弗洛伊德精神分析方法的文學(xué)批評.

1、The Psychological Approach:FreudComments of the psychologicalapproach The most controversial, most abused, and least appreciated by many readers It can be fascinating and rewarding.Purpose To account briefly for the misunderstanding of psychological criticism To outline the psychological theory most

2、 commonly used as an interpretive tool by modern critics To show by examples how readers may apply this mode of interpretation to enhance their understanding and appreciation of literatureLimitations Aesthetic inadequacyIt can afford many profound clues toward solving a works thematic and symbolic m

3、ysteries, but it can seldom account for the beautiful symmetry of a well-wrought poem or of a fictional masterpieceAbuses and misunderstandings ofthe Psychological Approach There are 3 abuses of the approach during the twentieth century. These abuses have given rise to a widespread mistrust of the p

4、sychological approach as a tool for critical analysisFreucTs theory Iceberg theoryHe demonstrated that, like the iceberg, the human mind is structured so that its great weight and density lie beneath the surface (below thelevel of consciousness)Three premises That the most of the individuaPs mental

5、processes are unconscious All human behavior is motivated ultimately by what we could call sexuality Because of the powerful social taboos attached to certain sexual impulses, many of our desires and memories are repressed Several corollaries of FreudiantheoryThree psychic zones: the id, the ego and

6、the superegoSeveral corollaries of Freudiantheory Perhaps the most controversial (and, to many persons, the most offensive) facet of psychoanalytic criticism is its tendency to interpret imagery in terms of sexualitySeveral corollaries of Freudiantheory Child psychology Different stages: Oral stage

7、Anal stage Phallic stage Latency stage Genital stage Oedipus complexderives from the bodys unconsciousrivalry with his father for the love of his mother ” 能,libido and literature(libido),泛指一切身傳-輸淵也雜 人們衣現(xiàn)悄感的愿望，而是源j：人“欲望”的丁I華。他把 對性的渴望的內(nèi)騾力稱為力比多，用于解釋一切精神活動 的能量來源人的愿望除了權(quán)力，財富，名譽(yù)，野心等等之外,主要是要求得 到發(fā)泄和釋放的對性的愿望。而藝術(shù)家不同，他可以以他 特有的稟賦，把壓抑的感情升華為藝術(shù)作品。不僅使壓抑 得以控制/吏不道徳得以掩飾，而且以其審矣品格給人們帶 來愉悅和享受，因此在界洛伊徳看來“藝術(shù)家基本上是性 格內(nèi)向若，與精神病患若相公不遠(yuǎn)，他承受著木能欲望異乎 尋常的逼迫”，藝術(shù)家和白日夢者的不同在于藝術(shù)家能夠 賦予其本能欲望一種社會可以接受的形式，以所謂藝術(shù)美 之形式掩飾其不合道徳倫理之內(nèi)容，丁是力比多作為人的 終極動力，也被弗洛