Psychoanalytic Criticism


Published on

Published in: Technology
  • Be the first to comment

No Downloads
Total views
On SlideShare
From Embeds
Number of Embeds
Embeds 0
No embeds

No notes for slide

Psychoanalytic Criticism

  1. 1. Psychoanalytic Criticism<br />The text states that:<br />“If psychoanalysis can help us better understand human behavior, it must be able to help us better understand literary texts, (and art) which is about human behavior.”<br />
  2. 2. Freud’s Ice Berg<br />
  3. 3.
  4. 4. The Unconscious…<br />*storehouse of painful experiences, emotions, wounds, fears, guilty desire and unresolved conflicts<br />*comes into being when we are very young through repression<br />*until we find a way to know and acknowledge to ourselves the true cause of our repressed wounds, fears, guilty desire and unresolved conflicts we hang onto them in disguised, distorted and self-defeating ways.<br />*desires not to recognize or change our destructive behaviors because we have formed our identities around them.<br /> Stephanie Skalisky<br />Another Day in...Surrealist School Date 1987-1997 <br />
  5. 5. Defenses:<br />The processes by which the contents of our unconscious are kept in our unconscious…in other words…they are the processes by which we keep the repressed repressed in order to avoid knowing what we feel we can’t handle knowing.<br /> *selective memory<br /> *denial<br /> *avoidance<br /> *displacement<br /> *projection<br /> *regression<br />*under ordinary circumstances keep us unaware of our unconscious experience, and our anxiety, even if it is somewhat prolonged or recurrent<br />Standing Woman<br />Giacometti, Alberto,...<br />1953<br />
  6. 6. Le Surrealism BookAndre Breton<br />
  7. 7. Poem-Object<br /> André Breton 1941<br /> Carved wood bust of a man, oil lantern, framed photograph, toy boxing gloves and paper mounted on drawing board.<br />
  8. 8. Rene Magritte Sensational News1926We have access to our unconscious, if we know how to use it, through our dreams and through any creative activities we engage in because both our dreams and our creativity, independent of our conscious will or desire, draw directly on the unconscious.<br />
  9. 9. Dreams and Dreams Symbols<br />During sleep our unconscious is free to express itself, and it does so in our dreams.<br />Even in our dreams there is some censorship, some protections against frightening insights into our repressed experiences and emotions, and that takes the form of dream displacement.<br />It may be helpful to think of the dream’s manifest content as a kind of dream symbolism that can be interpreted much the way we interpret symbols of any kind.<br />There are some images that tend to have the same symbolic meaning from dreamer to dreamer, as least if those dreamers are members of the same culture.<br /> Joan Miro, Personages in the Night <br />
  10. 10. These unconscious desires find symbolic expression in art as in dreams. Art is sublimation, the translation of instinctual desires into higher aims, and the goal of psychoanalytic criticism is to reveal the hidden content of the work that underlies and determines its manifest content.Greig E. Henderson and Christopher Brown,University of Toronto<br />Dali’s “Old Age, Adolescence and Infancy” The Three Ages. 1940<br />
  11. 11. Surrealism and Dreams<br />Each person we dream about is really a part of our own psychological experience that we project during the dream onto a “stand in”.<br />Dreams about children almost always reveal something about our feelings toward ourselves or toward the child that is still within us and probably still wounded in some way.<br />Male imagery (phallic images) may represent sex, aggression or both.<br />Female imagery may represent maternal control or a need for nurturing.<br />Water, (fluid, changeable, soothing, dangerous, often deeper than it looks) can represent sexuality, emotions, or the realm of the unconscious.<br />Water also is related to our experience in the womb…so dreams about water may relate to our relationship with our mother.<br />Dreams about buildings may relate to the institution that the building represents for the dreamer.<br />Woman, Old Man, and <br /> Max Ernst<br /> Paris 1923,<br />
  12. 12. Instead of using psychoanalysis to cure themselves of any disturbances, the surrealists saw the unconscious as a wellspring of untapped creative ideas. "A dream that is not interpreted is like a letter that is not opened" is a famous quote from Freud. The surrealists were less interested in interpretation of their dream symbols than they were in the expressive capacity of such states. (eyecone art-modern surrealism web site)Jackson PollockPainting-1945<br />
  13. 13. Telephone Receiver Cover in LobsterDali, Salvador, 1904-1989<br />According to the display caption at Tate Gallery: Dali drew a close analogy between food and sex. <br />
  14. 14. Joys and Enigmas of a Strange Hour Giorgio de Chirico<br />
  15. 15. Freud’s Death Drive<br />Biological Drive-psychological and physical self destruction.<br />This is Freud’s attempt to explain individuals intent on destroying themselves and warring nations.<br />Death relates to our fear of abandonment and occurs to different degrees and with different results in each individual.<br />Jackson Pollock<br />Untitled<br />1943<br />
  16. 16. She-WolfJackson Pollock1943<br />In suggesting that human beings have a death drive, Freud’s attempt was to account for the alarming degree of self-destructive behavior he saw both in individuals, who seemed bent on destroying themselves psychologically if not physically, and in whole nations, whose constant wars and internal conflicts could be viewed as little other than a form of mass suicide. <br />
  17. 17. The Meaning of Sexuality<br />*Freud called this drive eros and placed it in opposition to thanatos, the death drive.<br />*For psychoanalysis, there is no meaningful difference between normal and abnormal, and the issue isn’t one of moral vs immoral behavior; there are merely psychological differences among individuals, and the issue is one of nondestructive vs destructive behavior.<br />*Concerns the relationship of the superego (social values and taboos we internalize), id (psychological reservoir of our instincts, our libido or sexual energy), and the ego (conscious self that experiences the external world through the senses and plays referee between the id and superego).<br />Dali, Salvador The Dream of Venus: costume design Date 1939 <br />
  18. 18. Lacanian Psychoanalysis<br />From the Art Review: Who is Jacques Lacan…<br />John Haber in New York City<br />In his theory, the unconscious works like a language. The mind teems with desires that grow real only when translated into symbols, as in Freud’s device of free association. Like words in a language, the associations are arbitrary. <br />Marc Chagall<br />
  19. 19. The Living Room by Balthus<br />1966<br />
  20. 20. We Are the Dead MenAlbert Tucker<br />1940<br />
  21. 21. Conversations Among the Ruins<br />Georgio De Chirico<br />
  22. 22. Victor Brauner-1947<br />“Each painting that I make is projected from the deepest sources of my anxiety….”<br />The painter’s notebook, given to Max PolFouchet<br />
  23. 23. Title unknownTeitge, Thomas J.1978<br />Idaho artist.<br />
  24. 24. Anthony Aziz and Sammy Cucher<br />Dystopia Series-Chris 1994<br />
  25. 25. Anthony Aziz and Sammy Cucher<br />Dystopia Series-Lynn<br />
  26. 26. Anthony Aziz and Sammy Cucher<br />Dystopia Series-Ken <br />
  27. 27. Equivocal ColorsYves Tanguy1943<br />Yves Tanguy was inspired to make art by the inner world of dreams and the subconscious mind. Rather than reflecting the external world.<br />
  28. 28. Kelly EllsworthAutomatic Drawing<br />Influenced by the Surrealist movement, but he never claimed any specific style of movement.<br />
  29. 29. Object Number One<br />The Burning Giraffe<br />1937<br />Oil on panel<br />13.78 in x 10.63 in<br />"...just because I don't know the meaning of my art, does not mean it has no meaning..."  S.D<br />
  30. 30. Object Number TwoLeonard Meiselman<br />"Genocide" 2007 <br />“Whenever I feel confused and hurt, I try to get into my studio. If I can make some marks with paint or pencil I can get closer to my feelings and I seem to understand things better. The process of paintings reveals me to myself.”<br /><br />
  31. 31. Object Number ThreeWhat the Water Gave Me.<br />Frida Kahlo<br />1938<br />