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Psychoanalytic theory
Implications of psychoanalytic theory
Psychoanalytical in Macbeth
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I decided to analyze Act II, Scene II in MacBeth using Psychoanalysis. I have previously examined the passage using Marxism and Queer Theory, so I thought it might be beneficial to scrutinize the scene from yet another angle. However, I will also discuss another scenes, as well, in order to fully, yet briefly, demonstrate MacBeth’s two opposing psychological constructions. Psychoanalytic Theory itself has, what seems to be, two contradictory halves: Freudian psychoanalysis and Lacanian psychoanalysis. The first half focuses solely on the author and the unconscious mind; the second considers the unconscious, but prefers to concentrate on outside influences by deconstructing the text itself. According to Freud, interpretation is achieved by examining conflicts and symbols, such as Freudian slips and dream images. These outlets are help to determine whether an individual’s external behavior coincides (or conflicts) with their internal emotion. Freud placed emphasis on sexuality and the Oedipus complex, which is the idea of repressed sexual feelings toward a parent of opposite sex. He also defined three levels of the subconscious mind: the ego, the super-ego, and the id. Barry explains that the stages align with “the consciousness, the conscience, and the unconscious” respectively (93). On the other hand, Lacan, a follower of Freud, concentrated on the relationship between an author and his or her work. He claimed the two were inexorably connected, that objectivity is nonexistent. In an essence: an author’s personality is used to interpret the text and, in contrast, the text is used to gain insight about the author. Regardless of the emphasis, psychoanalytic criticism engages an individual in literature by asking them to consider ... ... middle of paper ... ... one another for dominance. However, since MacBeth does decide to kill Duncan, it appears that the id triumphs in the end. This analysis went much better than I initially thought it would. As I read through Act I, I discovered so many references to Psychoanalytic Theory that it was unbelievable. Granted, this could be the case because I am an English/Psychology double major. But what it that connection is merely an illusory correlation? I also discovered that the separation between Queer Theory and Psychoanalysis is thin. This seems to suggest that homosexuality is the result of a brain process. Works Cited Barry, Peter. "Psychoanalytic criticism." Beginning Theory: an Introduction to Literary and Cultural Theory. 3rd ed. Manchester: Manchester UP, 2009. 92-115. Print. Shakespeare, William, and Robert S. Miola. Macbeth. New York: W. W. Norton, 2004. Print.
Psychoanalysis is the method of psychological therapy originated by Sigmund Freud in which free association, dream interpretation, and analysis of resistance and transference are used to explore repressed or unconscious impulses, anxieties, and internal conflicts (“Psychoanalysis”). This transfers to analyzing writing in order to obtain a meaning behind the text. There are two types of people who read stories and articles. The first type attempts to understand the plot or topic while the second type reads to understand the meaning behind the text. Baldick is the second type who analyzes everything. Since his article, “Allure, Authority and Psychoanalysis” discusses the meaning behind everything that happens in Mary Shelley’s “Frankenstein” we can also examine “The Ones Who Walk Away from Omelas” in the same manner.
While the diagnosis of mental conditions is considered a modern practice, people throughout history have suffered similar mental illnesses but have gone undocumented or unstudied. But even without scientific or psychological records, mental illness can clearly be derived from historical figures and works of art. As early as the 1600s, characters in literary pieces are known to depict characteristics of modern mental labels. During this time period, mental illnesses were generally credited to witchcraft or demonic possession. Though the explanations seem farfetched, the symptoms of what are now seen as neurological disruptions remain the same. In William Shakespeare’s seventeenth century play Macbeth, several characters portray indications of what could be the modern diagnosis schizophrenia.
Pressure is inevitable – it is something that is felt by all, whether the source is from within or as a result of other people and events. Throughout Shakespeare’s Macbeth, the main character is faced with many pressures, both internal and external. Although his pressures are external at first, they later become internal and affect his character as well as his sanity. Macbeth feels externally pressured by his wife and the three apparitions given to him by the witches. Consequently, he begins to feel mentally pressured by his fear to secure the throne, his paranoia, and his sense of tyranny and blood lust. These pressures cause his character to change, which leads him into greater downfall. When one is faced with pressure, both from within or from an outer source, their character is greatly influenced and subject to many changes.
William Shakespeare’s Macbeth is a play centred around opposing forces trying to gain power in the succession for the throne of Scotland. Macbeth, in the beginning, is known to be a noble and strong willed man, who is ready to fight for his country. However, one may see that Macbeth has a darker side to him, he is power hungry and blood thirsty, and will not stop until he has secured his spot as King of Scotland. Though Macbeth may be a tyrant, he is very nave, gullible, and vulnerable.
Mental illness is a serious societal problem today, and has been for a long time. People who have a mental illness often end up hurting other people mentally and physically. When someone has a mental illness, they might also end up hurting themselves or cause suffering for themselves. Also, it is sometimes difficult for them to understand things clearly, and they might be unsure of things in their life. All of these problems are shown in a person who is mentally ill. Macbeth hears his prophecy from three witches which starts his mental illness, along with Lady Macbeth pressuring him to kill the king. After Macbeth kills the king, things start to get out of hand; Macbeth gets over ambitious and wants to kill more people, whatever it takes. Lady Macbeth asks for her womanhood to be taken so that she will not feel guilty, but ends up feeling more guilty than ever. Subsequently, she kills herself to escape the guilt, and causes her husband great pain. These tragic examples and many others show that mental illness is a societal issue, and it is shown throughout the story of Macbeth.
Throughout this semester, we have discovered some of the greatest psychoanalysts who have influenced and affected the mental health field forever. With their theories they have shaped the understanding of the human condition and how it develops. The purpose behind these methods of treatments is to help people discover, change, and progress in life. Through self-awareness people are able to achieve this progress. Psychoanalytical treatment gives patients the opportunity to examine these assumptions, understand their origins in their lives, modify them if necessary, and make better choices for themselves (AmericanPsychoanalyticAssoication). The doctor who stood out and who I understood the most was Erik Erikson, the founder of the “Identity Theory.” As for the literary figure I chose that connects to Erik Erikson’s theory is a well-known American writer and poet, Sandra Cisneros.
In Shakespeare’s play Macbeth, the protagonist, Macbeth, murders the king of Scotland and eventually murders several other people. In the end, Macbeth meets his tragic fate of being killed by the nobleman Macduff. Throughout the play, Macbeth makes decisions that affect his fate, but other characters manipulate his choices and his actions. Early in the play Macbeth, Macbeth has control over his actions, but due to the influence of other characters and his subsequent insanity, by the end of the play, Macbeth has no control over his fate.
Macbeth, one of the darkest and most powerful plays written by Shakespeare, dramatizes the disastrous psychological effects that occur when evil is chosen to fulfill the ambition for power. Throughout the play, Macbeth’s character loses mental stability and becomes enthralled with the idea of being king. Empowered by the three witches, this situation consumes Macbeth’s consciousness until his mental state becomes deranged. This mental deterioration is evident in what he says and does as he evolves into a tyrannical ruler attempting to protect himself from enmity and suspicion. In an attempt to fulfill his ambition for power, Macbeth displays mental deterioration and becomes increasingly bloodthirsty.
As with all great works of literature, William Shakespeare’s Macbeth has spawned countless essays concerning its interpretation. Two such essays, “Shakespearean Tragedy” and “General Macbeth,” produced by two eminent literary critics, A.C. Bradley and Mary McCarthy, find themselves in conflict. The essays’ respective authors diverge on subjective points such as interpretation of character, original intent, and meaning. Bradley’s Macbeth is courageous and encumbered by the dregs of guilt, while McCarthy’s version takes a less orthodox path.
The story of Lady Macbeth throughout Macbeth is one unlike those of its time in its unusually forward-thinking portrayal of a woman with thoughts and actions which would have been considered indecent. This is seen through the representation of her relationship with Macbeth and how they interact. It is also illustrated through Lady Macbeth’s morals and their effect on how she acts and reacts in situations which would weigh heavily on most peoples’ conscious. Her power-hungry attitude is one often reserved for men, especially in this era of literature. All of these factors create a character in Lady Macbeth which is dissimilar to the classic portrayal of women in the seventeenth century.
Sixth, Psychological Lens deals with the most important question of why. It looks into the work of literature as a fictional expression of the personality, state of mind, feelings, and desires of the author or character. Many readers want to know why a certain character did the things they did or why would the author write this work and Psychological Lens helps to explain this. For instance, Macbeth kills to gain power and keep it. The drama states,” Macbeth: ‘I have done the deed. Didst thou not hear a noise?’” (Shakespeare 25). Macbeth wants to be king so bad that he convinces himself to kill Duncan in order to rise to power. His conscience does not see the wrong in it therefore he is able to carry out the deed. Additionally, Lady Macbeth
By considering such arguments, psychoanalysis can be said to have no ultra fundamental meaning when assessing an author’s work. For former advocate of this analysis, Frederic...
Psychoanalytic criticism is a term used to describe how and why a person behaves. There are two different types of psychoanalytic criticisms which were developed by Freud and Jung. Freud’s archetypes are the most common in “The Tell Tale Heart.” Freud’s archetypes are displayed throughout “The Tell Tale Heart” by how the narrator shows Id, which is the most dominant, as he kills the old man, Superego, as he shows remorse, and planning to kill displaying Ego.
For Freud, psychosexual theory occurs when personality arises, as it tries to resolve conflicts between unconscious sexual and aggressive impulses and the societal demands to suppress these impulses. In general, psychoanalytic theorists are permeated with notions of human development, and how the child changes during the course of his maturation, in an explicit and implicit perspective. Unconscious and Conscious In terms of the unconscious and conscious, Freud situates these conceptions in a topographic model of the mind. He divided it into two systems, called the unconscious and the preconscious.
Kuttner, Aldred Booth. “Sons and Lovers’: A Freudian Appreciation.” The Psychoanalytic Review. 3 (1916): 295-317. Rpt. In TCLC, Ed. Dennis Poupard. Vol. 16. Detroit: Gale, 1985. 277-282.