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'ET IN ARCADIA EGO ... ?' Some Notes on Methodological Issues in the Use of Psychoanalytic Documents and Archives

机译:“在阿卡迪亚自我中……”关于使用精神分析文件和档案的方法问题的一些说明

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The author uses archival material, mainly the letters exchanged between Jones and Strachey in the fifties, when Jones was writing his biography of Freud and Strachey was working on the Standard Edition. He shows the complexity of the interaction between these two men; the more or less conscious ambivalences, motivations and resentments against the so-called Freudian establishment of that time. This per se can help us to understand how a 'certain image' of Freud was created in Great Britain during those years and the reasons for its authoritative persistence. Yet the paper touches on more general issues such as those of the fascination with psychoanalytic archives and the more or less accepted and admitted unconscious motivations of the interpreters of these documents too, not excluding myself. The conclusion reached is that even psychoanalytical documents do not rest in a peaceful Arcadia and that archives cannot be considered as the Arcadia of documents—at least not in the ways that Arcadia has always been considered and interpreted, misleadingly, even in two paintings by Poussin, which I refer to in my paper. These in reality remind us that in Arcadia there is death too. Even the memory that the documents should help us to conserve is ineluctably bound to loss, dissemination, mutilation and uncertainty, and therefore must also face the presence of death also.
机译:作者使用档案材料,主要是琼斯与Strachey在五十年代之间交换的信件,当时Jones撰写的是弗洛伊德的传记,而Strachey正在编写标准版。他展示了这两个人之间互动的复杂性。对那个时代所谓的弗洛伊德主义的建立或多或少有意识的矛盾,动机和怨恨。这本身可以帮助我们了解在那些年中英国是如何产生弗洛伊德的“特定形象”的,以及它为什么具有持久性的原因。然而,本文涉及了更一般的问题,例如对精神分析档案的迷恋以及这些文件的解释者或多或少地接受和接受的无意识动机,但并不排除我自己。得出的结论是,即使是心理分析文献也不是在一个和平的世外桃源中保存的,并且不能将档案视为文件的世外桃源-至少不能以一直被误解和误解的方式来理解和解释世外桃源,即使是在普桑的两幅画作中,这是我在论文中提到的。这些实际上提醒我们在阿卡迪亚也有死亡。甚至文件应帮助我们保存的记忆也不可避免地受到损失,传播,残害和不确定性的约束,因此也必须面对死亡的存在。

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