A dark trace : Sigmund Freud on the sense of guilt - download pdf or read online
By Herman Westerink
Sigmund Freud, in his look for the origins of the feel of guilt in person existence and tradition, frequently speaks of "reading a gloomy trace," therefore relating the Oedipus fable as a fantasy concerning the challenge of human guilt. In Freud's view, this feeling of guilt is a hint, a course, that leads deep into the individual's psychological country, into formative years stories, and into the prehistory of tradition and faith.
Herman Westerink follows this hint and analyzes Freud's inspiration at the experience of guilt as a primary factor in his paintings, from the earliest experiences at the ethical and "guilty" characters of the hysterics, through later complicated differentiations in the proposal of the experience of guilt, and at last to Freud's notion of civilization's discontents and Jewish experience of guilt. The experience of guilt is a key factor in Freudian psychoanalysis, not just relating to different key recommendations in psychoanalytic idea but in addition relating to Freud's debates with different psychoanalysts, together with Carl Jung and Melanie Klein
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Additional resources for A dark trace : Sigmund Freud on the sense of guilt
Acceptance of condom use and freer sexual relations are the keys. 97 What Freud proposes here appears to be a kind of freer sexual morality and therewith a criticism of the negative effects of the refined way the middle classes channel their passions. After all, his patients were demonstrating the negative effects of this strict bourgeois morality. Thus it appears to be criticism. Yet one can also view these ideas as an attempt to adapt bourgeois morality to circumstance. The references to marriage and masturbation chiefly indicate that the aim is to restore normal sexual relations, normal meaning refined.
P. 94. 153 S. 242-244. On Emma Eckstein see P. 84-85. indd 30 15/06/09 14:37 Chapter 1. 155 Was not the medieval theory of possession identical to his theories of a split consciousness? Is it not remarkable that it was in the Middle Ages that seduction by and illicit sexual acts with the devil played such a primary role? Why do the confessions of accused witches obtained under torture bear such an enormous similarity with patient stories, such as that of Emma? 156 What “really” emerged were the tales, fantasies about seduction and possession.
In the dream Freud thus deals with the people who could reproach him. Finally, fear plays a role in the dream. He is intensely frightened when Irma begins to speak about her complaints. This fear is also related to reproach. There is equally the fear that he himself is responsible for her complaints. There is an additional element: distrust. We must not forget that Freud saw himself at this time as monomaniacal, someone abandoned by his colleagues who had to forge new paths largely on his own. In the dream the avoidance of guilt by reproach is also a way to express distance vis-à-vis colleagues.
A dark trace : Sigmund Freud on the sense of guilt by Herman Westerink