragraph does she arrive at an image of gaining control over the trauma? • The unpacking of her mother’s boxes exposes objects that inspire fanciful thoughts in the child. • A postcard is like a mental representation, and it is interesting that she seems to test them against the real world of objects. • How do you interpret the child’s theft of the sharp ivory stick?

29. Exercise 5.2Elizabeth Bishop, Sestina and In the Village(3) • If the prose piece itself is a symbolic process designed to deal with and distance traumatic experience, then its layout or narrative structure should be significant. • How might this mental ability be associated with Nate, the blacksmith? • How might such confusion be at once a symptom and a source of empowerment?

30. Exercise 5.2Elizabeth Bishop, Sestina and In the Village(4) • The next section juxtaposes the grandmother and the mother and links them both to Nelly, the cow. • We can expect Nelly to be a displacement as well as a protective substitute. • Why is she fascinated with the cow flops?

31. Exercise 5.2Elizabeth Bishop, Sestina and In the Village(5) • The fire would seem to be an ordinary recollection, but how does it become linked to the trauma and to the child’s attempts to deal with it? • How might the final two sections of the piece be read with these ideas in mind? • Why is the poem called Sestina?

32. Exercise 5.2Elizabeth Bishop, Sestina and In the Village(6) • Study the poem and note the transformations that the key repeated words undergo. • How does the poem record disturbances in that boundary? • How does the child’s art to repair the wound caused by trauma? • Stanza 6 has an interesting image in it that is like an act of imternalization.

33. Exercise 5.2Elizabeth Bishop, Sestina and In the Village(7) • What is their relation to the child’s suffering? • How might they be connected to the therapeutic action of art?

34. Exercise 5.3Alice Munro, Meneseteung(1) • Stories with frames would seem to invite reflections on psychological interiority, the way the mind harbors within it unconscious feelings, thoughts, and urges. • How might this story, which begins with a narrative frame and then tells the story of a woman poet’s life in a small Ontario town in the late nineteenth century, be read as a reflection on both kinds of interiority?

35. Exercise 5.3Alice Munro, Meneseteung(2) • What is unusual about Almeda? • Is there any significance to the fact that the narrator sees her as resembling a young nobleman of another century? • The description of Almeda’s house is suggestive of the them of interiority. • How was the world of the late nineteenth century different, more shaded?

36. Exercise 5.3Alice Munro, Meneseteung(3) • In a culture such as the one she is describing, great stress was placed on respectability and propriety. • How in town, as Munro describes it, are propriety and all that in represses and that threaten it juxtaposed? • What about the children’s treatment of Queen Aggie, the drunken old woman?

37. Exercise 5.3Alice Munro, Meneseteung(4) • Notice that heat bring on accidents, one of which is the outbreak of what might be insanity. • The area of respectability in which Almeda lives is juxtaposed to the Pearl Street Swamp in which the unrespectable and undeserving poor live, including Queen Aggie. • About her relation to what the swamp symbolizes in a psychological sense?

38. Exercise 5.3Alice Munro, Meneseteung(5) • Section III of the story opens with a direct evocation of a connection between the river for which the story is named and the inland sea. • But first we must contend with the figure of Jarvis Poulter. • The Vidette and the references to respectability associate the town culture with repression. • Why does she think of him in relation to her father?

39. Exercise 5.3Alice Munro, Meneseteung(6) • We are clearly meant to see him as very different from Almeda. • Why does she do that here? • Almeda thinks that it takes a good deal of labor to see the land properly while she is out riding with Jarvis. • What might Pegasus hanging over the swamp represent? • The section has at its heart a quotation from Freud- A child is being beaten.

40. Exercise 5.3Alice Munro, Meneseteung(7) • How might the woman being beaten be Almeda? • The fracas outside that wakes her up could be construed as a figure for the eruption into consciousness of unconscious material. • Notice for one thing that what the people are doing is something they feel powerless to stop.

41. Exercise 5.3Alice Munro, Meneseteung(8) • Why does Almeda associate the words she hears with danger and depravity and foul smells and disgusting sights? • Such a move away from socially sanctioned repression toward the release of unconscious feelings, memories, and urges would be associated with a move away from the mind and toward the body, away from the instrument of censorship and toward the source of those uncontrolled urges.

42. Exercise 5.3Alice Munro, Meneseteung(9) • Going downstairs in a house, according to Freud, is like descending into the body or into the unconscious from the conscious mind. • She has been thinking of her father, and Jarvis is certainly a father like figure. • How might it be seen as being, in Kristeva’s sense of the term, abject? • Almeda summons Jarvis, whose behavior toward the drunken woman is less than kind: Gwan home, where you belong.

43. Exercise 5.3Alice Munro, Meneseteung(10) • Is there any way in which Almeda is identified with the drunken woman? • How might the drunken woman’s body be Almeda’s? • Notice that immediately she wants Jarvis to depart so that she can attend to her bodily urges. • What does it signify for him to take her to church?

44. Exercise 5.3Alice Munro, Meneseteung(11) • The poem with which the final section begins situates Almeda at the bottom of the ocean. • How is Jarvis’ world associated now with death? • Almeda’s experience is carefully characterized as an ambivalent mixture of sanity and insanty.

45. Exercise 5.3Alice Munro, Meneseteung(12) • How is Munro using the metaphor of sanity here to characterize a world that seems to do routine violence to women and to assume the subordination of women as part of its normal operations? • Notice that Jarvis’ economic rationalism is characterized negatively here, while Almeda’s act of looking deep into the river of mind is given a much more positive resonance.

46. Exercise 5.3Alice Munro, Meneseteung(13) • And given the juxtaposition of a realist, practical epistemology with Jarvis and a very different kind of seeing and knowing with Almeda, why is it also appropriate that Munro should end on a note of doubt regarding the status of her own discourse, her own knowledge?

47. Exercise 5.4 Blue Velvet(1) • Family Trouble might be a good title for a book about the films of David Lynch. • It is as if a young boy were projecting into a dream story his deepest feelings about himself, his parents, his possible mate, and his sexuality. • How might Frank and Dorothy be read as symbolic parents to Jeffrey? • In what other ways are Dorothy and Fantasy projections of a mother and a father?

48. Exercise 5.4 Blue Velvet(2) • Freud argued that all children undergo a moment of passage in which they first experience sexual desire for their mother or father, then learn to relinquish the parental object. • Is Jeffrey acting out in fantasy form incestuous desires that evolve more suitable forms as the film progresses? • How is the mother’s body represented in the film?

49. Exercise 5.4 Blue Velvet(3) • Like Alfred Hitchcock, Lynch is pessimistic regarding human nature and the liberal dream that we can all temper our animal urges, make civil institutions that allow us to live together peacefully, and achieve a community of mutually respectful equals. • The film makes reference to an essay by Freud called the uncanny, in which Freud discusses a short story called the sandman.

50. Exercise 5.4 Blue Velvet(4) • Moreover, traumas leave their mark on the psyche, and abused children recall and continue to act out the feelings that accompany trauma even as adults. • How does the sequence that follows enact a similar scenario? • Frequently, the abuse of children shatters their sexual identity and makes it difficult for them to achieve a coherent adult identity.