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Sigmund Freud (sigmund + freud)

Distribution by Scientific Domains
Humanities and Social Sciences75%

Selected Abstracts

What it Means to be a Stranger to Oneself

EDUCATIONAL PHILOSOPHY AND THEORY, Issue 5 2009
Olli-Pekka Moisio
Abstract In adult education there is always a problem of prefabricated and in many respect fixed opinions and views of the world. In this sense, I will argue, that the starting point of radical education should be in the destruction of these walls of belief that people build around themselves in order to feel safe. In this connection I will talk about ,gentle shattering of identities' as a problem and a method of radical education. When we as adult educators are trying to gently shatter these solidified identities and pre-packed ways of being and acting in the world, we are moving in the field of questions that Sigmund Freud tackled with the concepts of ,de-personalization' and ,de-realization'. These concepts raise the question about the possibility of at the same time believing that something is and at the same time having a fundamentally sceptical attitude towards this given. In my article I will ask, can we integrate the idea of learning in general with the idea of strangeness to oneself as a legitimate and sensible experiential point of departure for radical learning? [source]

Two Influential Theories of Ignorance and Philosophy's Interests in Ignoring Them

HYPATIA, Issue 3 2006
SANDRA HARDING
Karl Marx and Sigmund Freud provided powerful accounts of systematic interested ignorance. Fifty years ago, Anglo-American philosophies of science stigmatized Marx's and Freud's analyses as models of irrationality. They remain disvalued today, at a time when virtually all other humanities and social science disciplines have returned to extract valuable insights from them. Here the argument is that there are reasons distinctive to philosophy why such theories were especially disvalued then and why they remain so today. However, there are even better reasons today for philosophy to break from this history and find more fruitful ways to engage with systematic interested ignorance. [source]

The revealing muteness of rituals: a psychoanalytical approach to a Spanish ceremony

THE JOURNAL OF THE ROYAL ANTHROPOLOGICAL INSTITUTE, Issue 1 2004
Antoinette Molinié
This analysis of a heterodox Corpus Christi ceremony celebrated in Spain emphasizes one of its distinctive features: the ritual is carried out by two moieties, who provide contradictory exegeses of the same ritual performance. Yet, despite their incompatibility, the two theories have a feature in common: the denial of a Jewish presence within the groups that express them. This phenomenon is discussed in the historical context of Christian stereotypes of Jews, enabling recognition of the fact that the ceremonial of Camuñas may be regarded, on a first level of analysis, within the framework of performance theory, as a ritual of memory. Some conceptual tools defined by Sigmund Freud, especially the concepts of negation and disavowal, are then used to analyse the ritual. The denial of reality and the irreconcilable exegeses of the two moieties evoke the split attitude of a fetishist towards castration. Thus, three analytical approaches of increasing depth are proposed to one and the same ritual: structuralist, performative, and psychoanalytical. [source]

AUTHORSHIP AND IDENTITY IN MAX ERNST'S LOPLOP

ART HISTORY, Issue 3 2005
Samantha Kavky
From 1928 to 1932 an avian creature named Loplop, Bird Superior, appears regularly in the collages and paintings of the surrealist artist Max Ernst. In this article I suggest that Ernst models Loplop on the father/totem, as defined by Sigmund Freud in his Totem and Taboo of 1913. An exploration of Ernst's interpretation of Freudian theory in creating Loplop illuminates the character's surprising complexity and centrality to Ernst's oeuvre. As a totem, Loplop emerges from a primary oedipal conflict on which Ernst structures his artistic identity and practice. Equating traditional notions of creative authorship with various forms of patriarchal authority, Ernst's constructed totem signifies his personal, aesthetic and political rejection of individual mastery in favour of his fraternal allegiance to the surrealist group and his embrace of surrealist automatist practices. [source]