By Graham Frankland
This unique research investigates the function performed by means of literature in
Sigmund Freud’s production and improvement of psychoanalysis.
Graham Frankland analyses the total diversity of Freud’s personal texts
from a literary-critical standpoint, offering a clean and comprehensive
reappraisal of his life’s paintings. Freud was once steeped in classical
European literature yet turns out first and foremost to have repressed all
literary impacts on his clinical paintings. Frankland strains their reemergence,
examining intimately Freud’s many literary allusions and
quotations in addition to the rhetoric and imagery of his writing. He
explores Freud’s personal makes an attempt at analysing literature, the influence
of literary feedback on his method of analysing sufferers, and his
creation of psychoanalytical ‘novels’, quasi-literary fictions fraught
with profoundly own subtexts. Freud’s Literary tradition sheds new
light on a multi-faceted, contradictory author who maintains to have
an exceptional impression on our postmodern tradition precisely
because he used to be so deeply rooted in ecu literary culture.
Read or Download Freud's Literary Culture (Cambridge Studies in German) PDF
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Additional info for Freud's Literary Culture (Cambridge Studies in German)
12 When Mann delivered his address in person at Berggasse , Freud was delighted by it. Despite this apparent sanction, however, the above statement must be at least heavily qualified. The contention, for example, that Freud was unaware of Novalis is easily refuted. 13 In the same chapter he also commends Schopenhauer’s assertion in Parerga und Paralipomena that impulses which remain unconscious Freud’s Literary Culture during waking hours are registered during dreams (IV, ). ). My own aim, however, is not to establish intellectual ‘priority’ as such, but rather to examine various modes of intertextuality, whereby the influence of Freud’s reading can be discerned at the very heart of even his most original writing.
It may correspond to an interpretation of the whole of Faust as an allegory of sublimation. However, many of his readers who are unable to make such a connection will still recognize the words as Goethe’s, and this alone is enough to serve Freud’s primary purpose of undermining moral objections. Adverse opinion never caused Freud to falter in his investigations into sexuality. He only ever displays reticence – purely out of practical considerations for the psychoanalytical movement – about publishing his theories on religion, which in the post-Enlightenment age were actually much less explosive.
It is employed to counter a second, equally justified objection, namely that there is no need to assume the murder of the primal father was actual, especially in the light of Freud’s own discoveries about the decisive significance of wishes in primary thought processes. He responds by pointing out that, to primitive man, action stands in the place of thought. This retort works well at the end of a text full of tenuous and selective argumentation – above all because he consolidates it with Faust’s famous: ‘Im Anfang war die Tat (In the beginning was the Deed)’ (XIII, ).