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Explain Freud s theory of psychosexual development
Freud and psychosexual development
Explain Freud s theory of psychosexual development
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Freud spent a great deal of his time on the unconscious and conscious mind. This cause caused him to develop many theories, some of which are still used in modern psychology and some that are better left forgotten. Whether Freud’s theories are true or not it does not diminish the work he did and how it changed the way we think today. It is plain to see that Freud had an influence on Peter Shaffer’s Equus because oh his use of Freud’s psychotherapy. Because of the traumatic nature of Alan’s attraction to horses a lot of the feelings and memories have been repressed, through Freud’s hypnosis techniques Dysart is able to get the information of Alan. This is not the only aspect of Freudian theory that can be found in the plays. Bits of Freud’s work can be found scattered across the play particularly his emphasis on how psychosis affects one’s sexual desires and preferences. It is certainly an understatement to say that Alan has very unusual sexual tendencies, but Freud has a theory that will explain it all. First through Freud’s theory of voyeurism it explain Alan’s loves for pictures, next through Freud’s on fetishes he explains how someone could be attracted to something other than another human and through his knowledge of bestiality; Freud can explain what lead Alan to be the way he is.
Voyeurism also known as scopophilia is the act of deriving sexual pleasure from looking at something (dictionary reference). Scopophilia starts out mainly in childhood; Laura Mulvey says that “the voyeuristic activities of children, their desire to see and make sure of the private and forbidden” (170 A Critical and Cultural Theory Reader) comes from a strict up bringing and strong sense of media censorship. Growing up Alan was not allowed to wa...
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...onceiving a baby they unspokenly told that intercourse with animals is bad. It’s a universal rule that everybody knows, so when someone has an attraction towards animals they keep it hidden. Children like Alan who have a very religious parent and a strict upbringing are told to keep their sexual lives to a minimal tend to be more attracted to animals because animals “hide so little of their sexual life” and tend to feel more “closely akin” (Freud 1970). Alan is envious of horses because they are, in his eyes, unapologetically sexual. Alan makes a comment that horses are contently nude and that aspect of horse life appeals to Alan, so he starts to associate himself with a horse in order to have the ability to feel sexually free. Since is started to equate himself to horses the idea of being physically attracted to horse doesn’t seem like as much of an abnormality.
1) I chose to summarize John Haule's Erotic Analysis and the Shape of Eros. I believe the papers main point was all about transference and the code of ethics it stands behind. The article did not necessarily change my view on the theories that we have gone over in any way. I basically took the article for what it was. The article talks about how Dr. Mathews is involved in a sexual relationship, which he is trying to figure out what exactly his patient means to him. He is confused on what his patient means to him because she is not his friend, daughter, or wife (p.35). He talked about how this one when he first saw her he was really attracted to her and that she was causing chaos. This is an example of Freud’s first drive, called the libido (lecture). The libido or Eros is our first drive, which is our sexual desire.
As Laura Mulvey states in her article "Visual Pleasure and the Narrative Cinema", the cinema operates as an "advanced representation system" that offers pleasure in the act of looking, what she classifies as scopophilia or voyeurism (Mulvey 484). Through the cinematic experience, one may sit in a dark theatre and derive pleasure from looking without being seen. As E. Ann Kaplan describes in the introduction to her book Women and Film, within this act of gazing there are three looks: "(i) within the film text itself, men gaze at women, who become objects of the gaze; (ii) the spectator, in turn is made to identify with this male gaze, and to objectify the women on screen; and (iii) the camera's original 'gaze' comes into play in the very act of filming" (Kaplan 15). The gaze is associated with subjectivity and control and as Kaplan later suggests in the chapter "Is the Gaze Male?", "to own and activate the gaze...is to be in the masculine position" (Kaplan 30). Therefore the visual pleasure in cinema is mainly geared towards a male spectator who maintains subjectivity and a sense of voyeurism, while his female counterpart must be both subject and object, she must see herself being seen.
Metzl, Jonathan M. "Voyeur Nation? Changing Definitions of Voyeurism, 1950–2004." Harvard Review Psychiatry 12 (2004): 127-131.
The Strange Case of Dr. Jekyll and Mr. Hyde, written by Robert Louis Stevenson, is a story rife with the imagery of a troubled psyche. Admittedly taken largely from Stevenson’s dreams, it undoubtably sheds light on the author’s own hidden fears and desires. Written at the turn of the 19th Century, it also reflects the psychology of society in general at the same time when Sigmund Freud was setting about to do the same thing. While Freud is often criticized for his seemingly excessive emphasis on sexual suppression as the leading cause of psychological disturbances, the time period in which he lived was exceedingly strict on what constituted appropriate and inappropriate behavior. Accordingly, Freud hypothesized that the majority of people were obliged to hide their unacceptable thoughts and feelings down in the depths of their unconscious from whence they would inevitably escape from at a later time to manifest in a variety of ways. The Strange Case of Dr. Jekyll and Mr. Hyde illustrates Freud’s theory of repression throughout the entirety of the story and shows the negative consequences associated with this coping strategy.
Despite its undeniable greatness, throughout the last four centuries King Lear has left audiences, readers and critics alike emotionally exhausted and mentally unsatisfied by its conclusion. Shakespeare seems to have created a world too cruel and unmerciful to be true to life and too filled with horror and unrelieved suffering to be true to the art of tragedy. These divergent impressions arise from the fact that of all Shakespeare's works, King Lear expresses human existence in its most universal aspect and in its profoundest depths. A psychological analysis of the characters such as Bradley undertook cannot by itself resolve or place in proper perspective all the elements which contribute to these impressions because there is much here beyond the normal scope of psychology and the conscious or unconscious motivations in men.
Freud’s Impact on Bronte’s Wuthering Heights and Giorgio de Chirico’s The Vexations of the Thinker
The poem “The Flea” by John Donne is a funny poem showing that something as small as a flea can be compared to premarital sex. The flea, which is made to seem insignificant throughout the poem, is taken on a “sex” journey without ever even knowing it. The poem maintains one speaker until the end, but interesting enough, has two significant characters: the speaker and his lover. The audience is the speaker’s lover, yet she has a major role that goes beyond listening. While he is trying to convince his female lover to see that her virginity isn’t all that it’s hyped to be (insignificant), he compares a flea to sex in the process. He describes the flea as insignificant, yet the poem is mainly based on this tiny insect. By doing this, the speaker contradicts himself and gives the “insignificant flea” importance and does so throughout the poem. Ultimately by comparing the flea to his lovers “insignificant” virginity, he shows that by trying to convince her to give it up, he essentially gives her the power to make the final decision: whether to have sex or not, giving her importance even without a voice. Therefore, by trying to convince her through his speech to give up her “maidenhead” and give him “power,” he ultimately puts her “on top” with all the power by pestering her and essentially being unsuccessful in his attempts to woo her.
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
The aim of this essay is to clarify the basic principles of Freud’s theories and to raise the main issues.
According to Sigmund Freud, psychoanalysis is a “procedure for the investigation of mental processes which are almost inaccessible in any other way” (Fodor and Gaynor 147). It becomes a deeper contrast of a person’s mentality to consider the design of “interplay” within the “urging and checking forces” of the conscious and unconscious (Fodor and Gaynor 147). Freud’s representation of “Three Tall Women,” relate the characters by the “neuroses that sometimes result from the suppression of memories and desires too painful to deal with” (Freud, “The Dependent Relationship of the Ego). While not completely opposing religion as a factor in the conscious and unconscious, Freud does claim that the “Oedipus complex is at the root of religious feeling” (Palmer 113); so the idea of religion is not based on the desire of pleasing a God with the basis of good vs. bad, but instead, according to Freud, it is the sexual desires that come from being attached to a father figure. As characters B and C are introduced first as outside acquaintances, then as stages of character A’s past, the play is transformed into what may be perceived as Freud’s theory to the relation of the conscious and the unconscious, but could also be noted as the change a person undergoes throughout their lifetime in which religion, or the desire to maintain morality, is checked by outside influences.
The Love Song of J. Alfred Prufrock, a poem by T.S. Eliot, provides an abundant source of material for applying Freudian analysis.[1] Specifically, it is the character Prufrock who supplies this rich source. Although many Freudian themes could have been addressed in relation to Prufrock, in this paper it will be narrowed to the prevalent themes of ambivalence and cultural frustration found in Freudπs work and the contributing role the super-ego plays in their occurrence. In fact, Prufrock exemplifies ambivalence and its necessary conditions so well that Freud himself would have probably labeled him a neurotic.
Classical cinema motivates the desire to look by incorporating structures of voyeurism and narcissism into the story.
Sigmund Freud created strong theories in science and medicine that are still studied today. Freud was a neurologist who proposed many distinctive theories in psychiatry, all based upon the method of psychoanalysis. Some of his key concepts include the ego/superego/id, free association, trauma/fantasy, dream interpretation, and jokes and the unconscious. “Freud remained a determinist throughout his life, believing that all vital phenomena, including psychological phenomena like thoughts, feelings and phantasies, are rigidly determined by the principle of cause and effect” (Storr, 1989, p. 2). Through the discussion of those central concepts, Freud’s theory of psychoanalysis becomes clear as to how he construed human character.
Over the past decades, media has constructed and manipulated women into being the main form of sexual pleasure for the male viewer. Pleasure in looking, scopophilia, is one of many possible types of pleasure that media presents. Scopophilia does not only present looking as a source of pleasure, but also the pleasure in being looked upon. Freud explains in his book, the three essays on the theory of sexuality (1905) that one of the main instincts of sexuality is scopophilia, and that scopophilia should be isolated as an independent source of pleasure because it does not depend on the erotogenic zones. Freud further demonstrates that “he associated scopophilia with taking other people as objects, subjecting them to a controlling and curious gaze” (Mulvey, 1975, p. 16.). As such, the theory of scopophilia does not only involve pleasure in being looked at and the pleasure in looking, but also the pleasure of looking at someone as an object. Freud ties scopophilia to the curiosity children show considering the human body and other people’s genitals. The media pleases the primitive lust of looking, while developing a narcissistic form of scopophilia in the audience (KILDE.
... middle of paper ... ... Freud clears the thick confusion surrounding Hamlet’s inconsistent mentality by attributing it to the Oedipus complex. Theater audiences and literary enthusiasts are not spared of Shakespeare’s astonishing ability to capture the human spirit in his play Hamlet.