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| ã"ø ùéøìé ùøåï æéñø | ñîéðø á.à. |
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“Psychoanalysis does not make any observations in order to rediscover them in the text of Sophocles. Freud’s evocation of a text by Dostoyevski is not sufficient grounds for saying that the criticism of text guarded by the discourse of the university, has been given “more air” by psychoanalysis. .. psychoanalysis is not what can motivate literary judgment. My critique [of Poe] is focussed only on Poe’s being a writer who formulates a message concerning the the letter … it is certain that, as always, it is psychoanalysis that receives from literature, if it takes out from its reservoirs of repression an idea which is less psychobiographical. I propose the letter to psychoanalysis as an offering, as what shows to psychoanalysis what it is about. .If literary criticism could effectively be renewed by psychoanalysis, it would be because psychoanalysis is there because the texts measure up to it, showing it the enigmas which are its concern.” ---- Jacques Lacan, Lituraterre (1971) This course will interrogate literature as psychoanalysis in action. It regards literature as clinical material, the raw material of the human soul, which at the same time, in its aesthetics and especially its rhetoric, literary locus of the formations of the unconscious, includes reflections on the human soul, reflections which, if extricated from the literary text, can teach us much about the enigmas which are psychoanalysis’ concern. Even more significantly, these aesthetic reflections constituting the literary texts and the psychic material which they mould into shape require us to read the literary text as the full speech of its unconscious? This course offers a training in the reading of literature as psychoanalysis in action. Such a training requires more than an introduction to basic concepts in the psychoanalytic theories of Freud, Lacan, Andre Green, Nicolas Abraham and Maria Torok, Michele Montrelay, Francois Baudry, or Denis Vasse. It requires a special type of engagement with literary text: an engagement which lets go of the egoic, phobic insistence on verifiability and performs the art of primitive listening, at once rigorously intellectual, passionate, and rooted in the unconscious, which, as Michele Montrelay puts it, can magically lead us back to our origins. With this art of primitive listening, we shall move beyond what Lacan calls the empty speech of the literary text’s semantic/narrative content to articulate the truth of the unconscious and of origin. With this in mind, we shall read Freud’s theorizations of basic psychoanalytical concepts such as the unconscious, the symptom, the drive, desire and anxiety, the perversions, and the dream-work, look at Abraham and Torok’s theorizations of the psycho-linguistic mechanisms of anasemia, incorporation and introjection, and at Andre Green’s theorizations of the narcisisisms of life and death, and move on to Lacan’s specification of these and other psychoanalytical concepts including transference, love, jouissance, need, demand and desire, eros and its relation to Being and to lack, neurosis and psychosis, perversity, perversion and others, and to Monterlay’s and Vasse’s thinking of origin, of archaic subjectivity, of the floating and fragmentary states of the unconscious, of intimacyand of fragments of jouissance. Suggested literary texts include short stories and novels by Virginia Woolf, films featuring James Dean, Gus Van Sant’s film My Own Private Idaho, and poetic texts of the English Renaissance, but in line with the seminar’s focus on the unconscious, suggestions from students for literary texts which unfold the unconscious would be most welcome. Psychoanalytical texts will include extracts from: Freud’s On Dreams, The Interpretation of Dreams, Jokes and their Relation to the Unconscious, Beyond the Pleasure Principle, The Unconscious, The Ego and the Id, Symptoms, Inhibitions, and Anxiety, Nicolas Abraham and Maria Torok’s The Shell and the Kernel, Lacan’s Ecrits and Seminars 1, 5, 7 and 20, Andre Green’s Narcissism of Life, Narcissism of Death, and in particular work by Michele Montrelay. Requirements: class presentation of seminar project, outline and draft of seminar paper to be submitted in the course of the semester; seminar paper. | |
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| îåòã à' ùì ñîñèø à' éú÷ééí áéåí çñø áùòä 9:00 | |
| îåòã á' ùì ñîñèø à' éú÷ééí áéåí çñø áùòä 9:00 | |