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This article, based on the detailed analysis of Freud’s essay, Beyond the Pleasure Principle, explores philosophical questions about life and death, pleasure and pain. Moreover, his essay can be considered a rediscovery of significant themes and concepts whose primary aim is to influence a contemporary understanding of Psychoanalysis. The reason why I have chosen this topic is due to the fact that Sigmund Freud, one of the greatest theorists in history, is generally known as the father of psychoanalysis. He wrote Beyond the Pleasure Principle at the age of sixty – four, during a time when psychoanalysis had already gained meaningful popularity.
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In the psychoanalytic paradigm, the family is seen as a social institution that aims to welcome the child into the world and create psychic continuity between generations. The concept of family complex, introduced by Jacques Lacan, describes the way in which the family functions as a symbolic instance, responsible for welcoming and entering the child into the symbolic order.
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The mutual semantic principles which are at the heart of any artwork – whether literary or cinematic – are studied by narratology. This scientific discipline also provides the methodology that analyzes the structures and mechanisms of the narrative text. Moreover, it tries to create a specific model for the possibilities of realization, the specific cases of which are the individual literary/ screen works. In this regard, visualization in film dramaturgy is considered on several levels: the interrelationship between textual diachrony and synchrony; social and aesthetic functions; historical and political environment and artistic interactions.
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Lewis Carroll’s books Alice’s Adventures in Wonderland (1865) and Through the Looking-Glass and What Alice Found There (1871) are both set in the young girl Alice’s dream fantasies. For more than a hundred years, adults as well as children have enjoyed losing themselves in the nonsensical stories. But it appears that there is more to the stories than pure nonsense. As many authors and critics observed, Alice can be psychoanalyzed easily; it is easy to treat it as a dream, because it is a dream. And ever since Freud began publishing his theories, critics have been applying them to Alice. The first wave of Alice psychoanalysts focused on the sexual symbolism in the novel, which according to the theory reveals Carroll’s own repressed sexuality. Most works more or less unequivocally assume that Dodgson was a pedophile, though a repressed and celibate one, while others keep on the respectable neutral side. Although the details about Carroll ‘s relationship with children in general, and with the Liddell girls in particular, might never be known and never be clearly established, the evidence that he had somewhat unhealthy obsession with minors seems somehow unquestionable.
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The aim of this essay is to explore various instances of visualisation not only of psycho-analysis but in psycho-analysis – with respect to both the dynamics of transference and translation. The principal examples considered are: antiquities in Freud’s consulting room; gifts in the Freud Museum shop; the Rosetta Stone; and the translation of the “Fool’s Tower” dream in chapter six of The Interpretation of Dreams. How are relations between literal and metaphorical enacted in these examples, informing questions concerning relations between visualisation and conceptualisation in psycho-analysis? How might Freud’s claims concerning the “poetical” and “error” in the interpretation of dreams inform a reading of The Interpretation of Dreams itself?
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The article presents a critical approach to Mądrość psychopatów. Lekcja życia pobrana od świętych, szpiegów i seryjnych morderców (The Wisdom of Psychopaths) by Kevin Dutton (Warszawskie Wydawnictwo Literackie Muza, Warszawa 2017). It discusses the main theses presented in the dissertation and invites to reflection on psychopathy (psychopathic personality) – as scientific (medical) and existential phenomenon.
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It is the intention of the author of this article to present the theoretical and legal views of Sigmund Freud and Emil Durkheim and to place them in the context of classical texts on political-legal theory. Both thinkers, rather associated with sociology or psychology than with law, treated law as one of the most important reference points in their social concepts. In both cases, we are dealing with the treatment of the social order as transcendent to the empirical individual, and at the same time created by society. At the same time, the law is supposed to impede the emancipation of the individual and to allow the individual to have a real influence on the creation of power structures. At the same time, despite numerous analyses of the theoretical-legal views of these thinkers in the European scientific literature, this is the first such analysis in Polish. In addition to presenting Freud’s and Durkheim’s views, it opens up the possibility of not only situating them among political- -legal theories, but also points to perspectives on the operationalisation of these theories – as well as their possible social implications. To this end, the following article juxtaposes their theories with the traditions of legal positivism as represented by Hans Kelsen and Herbert L.A. Hart – two authors who were inspired by Freud and Durkheim respectively.
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The present article attempts to examine the practice of psychoanalysis and the field of psychoanalytic experience from the perspective of the so-called hauntological turn in the humanities. In the logic of the unconscious, the central event of analytic interaction is seen as an apparition in three different aspects: that of the revenant (the return of the repressed), that of the phantom (as the secret of the Other in the subject's unconscious), and that of the spectre (as a relation of responsibility to the Other). We will suggest that psychoanalysis – and perhaps only psychoanalysis – gives the ghosts a real place; and even more: in a particular way psychoanalysis makes them a place of truth, incorporating them into itself, giving them a full share in its history, and opening up the possibility that they can have their own refuge in it, their own history. Psychoanalysis, in other words, endows ghosts with the freedom in which any articulation of meaning for the subject is possible.
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This text examines the influence of elements of infantile sexuality and their (re) definition on the origin, development, and acquisition of specific gender identity during psychosexual development from the perspective of the apr s-coup concept. And at the same time, try to experimentally define and develop interpretation (re)construction of a (non)linear process of (dis) integration of personality elements as one of many layers of psychoanalytic effort in the context of gender theory.
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This exposition endeavors to outline a theoretical framework for a methodology to interpret visual images that draws on cybernetics, semiotics, psychoanalysis and philosophical ideas. Using images, aesthetics and artistic practices as a means of generating new understanding requires translating, deciphering and interpreting those artistic products and/or processes. How can one decipher the system of visual language that underlies artistic productions? I suggest that cybernetics is requisite for such an endeavor. Cybernetic theory is the science of relations within a system, taking as its problematic the relation between a system and its productions or output; in some instances, it studies how the productions of a system influence the system itself. This exposition endeavors to articulate aesthetics or artistic works in terms of a visual language and as a cybernetic enterprise in the context of art-based research by drawing on the ideas of Lacan and Deleuze. For Lacan, aesthetics exists as a primary mode of discourse for the articulations of the unconscious, as evidenced in images in dreams, art and fantasy. Lacan is renowned for his dictum that the unconscious and its productions are structured like a language, but the kind of structure of meaning at work in the unconscious is less related to the structural grammar of a natural language than the syntax of mathematics and cybernetics. Drawing on Lacanian dream analysis, I evince how such an approach could be applied to aesthetic phenomena. Deleuze presents a semiotic theory, a theory of signs which evinces the generation of novel meaning in the unconscious; it can be said to be cybernetic in the way that it exists in a state of continual evolution, the output produced by the system engendering transformation in the system itself. Deleuze offers a framework for how the work of art or aesthetic phenomenon can be translated into new knowledge through the process of entrainment with signs.
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The present article questions, starting from the teaching of Jacques Lacan, the particularities of the image in the nightmare, and in what way does this lead to a certain awakening of the subject. We will also try to underline how several works by David Lynch, very close to the structure of the nightmare, express this mechanism in their own specific approach.
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Mircea Săucan, one of the best kept secrets of Romanian narrative cinema, is yet to be unveiled. Starting off as a dedicated Stalinist, he studied in Moscow at VGIK (Moscow Film School) and he was very familiar with mainstream propaganda works by Eisenstein, Pudovkin, Vertov, Dovzhenko. When he returned to Romania, he worked as a Communist Party secretary of “Alexandru Sahia” Documentary Film Studio in the 1950’s. As Romania gradually evolved towards national-communism and liberated itself from the patronage of the USSR, Săucan became a persona non grata. His exceptional talent and powerful cinematic feeling helped him create unconventional and formally radical works. His revolutionary style, in perfect synchronization with the French Nouvelle Vague, acted as a tremendously macroseism able to shatter the very geological configuration of Romanian cinema. Nobody wanted that. Mircea Săucan directed only four full length features. Each of them had to face major opposition when it was about to be released: When Spring Is Hot (1960), The Endless Shore (1963), Meanders (1967), 100 Lei (1973). In 1971, a journalist asked Mircea Săucan what he thought of the coming decade. The director admitted uneasily that he was rather concerned about what the coming decade had planned to surprise him with. His concerns proved to be true, as he stopped directing full length features in the early 1970’s. He was allowed to direct only a few shorts and, in the late 1980’s, he emigrated to Nazareth, Israel.
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The article approach the topic of emotional intelligence in adolescence; focusing especially on the modelator factors of the relation between emotional intelligence and personality. In our research were included 110 teenagers; aged between 14 and 17; from rural and urban environment. The obtained results highlight the fact that the impositions due to social density (fewer but stronger relation in the rural environment; more frequent but inconsistent relation in the urban environment) and the process of assuming gender roles are modelator factors of the formation process of personality profile as well as in the process of adolescents emotional maturity. It was also observed that age is a major factor implicated in the development of emotional intelligence and in the level of personality factors in the adolescent maturity process.
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The activity in legal field is varied; taking into account that this large sphere is related to the defense of fundamental rights and freedom of a person; duet to the responsibility provided; emanated by the workers from justice field; the responsibility to protect fundamental norms in force. Workers of legal; justice field; daily confront situations of infringements of civil; criminal and administrative laws; as well as the violation of procedural-criminal order. In the given study we are going to determine the psycho-emotional peculiarities of specialists from justice/legal field; namely to research the level of manifestation of anxiety; aggressiveness; rigidity and frustration. The sample of the given study is formed by jurists; attorneys; as well as prosecuting officers – the majority of subjects are men with different age and professional experience in the field.
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This paper investigates musical relationships in the case of the early mother-infant dyadic interactions. To accomplish this task, it is first needed to come back to some important authors from the tradition of both phenomenology and psychoanalysis. The theories of Husserl, Schutz and Taipale will prove themselves to be useful. Secondly, I shall deepen the investigation of the early mother-infant interactions through the prism of theories coming from Winnicott, Stern and Thomas Fuchs. My main task will be to demonstrate that these early interactions have a musical quality, similar to Colwyn Trevarthen’s thematization of communicative musicality. To prove my point, I have to first establish the features that make these early interactions be musical-like. Winnicott’s potential space and the example of babbling will follow my argumentation. I will also stress on the importance of the face-to-face interaction through affect attunement and mutual tuning-in. All these interactions are modes of being-with-another (Stern). An example will be found throughout this paper, namely a specific mode of being-with-another, which was called by Winnicott the primary maternal preoccupation.
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Teletechnologies are changing the way we cope with loss and grief. Apart from their romanticized relationship with death in the history of literature, teletechnologies also figure prominently as productive metaphors in critical theories. Psychoanalysis and deconstruction view telecommunication in its various forms as intricately connected to notions of telepathy and the unconscious, a point shared by Don DeLillo’s The Body Artist and Nicholas Royle’s Quilt. Both novels attach great importance to how the process of individual mourning, in the presence of different forms of technologies, is inscribed with a distinctive telepathic effect. Specifically, DeLillo’s text portrays the radio as an uncanny harbinger of death, and Quilt forges a link between the faltered telephone communication and the spectral moments when the dead is calling. The article proposes to conceive, from a psychoanalytical perspective, the subject of teletechnologies as a critical starting point to address related issues of telepathy and telecommunication and to understand death as loss in the contemporary age.
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This article explores the interplay between autobiography and psychoanalysis through the writings and personal experiences of Yakov Vladimirovich Veynshal, a prominent Zionist Revisionist journalist and Hebrew writer in Mandate Palestine. Veynshal’s memoirs and journalistic work provide insights into the connection between these two fields by using personal experiences, literary analysis, creative expression, and cultural and political commentaries. They also demonstrate how literature and psychoanalysis intersect through creative and symbolic expression. The article explores first Veynshal’s journey, from a non-traditional ‘bar mitzvah’ trip to Palestine to his experiences in Russia and his complex relationship with Russian culture. Secondly, it demonstrates how his writings reflect the formation of his Zionist sentiments and unique identity. Additionally, Veynshal’s experiences in Palestine during the 1920s are analysed, highlighting the historical and political context of British Mandate Palestine and the development of Jewish and Arab relations.
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