上週問題討論

1. 上週問題討論 • 心的變異 認同形塑背後的無意識動力性質與機轉 黑/白與島民/皇民之區分邏輯 • Uncanny 《鳥》的uncanny 最後一幕

2. 論無常(On Transience) Sigmund Freud

3. 1915年為紀念歌德而作 • 背景：1913年… • 美好事物是否因為短暫而減損其價值？ • 哀悼(mourning) 服喪 • 渴求不朽

4. 無常的可貴 • 詩人與朋友無法領略Freud • What spoilt their enjoyment of beauty must have been a revolt in their minds against mourning. • The mind instinctively recoils from anything that is painful…they felt their enjoyment of beauty interfered with by thoughts of its transience.

5. Capacity for love • If the objects are destroyed or if they are lost to us, our capacity for love (our libido) is once more liberated; and it can then either take other objects instead or can temporarily return to the ego. • But why it is that this detachment of libido from its objects should be such a painful process is a mystery to us.

6. Mourning: libido clings to its objects and will not renounce those that are lost even when a substitute lies ready to hand. • Spontaneous end of mourning (however painful) • When once the mourning is over, it will be found that our high opinion of the riches of civilization has lost nothing from our discovery of their fragility. We shall build up again all that was has destroyed, and perhaps on firmer ground and more lastingly than before.

7. 三個匣子的主題(The Theme of Three Caskets) （1913）

8. 夢的解析 • “Thou owest Nature a death” • （Freud的輓歌p.72）

9. 《The Merchant of Venice》 • Three caskets: gold, silver and lead • Symbolic substitution of woman • A man’s choice between three women • The old king Lear • The shepherd Paris

10. Who is the this excellent third woman? • Beauty • Cordelia makes her self unrecognizable, inconspicuous like lead, she remains dumb, she “loves and is silent’. • Cinderella hides so that she cannot be found • In dreams dumbness is a common representation of death • “The Twelve Brothers”, “The Six Swans”

11. The third one: the Death itself, the Goddess of Death • The Fates (Moera); spinner • The Horae (Seasons): the guardians of natural law and of the divine Order which causes the same thing to recur in Nature in an unalterable sequence

12. Replacement by the precise opposite: Goddess of Love or beauty • Contraries are so often represented by one and the same element in the modes of expression used by the unconscious, as for instance in dreams

13. The Moerae were created as a result of a discovery that warned man that he too is a part of nature and therefore subject to the immutable law of death. • Something in man was bound to struggle against this subjection. • Man makes use of his imaginative activity in order to satisfy the wishes that reality does not satisfy. So his imagination rebelled against the recognition of the truth embodied in the myth of the Moerae, and constructed instead the myth derived from it, in which the Goddess of Death was replaced by the Goddess of Love.

14. Choice: wishful reversal • Choice stands in the place of necessity, of destiny. In this way man overcomes death, which he has recognized intellectually. No greater triumph of wishfulfilment is conceivable. A choice is made where in reality there is obedience to a compulsion; and what is chosen is not a figure of terror, but the fairest and most desirable of women.

15. Nevertheless… • The free choice is no free choice, for it must necessarily fall on the third. • Characteristics of uncanny • What lies beneath…

16. Lear is an old man and a dying man. • The doomed man is not willing to renounce the love of women; he insists on hearing how much he is loved. • The last scene • Eternal wisdom, clothed in the primaeval myth, bids the old man renounce love, choose death and make friends with the necessity of dying.

17. The original meaning of the three female figures • Three inevitable relations that a man has with a woman—the woman who bears him, the woman who is his mate and the woman who destroys him. • The Mother Earth • It is in vain that an old man yearns for the love of woman as he had it first from his mother; the third of the Fates alone, the silent Goddess of Death, will take him into her arms.

18. Freud之死 《佛洛伊德傳》 Peter Gay

19. Death of a Stoic • 1923年，診斷罹患下顎癌（66歲） • 歷經31次大小手術，6次化療 • 1938年6月流亡至英國 • 為了「死於自由」 • 致力於《摩西與一神教》之出版計劃 • 揮別的手勢 • 與Max Schur的約定 • 1939年9月23日臨晨三點死亡 • 給費斯特(Pfister)的信

20. 悲痛與抑鬱(Mourning and Melancholia) （1917） （寫於1914-1915）

21. In what does the work which mourning performs consist? • Reality-testing has shown that the loved object no longer exists, and it proceeds to demand that all libido shall be withdrawn from its attachments to that object. • This demand arouses understandable opposition: people never willingly abandon a libidinal position, not even, indeed, when a substitute is already beckoning to them. • Wishful psychosis • The orders of reality are finally carried out bit by bit…

22. each single one of the memories and expectations in which the libido is bound to the object is brought up and hypercathected, and detachment of the libido is accomplished in respect of it. • The painful process is not easy to explain in terms of economics • When the work of mourning is completed the ego becomes free and uninhibited again

23. Melancholia vs. mourning • Melancholia is in some way related to an object-loss which is withdrawn from consciousness, in contradistinction to mourning, in which there is nothing about the loss that is unconscious. • Extraordinary diminution in self-regard, an impoverishment of ego • In mourning it is the world which has become poor and empty; in melancholia it is the ego itself. • 失眠、不進食

24. The critical agency is here split off from the ego: one part of his ego sets itself over against the other, judges it critically, and takes it as its object • The most violent criticism are hardly applicable to the patient himself, but…they do fit someone else, someone whom the patient loves or has loved or should love. • We perceive that the self-reproaches are reproaches against a loved object which have been shifted away from it on to the patient’s own ego • Complain as revolt

25. identification • In melancholia the free libido was not displaced on to another object; it was withdrawn into the ego. It served to establish an identification of the ego with the abandoned object. Thus the shadow of the object fell upon the ego, and the latter could henceforth be judged by a special agency, as though it were an object, the forsaken object.

26. In this way an object-loss was transformed into an ego-loss and the conflict between the ego and the loved person into a cleavage between the critical activity of the ego and the ego as altered by identification. • The narcissistic identification with the object then becomes a substitute for the erotic cathexis, the result of which is that in spite of the conflict with the loved person the love-relation need not be given up.

27. sleepless • The complex of melancholia behaves like an open wound, drawing to itself cathectic energies—which in the transference neuroses we have called “anticathexes’—from all directions, and emptying the ego until it is totally impoverished. It can easily prove resistant to the ego’s wish to sleep

28. mania • Both disorders are wrestling with the same ‘complex’, but probably in melancholia the ego has succumbed to the complex whereas in mania it has mastered it or pushed it aside. • All state of mania depend on the same economic condition. • What has happened here is that a large expenditure of psychical energy, long maintained or habitually occurring, has at last has at last become unnecessary, so that is it available for numerous applications and possibilities of discharge…

29. 愛（Freud的輓歌，pp.53-58） • 愛的基本藍圖—依戀與自戀 • 依戀性對象 • 自戀性對象 • 愛恆常是內在人我之間的交戰 • 抑鬱：拒絕哀悼的後果