By Sigmund Freud
FreudL’Interprétation du rêveTraduit de l’allemand et présenté par Jean-Pierre Lefebvre« L’Interprétation du rêve a d’abord été négligée par ses destinataires. Elle évoque à ce titre los angeles Phénoménologie de l’esprit de Hegel. Mais il n’y avait pas ici – bien au contraire – l’alibi épistémologique de l’obscurité du discours. L’une des formes de cette négligence fut un accueil critique de l’intention générale, du sens du travail : un symptôme qui signalait en fait l. a. measurement totalement innovante de celui-ci. Et effectivement, dans le souci méthodique obstiné de prendre en compte toutes les objections, mais aussi dans son horizon théorique et culturel, et par l. a. qualité même de son écriture, elle évoque surtout Le Capital de Karl Marx et L’Origine des espèces de Charles Darwin.D’où un paradoxe qui intéresse notamment le traducteur : un livre d’auteur, apparemment lisse, articulé, systématique, linéaire, aujourd’hui encore identifié à ce que Stefan Zweig appelait une “heure étoilée de l’humanité”, à une création géniale, mais qui se présente aussi comme un défi déroutant à l’édition scientifique tant il est le produit d’un atelier bourdonnant de lectures, de batailles, de reprises, de contacts avec les sufferers, de rapports plus ou moins allusifs avec un public. Paradoxe quasi onirique, objectivement inévitable, dont l’écriture est un acteur essentiel. Métaphore, aussi, de ce que los angeles traduction affronte. »J.-P. L.Jean-Pierre Lefebvre est titulaire de los angeles chaire de littérature allemande à l’École normale supérieure. Ses traductions de Hegel, Marx ou Paul Celan ont fait date.
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Example text
It is not what we know or presume to know about Shakespeare, but rather how close reading, hearing, and witnessing the plays allows us to find the Hamlets, Lears, Macbeths, and Falstaffs, in ourselves. Harold Bloom, an aesthetic critic, writes: “we hear, speak and know ourselves and others” (Bloom, 1998, pp. 1–17). We value the insights of creative writers on Shakespeare, such as Samuel Johnson, William Hazlitt, T. S. Eliot, James Joyce, and W. H. Auden, among others. One must be cautious of theorists who attempt to simplify what is complex, and to be wary of formulaic conclusions.
40–44) 22 W H AT S H A K E S P E A R E T E AC H E S U S A B O U T P S Y C H OA N A LY S I S She makes explicit and merges action with desire, explaining that they should be one and the same, and attacking his mixed feelings as a weakness. She attacks his manhood: When you durst do it, then you were a man; And to be more than what you were, you would Be so much more the man. Nor time nor place Did then adhere, and yet you would make both. They have made themselves, and that their fitness now Does unmake you.
It is interesting that Hamlet likens himself both to Hercules and to Hercules’ first 36 W H AT S H A K E S P E A R E T E AC H E S U S A B O U T P S Y C H OA N A LY S I S adversary. 286). Hercules is thus no longer a part of his imago. This may represent, through the process of the drama, the development of the conflictual identification with Claudius and King Hamlet. 141). Here Horatio imagines the earth as a female in which men bury “extorted treasure”. Hamlet will not yet take in Claudius as a father, nor will he fully take in the ghost of his father as substitute.