By Dorothy T. Grunes, Jerome M. Grunes
Utilizing Shakespeare's paintings to extend our realizing of what it really is to be human, this booklet of utilized psychoanalysis furthers the research of Shakespeare, literary conception, dramatic arts, and psychoanalytic concept. it's also obtainable to readers, theatre-goers and those that be interested within the human situation. With highbrow rigour, and shut textual research, it values the insights of many artistic writers akin to T. S. Eliot, James Joyce, W. H. Auden, Samuel Taylor Coleridge, in addition to Sigmund Freud, Heinz Kohut and D.W. Winnicott. For the clinician, this e-book introduces new theories in psychoanalysis dependent upon the textual content and scientific event. Psychoanalysts literature are at a drawback, because the worth method belongs exclusively to the world of literary idea right. Literary concept, in flip, usually unearths what the coed seeks. it isn't magnificent that this almost certainly enriching blend of literary idea and psychoanalysis has had hassle maintaining its relevance and has a tendency in the direction of reductionism. As a bringing jointly of either literature and psychoanalysis this ebook is exclusive in that it comprises that that's on hand to either canons. during this means, the authors desire to inspire readers to participate within the drama and within the analytic method.
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Extra resources for What Shakespeare Teaches Us about Psychoanalysis: A Local Habitation and a Name
Sample 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.