The Routledge Handbook of Psychoanalysis in the Social by Anthony Elliott, Jeffrey Prager

By Anthony Elliott, Jeffrey Prager

The Routledge guide of Psychoanalysis within the Social Sciences and arts presents a accomplished, severe evaluation of the historic, theoretical and utilized varieties of psychoanalytical feedback. This path-breaking instruction manual deals scholars new methods of knowing the powers and boundaries of psychoanalysis, and of the social, cultural and political probabilities of psychoanalytic critique.

The book offers scholars and execs transparent and concise chapters at the improvement of psychoanalysis, introducing key theories that experience prompted debates over the psyche, wish and emotion within the social sciences and arts. There are noticeable chapters on classical Freudian conception, Kleinian and Bionian idea, object-relations psychoanalysis, Lacanian and post-Lacanian methods, feminist psychoanalysis, in addition to postmodern developments in psychoanalysis. there's a powerful emphasis on interdisciplinary ways to psychoanalytic critique, with contributions drawing from advancements in sociology, politics, historical past, cultural stories, women’s experiences and architecture.

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The Routledge Handbook of Psychoanalysis in the Social Sciences and Humanities

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Extra resources for The Routledge Handbook of Psychoanalysis in the Social Sciences and Humanities

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Is an argument for the existence of an irreducible realm of psychological life in which we create unconscious personal meaning in the experiential immediacy of the present (Chodorow, 1999, p. 1); the notion of the unconscious “gives us access to a way of seeing people and the cultures they create as endlessly inventive” (Frosh, 2002, p. 11). 27 Matt Ffytche The other side of the humanities Elliott’s refocusing of the unconscious as a principle of creative imagination illuminates a crucial hinge between psychoanalysis and literary theory: “If the unconscious operates according to the stratagems of rhetoric, this means that psychoanalytic and literary criticism are united by a common object of investigation: the boundless creativity of tropes” (Ellmann, 1994, p.

This pregnant phrase suggests both a new wellspring of human agency, “through which human beings create themselves anew and the potential shape of their society” (p. 4), and intersects with the kinds of theorization of social identity pursued by Benjamin and Chodorow, because “the primary unconscious, as discussed by Freud, is the key psychical mechanism through which human beings establish an imaginary relation with the self, others, received social meanings, and society” (p. 4). This idea of an inherent, radical creativity in the psyche is echoed at many points in the contemporary academic literature: “the unconscious is an intriguing source of creativity that is at work within us without our awareness” (Craib, 2001, p.

22) – sexual and destructive – in quite this way, naturalism and hermeneutics have remained two poles of the reception of Freud, both within psychoanalysis and in the social sciences and humanities (the hermeneutic model deriving primarily from the work on dreams). Moreover, the notion of a primary form of repression, or an unconscious, irrational or irrevocably opaque basis on which subjectivity is founded, admits of both kinds of emphases. If the unconscious “can be said to exist as a condition of subjectivity; it is the basis from which consciousness emerges” (Elliott, 1999b, p.

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