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The Freudian Matrix of Andre Green presents seven papers, never
previously published in English, that will allow readers to more
closely follow and more fully understand the development of Green's
unique psychoanalytic thinking. The chapters in this book provide
valuable insight into Green's response to a perceived crisis in
psychoanalysis. His thinking synthesizes the work of Lacan,
Winnicott, Bion and other post-Freudian authors with his own
extensive clinical experience, and results in a much needed
extension of psychoanalytic theory and practice to non-neurotic
patients. Green's focus on drives, affect and the work of the
negative and his introduction and exploration of the Dead Mother
complex, narcissism, negative hallucination and the Death Instinct
constitute a vital expansion of Freudian metapsychology and its
application to the clinical setting. The Freudian Matrix of Andre
Green will be essential reading for psychoanalysts in practice and
in training, and for any reader looking to understand more about
the enormity of his contribution.
The Freudian Matrix of Andre Green presents seven papers, never
previously published in English, that will allow readers to more
closely follow and more fully understand the development of Green's
unique psychoanalytic thinking. The chapters in this book provide
valuable insight into Green's response to a perceived crisis in
psychoanalysis. His thinking synthesizes the work of Lacan,
Winnicott, Bion and other post-Freudian authors with his own
extensive clinical experience, and results in a much needed
extension of psychoanalytic theory and practice to non-neurotic
patients. Green's focus on drives, affect and the work of the
negative and his introduction and exploration of the Dead Mother
complex, narcissism, negative hallucination and the Death Instinct
constitute a vital expansion of Freudian metapsychology and its
application to the clinical setting. The Freudian Matrix of Andre
Green will be essential reading for psychoanalysts in practice and
in training, and for any reader looking to understand more about
the enormity of his contribution.
Marcel Proust's In Search of Lost Time has long fascinated
philosophers for its complex accounts of time, personal identity
and narrative, amongst many other themes. Proust as Philosopher:
The Art of Metaphor is the first book to try and connect Proust's
implicit ontology of experience with the question of style, and of
metaphor in particular. Miguel de Beistegui begins with an
observation: throughout In Search of Lost Time, the two main
characters seem prone to chronic dissatisfaction in matters of
love, friendship and even art. Reality always falls short of
expectation. At the same time, the narrator experiences unexpected
bouts of intense elation, the cause and meaning of which remain
elusive. Beistegui argues we should understand these experiences as
acts of artistic creation, and that this is why Proust himself
wrote that true life is the life of art. He goes on to explore the
nature of these joyful and pleasurable experiences and the
transformation required of art, and particularly literature, if it
is to incorporate them. He concludes that Proust revolutionises the
idea of metaphor, extending beyond the confines of language to
understand the nature of lived, bodily experience.
Marcel Proust's In Search of Lost Time has long fascinated
philosophers for its complex accounts of time, personal identity
and narrative, amongst many other themes. Proust as Philosopher:
The Art of Metaphor is the first book to try and connect Proust's
implicit ontology of experience with the question of style, and of
metaphor in particular. Miguel de Beistegui begins with an
observation: throughout In Search of Lost Time, the two main
characters seem prone to chronic dissatisfaction in matters of
love, friendship and even art. Reality always falls short of
expectation. At the same time, the narrator experiences unexpected
bouts of intense elation, the cause and meaning of which remain
elusive. Beistegui argues we should understand these experiences as
acts of artistic creation, and that this is why Proust himself
wrote that true life is the life of art. He goes on to explore the
nature of these joyful and pleasurable experiences and the
transformation required of art, and particularly literature, if it
is to incorporate them. He concludes that Proust revolutionises the
idea of metaphor, extending beyond the confines of language to
understand the nature of lived, bodily experience.
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