Thesis advisor: Robin Lydenberg / The figure of Sigmund Freud haunts the modern consciousness, but popular culture too often reduces Freud to a simplistic set of concepts or a figure of fun. The popular image of Freud is a reduction, a caricature – a fiction. The fictionalization of Freud is hardly a new development, however: the first person to fictionalize Freud was Freud himself. In writings such as The Interpretation of Dreams and the Dora case, Freud tells his own story, as well as the stories of his developing theory of psychoanalysis and his patient Ida Bauer. Writers like Hélène Cixous continue in Freud's own tradition as they probe Freud's unconscious mind and challenge his public persona, creating a portrait of Freud that is not a reductive caricature, but a thoughtful meditation on his personality and ideas. The following paper examines the ways that telling Freud's story can be meaningful and fruitful. Exploring the fictionalization of Freud suggests that any attempt to turn a real person into a text is in some sense a fictionalization and that this process is an essential part of the way that human beings understand others and the self. / Thesis (BA) — Boston College, 2005. / Submitted to: Boston College. College of Arts and Sciences. / Discipline: English. / Discipline: College Honors Program.

<p>“To be, or not to be” surely constitutes a strange walk on the tight rope between delusion and reality, and apparently, Robert Fleming is a man with immense problems. Who is Ziggy Stardust, and who is Stephen Dedalus? Is it relevant to claim that there is more of David Bowie’s true personality inside Ziggy than of, for instance Charles Dickens’ great expectations within Pip? By examining Nick Hornby’s novel High Fidelity and it’s main character from a Freudian perspective using Freud’s theories and ideas of the oedipal concept, this is basically a plain attempt in search for a better psychological knowledge and understanding of the musical world of illusion, which finally ends up in a serious effort to interpret the true and inner meanings of Rob’s dreams and personality.</p>

“To be, or not to be” surely constitutes a strange walk on the tight rope between delusion and reality, and apparently, Robert Fleming is a man with immense problems. Who is Ziggy Stardust, and who is Stephen Dedalus? Is it relevant to claim that there is more of David Bowie’s true personality inside Ziggy than of, for instance Charles Dickens’ great expectations within Pip? By examining Nick Hornby’s novel High Fidelity and it’s main character from a Freudian perspective using Freud’s theories and ideas of the oedipal concept, this is basically a plain attempt in search for a better psychological knowledge and understanding of the musical world of illusion, which finally ends up in a serious effort to interpret the true and inner meanings of Rob’s dreams and personality.

Thesis (M.A.)--Miami University, Dept. of Psychology, 2005. / Title from first page of PDF document. Document formatted into pages; contains [1], iv, 53 p. Includes bibliographical references (p. 45-56).

Made available in DSpace on 2016-06-02T20:13:15Z (GMT). No. of bitstreams: 1 5616.pdf: 1508785 bytes, checksum: 8acab0472b6c2fd5a1f8198609215bef (MD5) Previous issue date: 2013-09-26 / Universidade Federal de Minas Gerais / In The interpretation of dreams, Freud presents a rich material of dream analyses, which is articulated with the establishment of general theses about the dream, leading into the metapsychological formulations about the psychic apparatus carried out in the seventh and last chapter. With the purpose of investigating the relations between singularity and universality that are characterized in the book, we have distinguished, among these three epistemic planes, two moments where it is constituted, in which one of them, a relation between two of those planes. In the first moment, we have analyzed the relation that finds itself in the domain between one dream and all dreams, i.e., between the detailed analysis of a singular dream and the general theses about the dream. We have identified that in the articulation between these two terms Freud makes use of the profound analysis of singular cases, taken as exemplar cases that present more clearly a determinate general characteristic of dream, but he also extends himself in brief analyses of various dreams, dwelling on the plurality of experience that articulates itself to a general thesis. In a second moment we have analyzed the relations that are at stake when we take the dream as one psychic formation among others, establishing epistemic relations with the psychopathological formations and with the psychic apparatus, which should be responsible for all psychic formations. While Freud initially intends to base the explication of psychopathological formations in the explication of dream, this epistemic order is inverted, in so far as it is based on the psychology of neurosis that he is going to justify the universality of the presence of the infantile desire on dream. In the same way, while a first reading that tried to understand the schema of the psychic apparatus only based on the interpretation of dreams would find its limit, it is necessary to recognize that there is a reciprocal subordination between the interpretation and the metapsychological explanation, as asserted by Monzani. / Em A interpretação dos sonhos, Freud apresenta um rico material de análises de sonhos, que se articula ao estabelecimento de teses gerais sobre o sonho, vindo a desembocar, no sétimo e último capítulo, nas formulações metapsicológicas acerca do aparelho psíquico. Com o propósito de investigar as relações entre singularidade e universalidade que se configuram na obra, distinguimos, entre estes três planos epistêmicos, dois momentos onde se constitui, em cada um deles, uma relação entre dois daqueles planos. Em um primeiro momento, analisamos a relação que se situa no domínio entre um sonho e todos os sonhos, isto é, entre a análise pormenorizada de um sonho singular e as teses gerais sobre o sonho. Identificamos que, na articulação entre estes dois termos, Freud lança mão da análise em profundidade de casos singulares, tomados como casos exemplares que apresentam mais claramente certa característica geral do sonho, mas também se prolonga em análises breves de diversos sonhos, estendendo-se na pluralidade da experiência que se articula a uma tese geral. Em um segundo momento, analisamos as relações postas em jogo quando se toma o sonho em geral como uma formação psíquica singular, entre outras, estabelecendo relações epistêmicas com as formações psicopatológicas e com o aparelho psíquico, este que deveria ser, no limite, responsável por todas as formações psíquicas. Enquanto Freud se propõe, inicialmente, a fundamentar a explicação das formações psicopatológicas na explicação do sonho, essa ordem epistêmica é invertida, na medida em que é a partir da psicologia das neuroses que ele vai justificar a universalidade da presença do desejo infantil no sonho. Do mesmo modo, enquanto uma primeira leitura que tentasse derivar o esquema do aparelho psíquico apenas da interpretação de sonhos encontraria o seu limite, é preciso reconhecer que há uma subordinação recíproca entre a interpretação e a explicação metapsicológica, como afirma Monzani.

Der Beitrag verfolgt die Entwicklung der Skrjabin’schen Harmonik von dessen Früh- bis zu dessen Spätwerk. Ausgehend vom der Struktur des Einzelklangs (›Chopin-Akkord‹, ›Skrjabin-Akkord‹) werden die Tendenzen aufgezeigt, die folgerichtig ein neues Klangfortschreitungssystem nach sich ziehen. Der äquidistante Quintenzirkel wird durch andere, ebenfalls äquidistante Zirkel ersetzt. Es entstehen symmetrische Tonsysteme, an die später u.a. Olivier Messiaen anknüpft. Als entscheidend gilt dem Autor die Idee der ›Verdichtung‹ – ein Begriff, den Sigmund Freud in seiner Theorie der Traumdeutung ausgearbeitet hat. In dessen Sinne wird die Klangsprache Skrjabins als Verdichtungsarbeit interpretiert. / This article traces the development of Scriabin’s harmonic practice from his early work to his late work. Proceeding from the structure of individual chords (e.g., the “Chopin chord,” the “Scriabin chord”), tendencies will be shown that consequently lead to a new system of harmonic progression: the equidistant circle of fifths is replaced by other circles that are also equidistant. The result is symmetrical tone-systems that later influence Olivier Messiaen, among others. The author places special emphasis on the idea of “condensation” (Verdichtung), a term developed by Sigmund Freund in his theorizing of the interpretation of dreams. In this sense Scriabin’s harmonic language is thus interpreted as a process of condensation.