PT 161 History of Libido Theory in Freud Fall 2018 Page 1 of 5 Last printed 8/15/2018 8:43 AM. Syllabus PT 161 History of Libido Theory in Freud A. Musolino Fall 2018. Instincts and their vicissitudes. Strachey (Ed. And Trans.), The standard edition of the complete psychological works of Sigmund Freud (Vol.

VIOLENCE, INSTINCT OFThe word violence derives from an root that refers to life. The natural instinct of violence is thus not a destructive instinct, much less a death instinct, but a natural life and survival instinct that corresponds to the instinct of self-preservation in 's first theory of the instincts.It involves what Freud saw as a sort of natural 'imaginary cruelty' in 1897 and described in 'Instincts and Their Vicissitudes' (1915c) as being common to humans and animals. This instinct's goal is above all to protect life and the narcissistic integrity of the subject. This holds regardless of the potential effects caused secondarily to an object that as yet has only a narcissistic status in the subject's imagination.

Instinctual violence has nothing to do with aggressiveness, sadism, or hatred, whose libidinal components Freud showed to be aimed at an object that had otherwise attained an oedipal genital status.In Three Essays on the Theory of Sexuality (1905), Freud very clearly showed that this brutal instinct can attract to itself a part of the sexual instincts, producing aggressive components. In 1915 he attributed a narcissistic and phallic character to violent dynamism and advanced the hypothesis of a logically necessary anaclisis of the sexual instincts on the brutal self-preservation instincts, so as to reinforce the energy of the sexual instincts in the direction of love and creativity.The role of the instinct of violence was gradually specified in European and American psychoanalytic studies that since 1960 have focused on a veritable metapsychology of narcissism. In La Violence fondamentale (Fundamental violence; 1984) Jean Bergeret, based on such studies and Freud's first hypotheses, proposed an attempted synthesis, forming a theory of instinctual violence.

He gave special emphasis to the difficulties Freud encountered in trying to account for the stage of primitive violence within the totality of the myth. The first acts of the drama (the oracle of Apollo and the episode of Mount Cithaeron in particular) bear witness to human beings' deep intuitive awareness of their fundamental instinct of brutality in the service of self-preservation.Freud was never satisfied with his successive theories about the instincts. Rather, he decided to focus on the synchronic aspect of a conflict arising between tendencies within the same psychogenetic generation. His theory of instinctual anaclisis, however, would have enabled him to conceptualize a diachronic conflict pitting the violent pregenital tendencies against the sexual tendencies, with all the possible configurations linked to fusion, defusion, and the different modes of articulation of these two fundamental groups of instincts. His choice of a synchronic model of conflict prevented Freud from better integrating into his psychodynamic and economic conception this brutal instinct of violence and defense, which he had nevertheless clearly described.Jean BergeretSee also: Aggressiveness/aggression; Catastrophic change; Combined parent figure; Criminology and psychoanalysis; Cruelty; Envy and Gratitude; Fort-Da; Mastery, instinct for; Phobias in children; Primal scene; Sadism; Stammering; Transgression. BibliographyBergeret, Jean. La violence fondamentale.

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Paris: Dunod.— —. La violence et la vie. Paris: Payot.Freud, Sigmund.

Three essays on the theory of sexuality. SE, 7: 123-243.— —. Instincts and their vicissitudes. SE, 14: 109-140. Citation stylesEncyclopedia.com gives you the ability to cite reference entries and articles according to common styles from the Modern Language Association (MLA), The Chicago Manual of Style, and the American Psychological Association (APA).Within the “Cite this article” tool, pick a style to see how all available information looks when formatted according to that style.

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1. The two terms used by Freud, Trieb and Instinkt, are rendered in the Standard Edition with the single English word instinct, although the editors themselves note that ‘the word “Trieb” bears much more of a feeling of urgency than the English “instinct”’. See Sigmund Freud, The Standard Edition of the Complete Psychological Works of Sigmund Freud, trans. and ed. James Strachey, 24 volumes (London: Hogarth Press, 1953–74); hereafter abbreviated SE. The citation is from SE 18: 35. To avoid confusion and follow current critical usage, here the term drive(s) is consistently used for Trieb(e) except in quotations.Google Scholar
2. Freud A, ‘On Narcissism: An Introduction’ (1914), SE 14: 78; hereafter cited in the text as N.Google Scholar
3. See also Freud A, ‘Instincts and Their Vicissitudes’ (1915), SE: 14: 124.Google Scholar
4. Jacques Lacan, ‘Motifs du crime paranoïaque. Le crime des soeurs Papin’, Minotaure (February 1933): 25–8.Google Scholar
5. Jacques Lacan, The Seminar of Jacques Lacan, Book III: The Psychoses 1955–1956, trans. Russell Grigg, ed. Jacques-Alain Miller (New York: W. W. Norton, 1993), p. 54.Google Scholar
6. Jean Laplanche, Life and Death in Psychoanalysis, trans. and introduction Jeffrey Mehlman (Baltimore, MD: The Johns Hopkins University Press, 1976), p. 17; hereafter abbreviated LD.Google Scholar
7. Jean Laplanche and Jean-Bertrand Pontalis, ‘Fantasy and the Origin of Sexuality’, in Formations of Fantasy, ed. Victor Burgin, James Donald and Cora Kaplan (London: Methuen, 1986), pp. 5–34, hereafter abbreviated F.Google Scholar
8. The term perversion was changed to paraphilia in the official Diagnostic and Statistical Manual (DSM-III) of the American Psychiatric Association in 1980. Homosexuality was not included. ‘Eight paraphilias were listed: fetishism, transvestism, zoophilia, pedophilia, exhibitionism, voyeurism, sexual masochism, and sexual sadism, all of which were liable to legal prosecution’ (John Money, The Lovemap Guidebook: A Definitive Statement [New York: Continuum Publishing Company, 1999], p. 55). I thank Timothy Koths, a doctoral candidate in History of Consciousness at the University of California, Santa Cruz, for this information.Google Scholar
9. For a longer discussion of the ‘Butterfly’ fantasy in relation to popular culture, see Teresa de Lauretis, ‘Popular Culture, Public and Private Fantasies: Femininity and Fetishism in David Cronenberg’s M. Butterfly’, Signs 24. 2 (1999): 303–34. This and the following paragraphs summarize my reading of the film and develop it in relation to psychoanalytic theory.Google Scholar
10. See Jacques Lacan, ‘The Mirror Stage as Formative of the Function of the I’, in Écrits: A Selection, trans. Alan Sheridan (New York: W. W. Norton, 1977), pp. 1–7.Google Scholar
11. Christian Metz, The Imaginary Signifier: Psychoanalysis and the Cinema, trans. Celia Britton, Annwyl Williams, Ben Brewster and Alfred Guzzetti (Bloomington, IN: Indiana University Press, 1982), p. 74.CrossRefGoogle Scholar
12. ‘MISE-EN-ABÎME refers to the infinite regress of mirror reflections to denote the literary, painterly or filmic process by which a passage, a section or sequence plays out in miniature the processes of the text as a whole’ (Robert Stam, Robert Burgoyne and Sandy Flitterman-Lewis, New Vocabularies in Film Semiotics [London and New York: Routledge, 1992], p. 201). It is not coincidental, I think, that this technique of visual and narrative construction, which in French is called mise-en-abîme, in English is called mirror construction.Google Scholar