Oedipus Complex

The answer is as close as breath. Tell me or die. One by one. Tell me and die. One by one. I eat ignorance. One, two, four, three, two, three, one, four . . . (A cry. The Sphinx’s? Oedipus’? A singular, piercing cry of woe becomes a muted communal lament as the Chorus enter from different sides and obscure the naked child. Dawn.) chorus Save us. We suffer. Save us. We are dying. Save us. We walk in confusion. Save us. We are blinded by fear. Save us. Save us. (Oedipus appears. Silence.) oedipus Citizens! You know me. My people, my children. I was not sleeping. I cannot sleep. I close my eyes and the multitudes of the suffering press around me in the darkness. You are always with me. I feel your mingled breath on my cheeks, your uncaught tears on

Academic setting could generate transference and counter transference between students and professors. An academic environment is also a group or individual psychotherapy setting, and the role of motherhood or gender in this psychodynamic phenomenon between therapists or Professors and patients or students remains uncertain. We applied a Teaching Performance Evaluation Questionnaire to 105 female and 41 male students; It was analyzed together to their regular medical physiology course grades. We found that students of any gender evaluated professor independent to grades. The teaching performance scores depends on motherhood and gender, the female students evaluated better the only professor that is mother, than male students. Male student obtained better scores in neurophysiology and biophysics modules than female student. These results strongly suggest that transference and counter transference processes do exist between university students and their professors, where gender and motherhood play relevant roles.

This paper is a psychological analysis of Prince Hamlet the character's psychological disorder in Shakespeare's Hamlet. The paper focuses on Hamlet's mental and psychological condition, based on his behavior, acts, and reactions to the traumatizing event that he goes through, when his father (The king of Denmark) gets murdered and ends up being replaced by the murderer. I argue that Hamlet suffers from post-traumatic stress disorder. The paper aims to analyze prince Hamlet's psychological reaction to the traumatizing event he experiences, considering him as a mentally disordered character who needs immediate treatment since he is unaware of his mental and psychological condition that affects his actions and puts his life and the life of others in danger.

Brief Information about Project Project Title: The Oedipus complex (Evaluation by a 1st grade psychology student) Duration of the Project: 3 months Information about Investigator Name (surname, first name) Topal, İzem Ayşegül Student No: 170102033 Position (title) First Year Student

This article offers a close reading of Yannis Ritsos’s dramatic monologue ‘Persephone’ (1972) and argues for the need to adopt a gender-sensitive perspective on Ritsos’s work, one that will do justice to his politics but that will also take on board the gendered imaginary and discourse he draws and depends on. ‘Persephone’ forms part of Ritsos’s wide-ranging engagement with classical myth in most of his mature writing, where gender and political issues are firmly intertwined or even serve as a metaphor for one another. In my reading of the poem, I argue that ‘Persephone’ dramatizes a female’s Oedipal momentum on her road towards individuation and social connectedness within the rigid framework of both the Greek military junta (1967-1974) and the post-Stalinist era. Engaging a psychoanalytic feminist framework enables us to involve the Lacanian legacy regarding the role that language primarily plays in the formation of subjectivity. I focus more particularly on the theoretical perspective of Luce Irigaray and Julia Kristeva, both of whom place classical myth at the centre of their explorations of the modern subject. Despite their fundamentally disparate projects, they both draw on Lacan’s reading of Freud in order to give rise to a fundamental change in the realm of the Symbolic. To view, then, Persephone as an Oedipal subject provides an excellent resource for exploring the heroine’s attempt to define herself as a woman, as a citizen, as a Greek, and as a human being, within a complex web of power and discursive realities.

S. Freud ve C. G. Jung’un kuramları, yaklaşımları ve fikirleri doğrultusunda toplumu oluşturan bireylerin zihin yapılarını ve bunların insan ilişkilerine, topluma ve bireylerin kendilerine olan etkileri...

The mind structures of individuals forming the society and their effects on human relations, society and the individuals themselves in accordance with the theories, approaches and ideas of S. Freud and C. G. Jung including the similar and different aspects of them...

The children's stories written by the nineteenth-century Danish author, Hans Christian Andersen, have become a part of our cultural heritage. They are charmingly like fairy tales, but as they also contain a strong note of moralism, Andersen's stories may contribute to a ...

The film 2046 is used as a screen and a springboard from which to reflect on the compulsive plight of some lovesick individuals. A particular oedipal constellation that generates lovesickness is hypothesized, wherein an unmourned third object preoccupies yet frustrates the primary object. This thwarted longing for another on the part of the original parent figure inflicts a defect in the self-esteem of the subject, who is then compelled to seek out an object that will re-create, while promising to repair, the wound. A trait common to the new object of adoration and the old, retriggering the peculiar paradoxical draw of the parent, sets this process in motion. The chaotic temporality so often associated with both the raptures of new love and with the chronic condition of lovesickness may be related to a traumatic hobbling of the ego's stimulus barrier in the presence of such a paradoxically exciting object.

This paper explores how idealized notions of "the beloved" constrain views of love and impede efforts to build satisfying relationships. The author begins by looking at psychoanalytic depictions of love. The effect of culture on beliefs about love is considered, exploring how cultural prescriptions, ideology, and group pressure (including psychoanalytic depictions of mature love) constrain and define views and values. Case vignettes and an example from literature illustrate ways in which cultural prescriptions obfuscate individual needs and impede self-definition, thereby interfering with real intimacy and satisfaction in love relationships.

Both research and clinical work have revealed factors that can lead to the onset and persistence of panic disorder. Preoedipal conflicts intensify the danger of oedipal longings for panic patients. Competition with the same-sex parent is linked with angry preoedipal fantasies and associated fears of disruption in attachments. Fantasies or actual successes can thus trigger panic episodes. Regression to a helpless, dependent state such as panic defends against the danger of aggressive, competitive fantasies and actual achievements. However, the regressive state can also be experienced as dangerous, and can be linked with frightening homosexual fantasies. A reactive aggressive oedipal stance can sometimes result, triggering escalating turmoil. The panic episode serves a series of compromise formations in dealing with these conflicted wishes.

Paradoxalement, la haine de la littérature est un sentiment rare en tant que passion et que haine véritables. Les attaques contre la littérature procèdent le plus souvent d’arguments froidement exprimés, rationnels ou se donnant pour tels, qui ne relèvent pas de la haine. On rencontre néanmoins quatre types d’expression littéraire de la haine de la littérature, sous des formes plus ou moins mitigées : la haine d’origine religieuse ; celle de nature parodique ou burlesque ; celle à caractère familial, relevant d’un traumatisme psychologique ; et enfin la haine fantasmée, qu’on retrouve sous la plume de Flaubert et de Zola, et qui est instrumentalisée dans le but de consacrer la littérature comme champ autonome.

Paradoxically enough, the hatred of literature is quite rare as a true passion and hatred. Most often the attacks against literature proceed from cold and rational arguments, or appearing as such, which have nothing to do with real hatred. There are nevertheless four types of literary expressions of the hatred of literature, in more or less attenuated forms: the religious hatred; the parodic or burlesque hatred; the family hatred, caused by a psychological trauma; and finally the fantasized hatred, which Flaubert and Zola refer to, and which is used in order to define literature as an autonomous field.

Deleuze’s theory of desire is based on the concepts of positivity and creativity; in fact this theory opposes the common Freudian psychoanalytical theory of desire in which desiring functions on the basis of an initial and primordial Lost, i.e. the experience of castration and losing the Mother because of Father’s prohibiting intervention in the infant’s relation with her. Deleuze, collaborated by Felix Guattari, try to give an explanation of desire in which, satisfying the Spinozist condition of immanence, there is no external and metaphysical force such as Freudian Oedipus complex which could universalize the structure of the desire and make its realization something merely repetitive. For this purpose, they introduce the formulation of desiring-machine. The creative and contingent aspect of the function of Deleuze’s desiring-machine, contradict to the fundamental subjection of Freudian desire to some kind of universal law and coercion. Furthermore, while the main normal Subject in Freudian theory of desire is the Hysteric, in Deleuzian formulation the default structure of subjectivity is schizophrenia; in other words, while Freud thinks of schizophrenia as a disorder and a deviation from the normal state, Deleuze sees it in most accordance with the creative nature of the Being; in his thought the centrality of the Hysteric in the Freudian theory of desire is a result of applying the Oedipus model coercively. Against, for Deleuze the subject is not an already being entity; it is merely the result and residue of desiring itself.

The article analyzes the Freudian interpretation of the origin of culture, conscience, ideas about good and evil. According to the original position of Freudianism, values are not something that given to man once and for all. However, they are not his invention, as Nietzsche would say, for example. The author comes to the conclusion that a human is interpreted by Freud as artificially created being, which is the result of a certain outwardly provoked fracture. A human in Freud's concept appears as an artificial being: what culture does to him is the opposite of the naturalness of the beast that he was before. Culture appears to Freud as a set of mechanisms that restrain the destructive forces that lie in the depths of the individual psyche.  ///

Рассматривается фрейдовская интерпретация происхождения культуры, совести, представлений о добре и зле. Ценности не есть, согласно исходной установке фрейдизма, нечто раз и навсегда данное человеку. Однако они не являются и его изобретением, как сказал бы, например, Ницше. Автор приходит к выводу, что человек предстает у Фрейда как существо сделанное, появившееся в результате некоего спровоцированного извне надлома; как существо искусственное: то, что делает с ним культура, противоположно той естественности зверя, в которой он до этого пребывал. Культура оказывается у Фрейда совокупностью механизмов, сдерживающих деструктивные силы, таящиеся в глубинах индивидуальной психики. ///

Pier Paolo Pasolini’s Oedipus King reinterprets Oedipus’ myth through the lenses of Freud’s psy- choanalysis and Mircea Eliade’s analysis of mythical time. Pasolini combines a critique of modernity with a general pessimism on generational change as a source of progress. Through the insertion of a prologue and an epilogue and through subtle modifications to both Sophocles’ tragedy and Oedipus’ myth, Pasolini gives his Oedipus an Oedipus complex. The continuity between the Traditional and the Modern emerges in Pasolini’s film not as a source of innocence and energy, but as the debilitating scars that remain in history from mythical time.

Patients who express intense, erotic attraction to their therapists pose special treatment challenges that may not respond well to the interpretative effects of the therapist. The wish that the therapist demonstrate love for the patient and the therapists' own erotic feelings toward such patients can create misalliances as well difficult technical moments. Furthermore, some patients expressing their love for their therapist may have physiological manifestations while others would not. At the same time, therapists may not experience erotic feelings toward the patients' expressions of love. The purpose of this paper is to try to answer the following questions: How do we conceptualize our patients' erotic manifestations? Are those expressions of Oedipal or preoedipal pathology? What are the countertransference reactions of the analyst? Two clinical examples will highlight these issues.

บทความนี้มุ่งศึกษาปมอิดิปัสในงานเขียนเรื่อง Voix ของลินดา เล ผ่านแนวคิดของ ฌากส์ ลากอง ผลการศึกษา เบื้องต้นพบว่าผู้เล่าจงใจตัดตัวละครแม่ออกจากเรื่องเพื่อแสดงความรักต่อพ่ออย่างเต็มที่ เมื่อพิจารณาบริบทการเป็นคนพลัดถิ่นในประเทศฝรั่งเศสเพิ่มเติม พบว่าความรักต่อพ่อและความเป็นเวียดนามกลายเป็นจินตภาพของแม่ที่ผู้เล่าต้องการรักษาไว้ ในขณะเดียวกัน ผู้เล่าก็ถูกเรียกร้องให้ปรับตัวเข้ากับสังคมฝรั่งเศส นามของพ่อจึงสร้างจินตภาพของพ่อผ่านตัวละครชุดหนึ่งเพื่อย้ำเตือนและสอดส่องพฤติกรรมของผู้เล่า ในตอนจบ ผู้เล่าปฏิเสธที่จะปรับตัวเข้ากับสังคมฝรั่งเศสและยึดติดกับจินตภาพของแม่ต่อไป

The psychoanalytic treatment of a young woman whose father had been killed in a concentration camp when she was four years old serves to illuminate certain aspects of libidinal and ego development, particularly as it touched on the effects of losing one's father just before entering the oedipal phase and on the defensive use of denial in lieu of mourning. Further consequences of the patient's loss are seen in the extent to which it influenced the self-image, sexual identity formation, and superego functioning, especially with regard to the role of guilt.

The definition of oedipal shame, dramatized in Sophocles' tragedy, is the painful affect resulting from accepting the reality of one's origins. A clinical example focusing on shame arising from adoption links oedipal shame to the theme of rejection. Furthermore, in adolescence the revival of the oedipal conflict may reactivate oedipal shame in which unconscious idealized fantasies of personal perfection and the object carried over from childhood have to be renegotiated. This process, illustrated by two clinical vignettes, may reveal entrenched masochistic defenses. An examination of a final scene from a film underscores the significance of oedipal shame in clinical practice.

Over the centuries, the importance and the nature of the relationship of " inside " and " outside " in human experience have shifted, with consequences for notions of mind and body. This paper begins with dreams and healing in the Asklepian tradition. It continues with Aristotle ' s notions of psuche and how these infl uenced his conception of katharsis and tragedy. Jumping then to the 17th century, we will consider Descartes ' focus on dreams in his theories of thinking. Finally, we will turn explicitly to Freud ' s use of dreams in relation to his theories of anxiety, of psychic processes and of the Oedipus Complex.

Noting a curious parallel between an incident from Friedrich Nietzsche’s life shortly before his mental breakdown involving the passionate defence of a mistreated horse and a dream recounted in Dostoevsky’s Crime and Punishment which bears Oedipal overtones, this article attempts to offer an interpretation of this incident and other aspects of Nietzsche’s life and work from the perspective of the Oedipus complex as developed by Freud. Drawing on a variety of theoretical and clinical writings such as the case study of ‘Little Hans’, Totem and taboo and Beyond the pleasure principle as well as biographical and literary material, it tries not only to shed light on Nietzsche and the significance of his ‘father complex’ but also, through the use of Nietzsche’s example, to illuminate and illustrate Freud’s theoretical elaborations of the Oedipus complex and its psychoanalytic assumptions.

Freud 's declared position regarding the management of 'transference love' advocated 'abstinence', objectivity and even 'emotional coldness in the analyst'. However, his essay on Jensen's Gradiva reveals an identification with an involved and responsive 'maternal' analytic position associated with theorists such as Ferenczi, Balint and Winnicott. These theorists attribute the origins of transference love to the pre-oedipal stage, shaping their analytic model on the basis of the early relationship with the mother. Freud generally had difficulty identifying with such a position, since it entailed addressing his own inner feminine aspects. Yet a literary analysis of his 'Gradiva' reveals this stance in his textual performance, i.e. in the ways in which he reads and retells Jensen's story. Freud 's narration not only expresses identification with Zoe, the female protagonist, but also idealizes her 'therapeutic' conduct, whi...

The theory of narcissism and the study of the psychological development of the female child have both been subjects of considerable controversy within psychoanalysis. Some issues central to these controversies have been discussed and evaluated with attention to the contributions made by advances in each area upon the other. From a historical perspective, Freud's illuminating introduction of the concept of narcissism opened the door toward explaining a variety of puzzling clinical phenomena. Deutsch then elaborated upon Freud's contribution as well as upon his specific bias in her description of the psychology of women. Later, Jacobson addressed herself to a reformulation of then existing views of female psychological development. Kohut's innovative clinical observations and Stolorow's functional definition of narcissism provided a unique vantage point from which to offer a critical restatement of narcissistic factors in the development of the female child. Specifically, narcissism was freed from its singular relationship to female development (the emphasis on castration shock and penis envy as rock bottom factors in female character formation) and related to structuralization of the representational world--self- and object-representations. Sexual differences can then be understood as most relevant for the content of these structures. In this context, the work of Stoller was cited. Finally, three topics that grew out of these considerations and elaborations were considered: the role of the little girl's attachment to and separation from her mother, the role of the psychosexual phases and an evaluation of penis envy, and the role of the father as an ideal. The reciprocal relationship between psychosexual development and the differentiation, integration and consolidation of self and object images has specific relevance for the manner in which femininity as the content of the self-representation of the developing girl enhances and is enhanced by the structuralization of the representations. The unfolding of the psychosexual phases with their associated imagery can be viewed as the gradual unfolding of more complex, differentiated and articulated self and object representations. Conversely, the gradual separation, integration and consolidation of self- and object-representations makes possible the development of increasingly more advanced forms of psychosexual experiences. Thus, the original question of the relationship between narcissism and female development has led to much broader issues. Narcissism concerns the structuralization and maintenance of the self. However, while narcissistic activities may promote structuralization, they may also serve to shore up a precarious sense of gender identity.