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"Tales from the Freudian Crypt" is a fundamental reassessment of
the Freud legend that aims to shake the very foundations of Freud
studies. Writing from the perspective of intellectual history, the
author traces the impact that Freud's essay "Beyond the Pleasure
Principle" has had, and continues to have, on twentieth-century
thought. Designed as both an introduction and a corrective to the
vast literature on Freud, the book explores the trail left by
Freud's late theory of the death drive, paying special attention to
its ramifications in the fields of biography, biology,
psychotherapy, philosophy, and literary theory. The author
ironically concludes that if there were such a thing as a death
drive, it would look like this seemingly endless and in many ways
arbitrary proliferation of the literature on Freud.
After first undertaking to demystify the pretensions of this
literature, from the works of Sandor Ferenczi to those of Jacques
Lacan, the author proposes a theory that sheds new light on the
so-called cultural works of Freud's final years. He argues that the
death drive theory was an elaborate ruse that Freud adopted to
insulate his "findings" against criticism directed from outside the
field of psychoanalysis--that Freud's troubling recourse to
metapsychology was closely tied to his lifelong fear of suggestion.
The author delivers a carefully reasoned, sustained blow to the
culture of psychoanalysis--theoretical, therapeutic,
institutional--which is driven by what it desires and fears most:
death. In sum, "Tales from the Freudian Crypt" is offered as a kind
of bankbook, audit, and investment plan for future work in Freud
studies.
'In a closely argued and well documented book, [Mikkel Borch-Jacobsen] demonstrates that almost everything believed by psychoanlaysts about the case of Anna O is false.' - Times Higher Eductaion Supplement
' ... enjoyable exposure of Freud's lies and tergiversations ... ' The Times Higher Education Supplement Oct 97
Just what is the subject in Freud? The author draws on a wide range
of French critical thought to argue that the subject is always
fundamentally identification, in an even more radical sense than
has previously been postulated. Rigorously examining the texts of
Freud, he arrives at compelling rereadings of familiar concepts,
concluding with a disturbing new analysis of the social bond.
"Tales from the Freudian Crypt" is a fundamental reassessment of
the Freud legend that aims to shake the very foundations of Freud
studies. Writing from the perspective of intellectual history, the
author traces the impact that Freud's essay "Beyond the Pleasure
Principle" has had, and continues to have, on twentieth-century
thought. Designed as both an introduction and a corrective to the
vast literature on Freud, the book explores the trail left by
Freud's late theory of the death drive, paying special attention to
its ramifications in the fields of biography, biology,
psychotherapy, philosophy, and literary theory. The author
ironically concludes that if there were such a thing as a death
drive, it would look like this seemingly endless and in many ways
arbitrary proliferation of the literature on Freud.
After first undertaking to demystify the pretensions of this
literature, from the works of Sandor Ferenczi to those of Jacques
Lacan, the author proposes a theory that sheds new light on the
so-called cultural works of Freud's final years. He argues that the
death drive theory was an elaborate ruse that Freud adopted to
insulate his "findings" against criticism directed from outside the
field of psychoanalysis--that Freud's troubling recourse to
metapsychology was closely tied to his lifelong fear of suggestion.
The author delivers a carefully reasoned, sustained blow to the
culture of psychoanalysis--theoretical, therapeutic,
institutional--which is driven by what it desires and fears most:
death. In sum, "Tales from the Freudian Crypt" is offered as a kind
of bankbook, audit, and investment plan for future work in Freud
studies.
In this brief but comprehensive introduction to Freud's theories,
Mikkel Borch-Jacobsen provides a step-by-step overview of his ideas
regarding the unconscious, the cure, sexuality, drives, and
culture, highlighting their indebtedness to contemporary
neurophysiological and biological assumptions. The picture of Freud
that emerges is very different from that of the fact-finding
scientist he claimed to be. Bold conceptual innovations –
repression, infantile sexuality, the Oedipus complex, narcissism,
the death drive – were not discoveries made by Freud, but
speculative constructs placed on clinical material to satisfy the
requirements of the general theory of the mind and culture that he
was building. Freud's Thinking provides a final accounting of this
mirage of the mind that was psychoanalysis.
In this brief but comprehensive introduction to Freud's theories,
Mikkel Borch-Jacobsen provides a step-by-step overview of his ideas
regarding the unconscious, the cure, sexuality, drives, and
culture, highlighting their indebtedness to contemporary
neurophysiological and biological assumptions. The picture of Freud
that emerges is very different from that of the fact-finding
scientist he claimed to be. Bold conceptual innovations –
repression, infantile sexuality, the Oedipus complex, narcissism,
the death drive – were not discoveries made by Freud, but
speculative constructs placed on clinical material to satisfy the
requirements of the general theory of the mind and culture that he
was building. Freud's Thinking provides a final accounting of this
mirage of the mind that was psychoanalysis.
Mas que como una introduccion, este libro puede leerse como una
forma de acceso al pensamiento de Lacan. La dimension que tiene
Hegel, leido por Kojeve, y por sobre el hombro de Heidegger, en el
pensamiento de Lacan, es asi una cara trabajada brillantemente por
Borch-Jacobsen, quien trae a la luz fuentes y conceptos que se
traducen no solo en la dialectica del Amo y el Esclavo, sino, sobre
todo, en la concepcion del deseo, lo real y la verdad en Lacan,
fundamentales para su idea del sujeto. La seriedad y formacion del
autor, y su fidelidad a los textos de Freud y Lacan, traen el
resguardo de una operacion de honesto trabajo intelectual que nos
revela facetas escondidas de un pensamiento. Frente a versiones
repetitivas y canonizantes de los "partidarios" de un gran
pensador, resultan mas fructiferos los analisis de criticos que lo
estudien desde fuera del movimiento por el creado, como ya lo habia
observado el mismo Lacan acerca de su "Instancia de la letra."
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Supposing the Subject (Paperback, New)
Joan Copjec; Contributions by Charles Shepherdson, Elizabeth Grosz, Etienne Balibar, Homi Bhabha, …
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R669
R586
Discovery Miles 5 860
Save R83 (12%)
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Ships in 10 - 15 working days
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A collection of essays by theorists in culture and politics.
Experts from a variety of fields re-examine the origins of the
subject as understood by Descartes, Kant and Hegel, and consider
contemporary ideas that revive the subject, including queer theory
and national identity. Contributors include Parveen Adams, Etienne
Balibar, Homi Bhabha, Slavoj Zizek, Joan Copjec, Juliet Flower
MacCannell, Charles Shepardson, Mikkei Borch-Jacobsen, Elizabeth
Grosz and Miaden Dolar.
How did psychoanalysis attain its prominent cultural position? How
did it eclipse rival psychologies and psychotherapies, such that it
became natural to bracket Freud with Copernicus and Darwin? Why did
Freud 'triumph' to such a degree that we hardly remember his
rivals? This book reconstructs the early controversies around
psychoanalysis and shows that rather than demonstrating its
superiority, Freud and his followers rescripted history. This
legend-making was not an incidental addition to psychoanalytic
theory but formed its core. Letting the primary material speak for
itself, this history demonstrates the extraordinary apparatus by
which this would-be science of psychoanalysis installed itself in
contemporary societies. Beyond psychoanalysis, it opens up the
history of the constitution of the modern psychological sciences
and psychotherapies, how they furnished the ideas which we have of
ourselves and how these became solidified into indisputable
'facts'.
How did psychoanalysis attain its prominent cultural position? How
did it eclipse rival psychologies and psychotherapies, such that it
became natural to bracket Freud with Copernicus and Darwin? Why did
Freud 'triumph' to such a degree that we hardly remember his
rivals? This book reconstructs the early controversies around
psychoanalysis and shows that rather than demonstrating its
superiority, Freud and his followers rescripted history. This
legend-making was not an incidental addition to psychoanalytic
theory but formed its core. Letting the primary material speak for
itself, this history demonstrates the extraordinary apparatus by
which this would-be science of psychoanalysis installed itself in
contemporary societies. Beyond psychoanalysis, it opens up the
history of the constitution of the modern psychological sciences
and psychotherapies, how they furnished the ideas which we have of
ourselves and how these became solidified into indisputable
'facts'.
Why do 'maladies of the soul' such as hysteria, anxiety disorders,
or depression wax and wane over time? Through a study of the
history of psychiatry, Mikkel Borch-Jacobsen provocatively argues
that most mental illnesses are not, in fact, diseases but the
product of varying expectations shared and negotiated by therapists
and patients. With a series of fascinating historical vignettes,
stretching from Freud's creation of false memories of sexual abuse
in his early hysterical patients to today's promotion and marketing
of depression by drug companies, Making Minds and Madness offers a
powerful critique of all the theories, such as psychoanalysis and
biomedical psychiatry, that claim to discover facts about the human
psyche while, in reality, producing them. Borch-Jacobsen proposes
such objectivizing approaches should be abandoned in favor of a
constructionist and relativist psychology that recognizes the
artifactual and interactive character of psychic productions
instead of attempting to deny or control it.
Why do 'maladies of the soul' such as hysteria, anxiety disorders,
or depression wax and wane over time? Through a study of the
history of psychiatry, Mikkel Borch-Jacobsen provocatively argues
that most mental illnesses are not, in fact, diseases but the
product of varying expectations shared and negotiated by therapists
and patients. With a series of fascinating historical vignettes,
stretching from Freud's creation of false memories of sexual abuse
in his early hysterical patients to today's promotion and marketing
of depression by drug companies, Making Minds and Madness offers a
powerful critique of all the theories, such as psychoanalysis and
biomedical psychiatry, that claim to discover facts about the human
psyche while, in reality, producing them. Borch-Jacobsen proposes
such objectivizing approaches should be abandoned in favor of a
constructionist and relativist psychology that recognizes the
artifactual and interactive character of psychic productions
instead of attempting to deny or control it.
Offers an examination of the very foundations of psychoanalytic
theory and practice, which was born with the publication of Breuer
and Freud's "Studies on Hysteria" in 1895. In his opening essay,
Breuer described the case of Anna O., a young woman afflicted with
a severe hysteria whom he had cured of her symptoms by having her
recount under hypnosis the traumatic events that precipitated her
illness. "Hysterics suffer from reminiscences," wrote Freud, and
they heal when they remember these repressed or dissociated
memories. "This discovery of Breuer's," Freud continued, "is still
the foundation of psychoanalytic therapy." It is also the
foundation of present-day "recovered memory therapy" and more
generally, of our widespread belief in the healing and redemptive
power of memory. However, this belief, Mikkel Borch-Jacobsen
asserts, is based on a deceptive account of the founding case of
psychoanalysis. Drawing on the most recent Freud scholarship and on
documents long kept from public view, Borch-Jacobsen demonstrates
that Anna O. (Bertha Pappenheim) was in fact, never cured by
Breuer's "talking cure" at all.
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