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Freud's lost chord: The place of music in psychoanalytic mythology.

机译：弗洛伊德迷失的和弦：心理分析神话中的音乐地位。

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摘要

Music is conspicuously absent from Freud's work, and its presence is limited in post-Freudian study. Considering music as a gap at the heart of psychoanalysis, I address Charles Rycroft's question, namely: How might psychoanalysis have developed if its founders had thought in auditory rather than linguistic and visual terms? Rycroft offers a radical critique of Freudian dualisms, such as the pleasure and reality principles, and primary and secondary process. His critique condenses many of the ideas available in revisions by thinkers such as Bion and Loewald. These developments converge with key insights of Jung, which have been rejected by psychoanalysts, but which consistently re-emerge in the margins of Freud's own writings. I address how Freud's unresponsiveness to music illuminates his commonly acknowledged struggles with art, religion, myth, affect, the mother-infant dyad, Eros, Thanatos, and the archaic psyche. Treated in this way, these themes indicate Freud's basic ambivalence, and his awareness of the explanatory limits of what he called "our mythology." In particular, Freud's inarticulateness with respect to music invites a thorough re-assessment of the strengths and limits of a psychoanalysis organized around language. I explore how his dream-theory, posed as a model for all mental life, and built on neurosis, repression, and wish-fulfillment, falls short when confronted by non-verbal domains of life. The alternative lines of inquiry carried forward by Bion, Winnicott, Loewald, and Rycroft both preserve core depth-psychology tenets and fruitfully develop areas of Freud's own impasse. I explore how the phenomena which neither Freud nor his theory could adequately contain within the mythic structure of neurosis were developed into extensions of psychoanalysis; were already intact and undergoing development in the work of Jung; and how they can be both edified and revised by a further revision of the myth, which takes into account principles of theme, mode, resonance, and the interplay of structure and spontaneity exemplified in jazz. After reviewing the musically-attuned contributions of Steven Knoblauch, I explore avenues of clinical and theoretical application, and possibilities for further inquiry and development.
机译：音乐在弗洛伊德的作品中明显缺乏，而且在弗洛伊德后的研究中音乐的存在受到限制。考虑到音乐是精神分析的核心问题，我提出了查尔斯·瑞克罗夫特（Charles Rycroft）的问题：即，如果音乐分析的创始人以听觉而非语言和视觉的方式进行思考，那么精神分析将如何发展？ Rycroft对弗洛伊德二元论提出了激进的批判，例如愉悦和现实原则，以及主要和次要过程。他的批判凝聚了许多思想家（例如，比昂和洛瓦尔德）在修订本中可获得的许多思想。这些发展与荣格（Jung）的主要见解相融合，这些见解被心理分析家所拒绝，但始终在弗洛伊德（Freud）自己著作的边缘重新出现。我要谈谈弗洛伊德对音乐的反应迟钝如何阐明他在艺术，宗教，神话，情感，母婴二代，爱神，塔纳托斯和古老灵魂方面的公认斗争。以这种方式对待这些主题，表明了弗洛伊德的基本矛盾性，以及他对所谓“我们的神话”的解释性局限性的认识。特别是，弗洛伊德对音乐的口齿不清，要求彻底重新评估围绕语言组织的心理分析的优势和局限性。我探讨了他的梦境理论，它被视为所有精神生活的典范，并建立在神经症，压抑和愿望实现的基础上，在面对非言语生活领域时是如何落空的。比昂，温尼科特，洛瓦尔德和莱克罗夫特提出的替代性探询路线既保留了深度心理学的核心信条，又有效地发展了弗洛伊德自身僵局的领域。我探索了弗洛伊德及其理论无法充分包含在神经症神话结构中的现象如何发展为精神分析的扩展；在Jung的工作中已经完好无损并且正在发展中；以及如何通过神话的进一步修订来启发和修改它们，其中考虑了主题，模式，共鸣以及爵士乐中结构与自发性相互作用的原理。在回顾了Steven Knoblauch在音乐方面的贡献之后，我探索了临床和理论应用的途径，以及进一步研究和发展的可能性。

著录项

  • 作者

    Sapen, Daniel.;

  • 作者单位

    Adelphi University, The Institute of Advanced Psychological Studies.;

  • 授予单位 Adelphi University, The Institute of Advanced Psychological Studies.;
  • 学科 Music.; Philosophy.; Psychology Clinical.
  • 学位 Ph.D.
  • 年度 2008
  • 页码 348 p.
  • 总页数 348
  • 原文格式 PDF
  • 正文语种 eng
  • 中图分类 音乐;哲学理论;医学心理学、病理心理学;
  • 关键词

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