Fink states “In psychosis, the paternal metaphor fails to function and the structure of language…is not assimilated.”36 The paternal metaphor must make meaning and signification possible, the lack of which affects all Symbolic order and pushes the subject toward psychosis. The psychotic subject never enters the Symbolic order proper. All the intersubjective relations with the Other and others are shaking. According to Lacan, “the psychotic is the martyr of the unconscious.”37 The unconscious is structured like language and the psychotic subject suffers from the law and order of the language and unconscious. The psychotic’s unconscious in not tamed and ordered.
The psychological concept of the uncanny as something that is strangely familiar, rather than just mysterious, was perhaps first fixed by Sigmund Freud in his essay Das Unheimliche. The meaning of the uncanny is something fearful and frightening, and as such it has been neglected in the history of aesthetics, It is basically depended on aesthetics or beauty, the principles of beauty, for instance, if I ask you about my jacket is it nice or not? You maybe tell me yes it is nice “I love it “or maybe no “I hate it “, according what? It is according to your feeling or emotion, your principles of beauty. But the big question is what the relationship between aesthetics and the uncanny is?
However Breaking Bad appears to be an inversion of this concept, as Walter White experienced trauma through out his life which he repressed and is now resurfacing through the acknowledgement of dying, and deals with this by acting out though Heisenberg as a means of regaining control of his life in order to feel safe. Relating back to Freud (1919), he states “what is heimlich thus comes to be unheimlich” (420) – which suggests the link between where the two words intersects and creates a paradox or conceptual opposites where as an example the more you feel safe, the more you are open to harm. In regards to Walter White; the more he feels safe or in control by creating this new persona, the more he opens himself up to the dangers or consequences of his action through
He showed his loss of innocence by not playing games, his more mature use of words and body language, and his different view of the world around him. In the novel, To Kill A Mockingbird, Jem Finch goes through change and his innocence of the world is lost as the book progresses. In the novel, To Kill a Mockingbird, Jem loses his innocence when he stops playing games with Scout and Dill. As Dill and Scout would play in their tree house, Jem would not want to come play with them. Jem didn’t think they were cool.
Take a good long look at a Minion and say it is not just an oval with overalls. No one can. So little work was put into their design that they do not even speak a comprehensible language, how does one expect a child to speak a human language when the child only focuses on something that screams like a baby. Finally, the characters have no depth, which is even more boring than their design the Minions do nothing but run around and make messes, making some people laugh. But, for people who actually need a basis to comedy and not just fart noises the Minions are in no way entertaining.
There is a proverb that states, “The eyes are useless when the mind is blind.” This quote refers to metaphorical blindness, which is defined as when one is unable to comprehend the truth about situations and events. Rather than having the ability to perceive what is happening in reality, one is naïve and cannot see the veracity in events. One of the most well-known examples of metaphorical blindness is the protagonist Oedipus. Although he is exposed to signs of his predetermined fate, he chooses to not believe the prophecy in attempts to avoid the truth. The importance of sight is emphasized throughout the play; even though Oedipus has vision and his ally Teiresias is blind, Teiresias is able to decipher the truth surrounding the prophecy.
The use of Freudian themes is easily noticeable in the movie Vertigo directed by Alfred Hitchcock. The plot is like the process of psychoanalysis. At first the viewer is first presented with what is on the surface what the reader or viewer can see the conscious in a way. Soon after thought, does one find out about what is hidden behind the character’s inhibitions and appearances, this is the unconscious mind as Freud has discussed. “Hitchcock grants us with information which is not available to the characters on screen” (McLaughlin 2003:12) which allows us the audience to act as analysts.
The basic underlying psychology is related to “Freud’s psychological apparatus” and how these aspects undermine what Reverend Dimmesdale is truly thinking in the Scarlet Letter. Sigmund Freud, a famous psychologist, whose philosophy of psychology is an abundant contribution to the Scarlet Letter and literature, says the mental processes of Dimmesdale can be assigned to three psychic zones: the id, the ego, and the superego. The id is where the personality component made up of unconscious psychic energy that works to satisfy basic urges, needs, and desires of a character and demands the immediate gratification of needs. When unable to satisfy needs, the id relies on the primary process to relieve the tension by creating a mental image through hallucinating, fantasizing, or daydreaming.
Robert Louis Stevenson’s 1886 “shilling shocker”, The Strange Case of Dr. Jekyll and Mr. Hyde, has been subjected to various interpretations over the years. While some have assessed the trope of duality in the light of racism, colonization and cultural ‘other’, others have drawn on psychological references of split personality or ‘dissociative identity disorder’(i.e. existence of more than one personality in one body). The popularity of the novella and the idea of binaries existing in one being, has given birth to the phrase ‘Jekyll and Hyde’ which associates itself to a person whose attitude is vastly different from situation to situation. The respectable Dr. Jekyll, in his attempt to prove the worth of his scientific ambitions and studies, creates a monster much like Frankenstein’s monster but at the same time completely different from it.
Introduction Sigmund Freud is the great theorist of the mysteries of the human mind and a founder of the psychoanalysis theory which was formed in the 1800s, the theory is well known for accessing self-identity and the self in different ways in order to discover their different meaning, (Elliott, 2015). Buss (2008) states that Sigmund’s theory of Psychoanalysis offers a unique controversial insight into how the human mind works in a way that, this theory provided a new approach to psychotherapy, thus it means that it provided a new treatment for psychological problems that even highly qualified doctors couldn’t even cure. (Buss, 2008) According to Cloninger (2013), Erik Erikson on the other hand is the founder of the psychoanalytic-social Perspective which is mostly referred to as psychosocial development theory, Erikson became interested in child development when he met Anna Freud and he trained in psychoanalysis and with his Montessori diploma, he become one of the most influential psychologist of the 20th century. His theory describes eight stages of development that occurs in sequence throughout life and unlike Sigmund Freud’s theory, Erickson’s theory is more comprehensive because it encompasses cultural phenomena and mostly applied to therapy with Children and adolescence. (Cloninger, 2013) This essay explores Freud theory of Psychoanalysis and Erikson Psychosocial theory, analyzing, comparing and contrasting the two theories looking at the basic tenets and assumptions