By Dr Luke Thurston
From its very starting, psychoanalysis sought to include the cultured into its area. regardless of Joyce's planned try in his writing to withstand this strong hermeneutic, his paintings has been faced through a protracted culture of psychoanalytic readings. Luke Thurston argues that this very antagonism holds the most important to how psychoanalytic pondering can nonetheless open up new avenues in Joycean feedback and literary concept. particularly, Thurston exhibits that Jacques Lacan's reaction to Joyce is going past the 'application' of idea: instead of diagnosing Joyce's writing or claiming to have deciphered its riddles, Lacan seeks to appreciate the way it can entail an unreadable signature, a distinct act of social transgression that defies translation into discourse. Thurston imaginatively builds on Lacan's paintings to light up Joyce's position in a wide-ranging literary family tree that comes with Shakespeare, Hogg, Stevenson and Wilde. This examine might be crucial analyzing for all scholars of Joyce, literary conception and psychoanalysis.
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Additional info for James Joyce and the Problem of Psychoanalysis
35–6) or error-strewn discovery of psychoanalysis, an enjoyment to which Lacan will respond: J’ou¨ıs. chap t e r 2 Freud’s Mousetrap We do not like the real Shakespeare. We like to have his language pruned and his conceptions ﬂattened into something that suits our mouths and minds. A. C. Bradley1 i If psychoanalysis begins with a letter – one in which Freud tells his friend Fliess, on 15 October 1897, of his discovery of the Oedipus complex – its origin also marks its immediate entanglement with literature.
It seems to me that this method of inquiry is closely related to the technique of psycho-analysis. 8 The ‘supposed authorship’ of the critical or interpretative revolution in question is itself soon discredited: Freud was later, he continues, ‘greatly interested to learn that the Russian pseudonym concealed the identity of an Italian physician called Morelli’. Just as he ﬁnds in an art criticism that focuses on ‘unconsidered triﬂes’ a mirror-image of the methods of psychoanalysis, so Freud’s own decision to remain anonymous, his refusal to give his signature to the article, seems to be doubled by the pseudo-signature of this Russian or Italian, this ‘hypothetical’ man Freud has only heard about, who is supposed (ironically enough) to know ‘how to distinguish copies from originals’.
Such a real adventure, he decides, ‘must be sought abroad’, away from the domain of easy identiﬁcation and familiar routine. The key here is Joyce’s insistence on the proper name as marker of secure identity, that which ﬁnally makes characters legible. In the very ﬁrst line of the story we read the name of Joe Dillon, rooting the opening situation in the epistemological solidity of back garden and hall, where the neighbourhood embodies a shared, intuitive identity; where ‘everyone was incredulous’ (D 18) about a local rumour.
James Joyce and the Problem of Psychoanalysis by Dr Luke Thurston