By Matthew Sharpe, Joanne Faulkner
"Understanding Psychoanalysis" offers a extensive creation to the main innovations and advancements in psychoanalysis and its effect on smooth concept. Charting pivotal moments within the theorization and reception of psychoanalysis, the e-book presents a entire account of the troubles and improvement of Freud's paintings, in addition to his such a lot sought after successors, Melanie Klein and Jacques Lacan.The paintings of those top psychoanalytic theorists has vastly stimulated pondering throughout different disciplines, significantly feminism, movie reviews, poststructuralism, social and cultural conception, the philosophy of technology and the rising self-discipline of neuropsychoanalysis. Analysing this engagement with different disciplines and their key theorists, "Understanding Psychoanalysis" argues for a reconsideration of psychoanalysis as a source for philosophy, technological know-how, and cultural reviews.
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Additional info for Understanding Psychoanalysis (Understanding Movements in Modern Thought)
Are images ever subjects? I would say that in internal reality images do have subjectivity, at least functionally. Personifi fications in internal reality – for example, the ego-image and non-ego images in dreams – function just as much as subjects as any person in external reality functions as a subject. One World or Many Worlds Is there one reality – or are there many realities? William James says that there are “many worlds” (1983: 920). As examples of these many worlds, he mentions the “world of sense, or of physical ‘things,’” the “world of science,” the “world of ideal relations, or abstract truths,” the “world of ‘idols of the tribe,’ illusions or prejudices,” the “various supernatural worlds” of religion and mythology, the “various worlds of individual opinion,” and the “worlds of sheer madness and vagary” (1983: 921–2).
Jung is what I call a conceptual essentialist. He privileges the concept over the image. He derives the image from and reduces it to a concept. He replaces the image with a concept. For Jung, the image is incidental – relatively trivial, even utterly irrelevant. What is ultimately important to Jung is the concept, for “some other monster,” as he says, would serve the same purpose just as well as a dragon or a fish. From this perspective, a dragon might as well be a fish, and a fish might as well be a dragon, for both are monsters.
The non-ego image bites the ego-image and literally takes part of its flesh. The ego-image responds defensively, as ego-images tend to do, and kills the non-ego image. It does not occur to the ego-image to engage the non-ego image in any other way. The ego-image just reacts; it does not pause and reflect and consider that there might be any viable alternatives but to kill the non-ego image. Not only is it impossible, in a strict sense, to kill the monsters that emerge from the unconscious – as Paris says, they “can never entirely be eliminated” (2007: 69) – but it is also imprudent even to attempt to kill them.