Changes

==Sigmund Freud==Freud valued {{Top}}arts|art as one of humanity's great cultural institutions, and dedicated many papers to discussing both the process of artistic creation in general and certain works of art in particular. {{Bottom}}

He explained ====Sigmund Freud====[[Freud]] valued [[art]] as one of [[human]]ity's great [[culture|cultural]] [[civilization|institutions]], and dedicated many papers to discussing both the [[process]] of [[art|artistic creation by reference to the concept ]] in general and certain [[art|works of SUBLIMATION, a process art]] in which sexual libido is redirected towards non-sexual aims[[particular]].

Freud also dedicated a number of papers =====Artistic Creation==========Sublimation=====He explained [[art|artistic creation]] by reference to analysing particular works the [[concept]] of art, especially works of literature[[sublimation]], a process in which he argued could be useful to psychoanalysis in two main ways[[sexual]] [[libido]] is redirected towards [[sublimation|non-sexual aims]].

=====Works of Art==========Literature=====[[Freud]] also dedicated a [[number]] of papers to analysing particular [[art|works of art]], especially works of [[literature]], which he argued could be useful to psychoanalysis in two main ways. # Firstly, these works often express in [[poetry|poetic form truths ]] [[truth]]s [[about ]] the [[psyche]], which implies that [[art|creative writers ]] can intuit directly the truths [[truth]]s which [[psychoanalysts ]] only discover later by more laborious means. # Secondly, [[Freud]] also argued that a close [[psychoanalytic]] [[interpretation|reading]] of [[art|works of literature]] could uncover elements of the author's [[psyche]]. =====Michelangelo's ''Moses''=====While most of [[Freud]]'s [[Works of Sigmund Freud|papers]] on particular [[art|works of art]] concern [[art|works of literature]], he did not entirely neglect [[other]] [[art|art forms]]; for example he devoted one paper to discussing [[Michelangelo]]'s statue of [[Moses]].<ref>{{F}} "[[The Moses of Michelangelo]]," 1914b. [[SE]] XIII, 211.</ref>

Secondly, Freud ====Jacques Lacan=========Works of Art=====[[Lacan]]'s [[Works of Jacques Lacan|works]] also argued that a close psychoanalytic reading abound in discussions of particular [[art|works of literature could uncover elements of the author's psycheart]].

While =====Literature=====Like [[Freud]], [[Lacan]] devotes most of Freud's papers on particular his attention to [[art|works of literature]] of all genres: * [[art concern works |prose]] (e.g. the [[discussion]] of literatureThe [[Purloined Letter]] by [[Edgar Allan Poe]]<ref>{{S2}} Ch. 16; {{1955}}</ref>), he did not entirely neglect other * [[art forms; for example he devoted one paper to discussing Michelangelo|drama]] (e.g. the discussions of [[Shakespeare]]'s statue [[Hamlet]] <ref>{{1958-9}}</ref>, and of Moses [[Sophocles]]' [[Antigone]] <ref>{{S7}}, Chs. 19-21</ref>) and * [[art|poetry]] (Freud, 1914be.g. the discussion of [[Booz endormi]] by Victor [[Hugo]]<ref>{{S3}} p. 218-25; {{S4}} p. 377-8; {{E}} p. 156-8; {{S8}} p. 158-9</ref>).

==Jacques Lacan===Visual Arts=====However, [[Lacan's works ]] also abound discusses the [[art|visual arts]], devoting several lectures in discussions of particular works of his [[Seminar XI|1964]] [[seminar]] to discussing [[art|painting]], particularly [[art|anamorphotic art]].<ref>{{S11}} Chs. 7-9, where he discusses [[Holbein]]'s [[The Ambassadors]]; {{S7}} p. 139-42</ref>).

Like ====Differences - Freud, Lacan devotes most of his attention to works of literature of all genres: prose (e.g. the discussion of The Purloined Letter by Edgar Allan Poe in S2, ch. 16, and Lacan====There are, 1955a)nevertheless, drama (e.g. significant differences between the discussions of Shakespeare's Hamlet ways in which [[Freud]] and [[Lacan, 1958-9, and ]] approach [[work|works of Sophocles' Antigone in S7, chs 19-21) and poetry (e.g. the discussion of Booz endormi by Victor Hugo in S3, 218- 25; S4, 377-8; E, 156-8; S8, 158-9)art]].

However=====Psychology of the Artist=====Though [[Lacan]] does [[speak]] about [[sublimation]], Lacan also discusses unlike [[Freud]] he does not believe that it is possible or even desirable for [[psychoanalyst]]s to say anything about the [[psychology]] of the [[art|artist]] on the visual arts, devoting several lectures in basis of an examination of a [[art|work of art]].<ref>See his 1964 seminar to discussing painting, particularly anamorphotic critical remarks on "[[art (Sll, chs 7-9, where he discusses Holbein's The Ambassadors|psychobiography]]"; see also S7, 139{{Ec}} 740-42).1</ref>

==Differences==There are, nevertheless, significant differences between Just because the ways most fundamental [[complex]] ([[Oedipus complex|Oedipus]]) in which Freud and [[psychoanalytic theory]] is taken from a [[art|literary work]], [[Lacan approach works ]] says, does not mean that [[psychoanalysis]] has anything to say about [[Sophocles]].<ref>{{L}} "[[Works of artJacques Lacan|Lituraterre]]," ''Littérature'', no. 3, 1971. p. 3</ref>

Though =====Authorial Intentions=====[[Lacan does speak about sublimation, unlike Freud he does not believe that it is possible or even desirable for psychoanalysts to say anything about the psychology ]]'s [[exclusion]] of the [[art|artist on the basis ]] from his discussions of an examination [[art|works of a work art]] means that his [[interpretation|reading]]s of [[art (see his critical remarks on 'psychobiography|literary texts]] are not concerned to reconstruct the [[author]]'; Ec, 740-1)s [[intention]]s.

Just because =====Discourse of the most fundamental complex (Oedipus) in psychoanalytic theory is taken from a literary workAnalysand=====In his suspension of the question of [[author]]ial [[consciousness|intent]], [[Lacan says, does ]] is not mean that psychoanalysis has anything to say about Sophocles merely aligning himself with the [[structuralism|structuralist movement]] (Lacanafter all, 1971: 3[[author]]ial [[consciousness|intent]] had been bracketed by [[art|New Criticism]] long before the [[structuralism|structuralists]] appeared on the [[scene]]), but is rather illustrating the way in which the [[analyst]] should proceed when [[free association|listening]] to and [[interpretation|interpreting]] the [[discourse]] of the [[analysand]].

==More==LacanThe [[analyst]] must, in other [[words]], treat the [[analysand]]'s exclusion of the artist from his discussions of works of [[discourse]] as a [[art means that his readings of literary texts are not concerned to reconstruct the author's intentions. |text]]:

In his suspension of <blockquote>You must start from the question of authorial intent[[text]], start by treating it, as Freud does and as he recommends, Lacan is not merely aligning himself with the structuralist movement (after allas Holy Writ. The author, authorial intent had been bracketed by New Criticism long before the structuralists appeared on the scene)scribe, but is rather illustrating the way in which only a pen-pusher, and he comes second. . . . Similarly, when it comes to our [[patients]], please give more attention to the analyst should proceed when listening text than to and interpreting the discourse psychology of the analysandauthor - the entire orientation of my teaching is that.<ref>{{S2}} p. 153</ref></blockquote>

The analyst must, =====Method of Reading=====[[Lacan]]'s discussions of [[art|literary texts]] are thus not exercises in other words[[art|literary criticism]] for its own sake, treat but performances designed to give his audience an [[idea]] of how they are to read the analysand'[[unconscious]] of their [[patient]]s discourse as a text:.

This [[interpretation|method of reading]] is similar to those employed by [[structuralism|formalism]] and [[structuralism]]; the [[signified]] is neglected in favour of the [[signifier]], [[structure|content]] is bracketed in favour of [[structure|formal structures]].<blockquoteref>You must start from the textAlthough [[Jacques Derrida]] has argued that [[Lacan]] does not in fact follow his own method; [[Jacques Derrida|Derrida, start by treating itJacques]] 1975. "Le facteur de la vérité, as " in ''The Post Card: From [[Socrates]] to Freud does and as he recommendsBeyond'', as Holy Writtrans. The authorAlan Bass, the scribeChicago and [[London]]: [[University]] of Chicago Press, is only a pen-pusher1987, and he comes secondpp. . . . Similarly, when it comes to our patients, please give more attention to the text than to the psychology of the author 413- the entire orientation of my teaching is that96.</ref>{{S2}} pand by two of [[Derrida]]'s followers.153</ref>Lacoue-Labarthe, Philippe, and Nancy, Jean-Luc. 1973. ''Le Titre de la [[lettre]]'', [[Paris]]: Galilée.</blockquoteref>

==More===Illustrative Models=====Besides serving as models of a [[interpretation|method of reading]], which [[Lacan]] recommends [[analyst]]s to follow when [[interpretation|reading]] the [[discourse]] of their [[patient]]s, [[Lacan]]'s discussions of [[art|literary texts are thus not exercises in literary criticism for its own sake, but performances designed ]] also aim to give his audience an idea of how they are extract certain elements which serve as [[metaphor]]s to read the unconscious illustrate some of their patientshis most important [[ideas]].

This method For example, in his [[reading]] of reading is similar [[Poe]]'s ''[[The Purloined Letter]]'', [[Lacan]] points to those employed by formalism and structuralism; the signified is neglected in favour circulating [[letter]] as a [[metaphor]] for the [[signifier|determinative power]] of the [[signifier, content is bracketed in favour of formal structures]].<ref>(although Jacques Derrida has argued that Lacan does not in fact follow his own method; see Derrida, 1975)</ref>

==More==="Psychoanalytic Literary Criticism"=====Besides serving as models A new branch of a method of reading, which Lacan recommends analysts so-called "[[art|psychoanalytic literary criticism]]" now claims to follow when reading the discourse of their patients, be inspired by [[Lacan]]'s discussions of approach to [[art|literary texts also aim to extract certain elements which serve as metaphors to illustrate some of his most important ideas]].

For exampleHowever, while such projects are interesting in his reading of Poe's The Purloined Lettertheir own [[right]], they do not usually approach [[Lacanart|literature]] points to in the circulating same way as [[letterLacan]] as a metaphor for the determinative power of the signifier.

A new branch =====Metalanguage=====Whereas some of so-called "psychoanalytic literary criticism" now claims to be inspired by Lacan[[Freud]]'s approach works are often taken to imply that [[psychoanalysis]] is a [[metalanguage|metadiscourse]], a [[metalanguage|master narrative]] providing a general lutmeneutic key that can unlock the hitherto unsolved secrets of [[art|literary texts (e.g. Muller and Richardsonworks]], 1988, and Wright, 1984; other works dealing with it is [[impossible]] to read [[Lacan and cultural theory are Davis, 1983; Felman, 1987; MacCannell, 1986)]] as making any such claims.

However=====Methods and Concepts=====<b>For [[Lacan]], while such projects are interesting in their own right[[psychoanalysis]] might be able to learn something about [[art|literature]], they do not usually approach literature in the same way as Lacanor use [[art|literary works]] to illustrate certain of its [[treatment|methods]] and [[:category:concepts|concepts]], it is doubtful whether [[art|literary criticism]] can learn anything from [[psychoanalysis]]. </b>

That is, while psychoanalytic literary criticism aims to say something about the texts studied, both aspects of Lacan's approach (to illustrate a mode of analytic interpretation, and to illustrate psychoanalytic concepts) are concerned not with saying something about the texts themselves, but merely with using the texts to say something about psychoanalysis. ====="Applied Psychoanalysis"===== This is perhaps the most important difference between Hence [[Lacan]]'s approach to works of art and rejects the idea that a [[Freudart|literary criticism]]'s. Whereas some which makes use of [[Freudpsychoanalytic]]'s works are often taken to imply that psychoanalysis is a metadiscourse, a master narrative providing a general lutmeneutic key that can unlock the hitherto unsolved secrets of literary works, it is impossible to read [[Lacan]] as making any such claims.  For [[Lacan]], while psychoanalysis might be able to learn something about literature, or use literary works to illustrate certain of its methods and :category:concepts|concepts, it is doubtful whether literary criticism can learn anything from psychoanalysis.  Hence [[Lacan]] rejects the idea that a literary criticism which makes use of psychoanalytic concepts could be called '"[[art|applied psychoanalysis']]", since "[p]sychoanalysis is only applied, in the proper [[sense ]] of the term, as a [[treatment]], and thus to a [[subject ]] who speaks and listens."<ref>{{Ec}} p.747</ref>).

 </div>