Romantic Psychoanalysis: The Burden of the MysteryState University of New York Press, 8 ene 2009 - 333 páginas In this provocative work, Joel Faflak argues that Romanticism, particularly British Romantic poetry, invents psychoanalysis in advance of Freud. The Romantic period has long been treated as a time of incipient psychological exploration anticipating more sophisticated discoveries in the science of the mind. Romantic Psychoanalysis challenges this assumption by treating psychoanalysis in the Romantic period as a discovery unto itself, a way of taking Freud back to his future. Reading Romantic literature against eighteenth- and nineteenth-century philosophy, Faflak contends that Romantic poetry and prose—including works by Coleridge, De Quincey, Keats, and Wordsworth—remind a later psychoanalysis of its fundamental matrix in phantasy and thus of its profoundly literary nature. |
Índice
| 1 | |
1 THE PSYCHOLOGY OF THEROMANTIC SUBJECT | 31 |
2 ANALYSIS TERMINABLE IN WORDSWORTH | 75 |
3 ANALYSIS TERMINABLE IN COLERIDGE | 115 |
4 DE QUINCEY TERMINABLE AND INTERMINABLE | 151 |
5 KEATS AND THE BURDEN OF INTERMINABILITY | 199 |
NOTES | 233 |
BIBLIOGRAPHY | 291 |
INDEX | 309 |
Otras ediciones - Ver todo
Romantic Psychoanalysis: The Burden of the Mystery Joel Faflak No hay ninguna vista previa disponible - 2007 |
Términos y frases comunes
abject absent psychosomatic body aesthetic ambivalence analysand analysis analytical Ancient Mariner Apollo Apollonian argues associationism attempt Autobiography Biographia Biographia Literaria choanalysis Christabel cogito Coleridge Coleridge's Confessions confronts consciousness contemplation cure Dark Interpreter Dionysian Dionysus dream Edited emerges empiricism encounter Endymion Enlightenment evokes Fall of Hyperion Freud Freudian gender grief human Hyperion identity imagination imagination's inability interiority interminable Kant Keats Keats's Kristeva literary lyric Margaret's mesmerism metaphysics mind mirror stage narrative Narrator nature Nietzsche opium organicism pathology Pedlar philosophy poem poet poetic poetry potential Prelude primal scene psyche psychic psychic determinism psychology Quincey's radical rational reason Recluse repetition repressed resistance Romantic psychoanalysis Romanticism Ruined Cottage Samuel Taylor Coleridge Schopenhauer self-making semiotic sense signifies solitude soul stage sublime suffering suggests Suspiria Symbolic symptom symptomatic telling text's textual Thomas De Quincey thought tion transcendental transference trauma unconscious University Press William Wordsworth Wordsworth Wordsworthian writes
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Página 43 - The mind is a kind of theatre, where several perceptions successively make their appearance ; pass, repass, glide away, and mingle in an infinite variety of postures and situations.
Página 95 - How exquisitely the individual Mind (And the progressive powers perhaps no less Of the whole species) to the external World Is fitted: — and how exquisitely, too — Theme this but little heard of among men — The external World is fitted to the Mind; And the creation (by no lower name Can it be called) which they with blended might Accomplish: — this is our high argument.
Página 41 - If any impression gives rise to the idea of self, that impression must continue invariably the same, through the whole course of our lives; since self is supposed to exist after that manner. But there is no impression constant and invariable. Pain and pleasure, grief and joy, passions and sensations succeed each other, and never all exist at the same time. It cannot, therefore, be from any of these impressions, or from any other, that the idea of self is derived; and consequently there is no such...
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