This book argues that Freud's mapping of trauma as a scene is
central to both his clinical interpretation of his patients'
symptoms and his construction of successive theoretical models and
concepts to explain the power of such scenes in his patients'
lives. This attention to the scenic form of trauma and its power in
determining symptoms leads to Freud's break from the neurological
model of trauma he inherited from Charcot. It also helps to explain
the affinity that Freud and many since him have felt between
psychoanalysis and literature (and artistic production more
generally), and the privileged role of literature at certain
turning points in the development of his thought. It is Freud's
scenography of trauma and fantasy that speaks to the student of
literature and painting.
Overall, the book develops the thesis of Jean Laplanche that in
Freud's shift from a traumatic to a developmental model, along with
the undoubted gains embodied in the theory of infantile sexuality,
there were crucial losses: specifically, the recognition of the
role of the adult other and the traumatic encounter with adult
sexuality that is entailed in the ordinary nurture and formation of
the infantile subject.
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