 Yeah, so I think it started afternoon whatever So we have an announcement from someone from the arts one student council. All right. Thank you So today you are our have the joy of two lecturers So I'm gonna do half of the lecture on pride I'll be talking about these two texts and then Jason is going to be doing the other half on the uncanny and Hoffman's short story the Sandman So what I feel like my particular job in this lecture is to give you some of the background information that is really useful for Understanding what's going on with Freud's Analysis in the Leonardo essay as well as in the uncanny essay So a lot of this is just going to be Kind of like what does Freud mean by X and then I have a few diagrams and things like that So there's not a lot of analysis or interpretation going on or at least I don't feel like it's that it's more Just me trying to explain what I think Freud is trying to say in some of his some of his views So I am gonna start very briefly with a little bit about Freud the person and I Normally would say more, but I don't have a lot of time and I'm not sure it's really all that necessary I mean Freud is such a big figure in What's what white word I want to use popular culture that we all know who he is right Maybe we don't know a whole lot about his life He was born in what is now the Czech Republic but moved to Vienna when he was four and Spent pretty much a lot of the rest of his life in Vienna. He actually trained to be a physician he studied medicine and When he first started out he was interested in psychological Issues and concerns, but really thought that they were much more related to physiological Biological processes and wasn't so much into the mental models that he ended up developing later So for a while he was he was a physiological physician and actually remained that way for a long time in his life He also studied lots and lots of languages when he was young and we see this a little bit of this in the uncanny essay Of course most of that is based on Freud Freud on German But he knew a fair number of languages and was reading Shakespeare apparently by the age of eight I can't remember if that's something that he reported or somebody else reported that because some of this information comes from his own autobiography So he he did do a lot of reading of Shakespeare. Obviously. He read Sophocles He was well read in philosophy and literature generally not just in medical literature But he also notes in one of his autobiographical essays that when he entered university and this is in Austria in 19 No, sorry 1873 to 1881 is when he was at university He says and this is a quote from one of his autobiographical essays I found that I was expected to feel myself inferior and an alien because I was a Jew I have never been able to see why I should feel ashamed of my descent or as people were beginning to say of my race And so this is the late 19th century and Freud does eventually have to leave Vienna and Austria in Where is it 1938 so many more years later, but 1938 because of the Nazi persecution of the Jews He moves to England, which is where he eventually dies Now there's a little bit of reference to Judaism and how that might have caused him to not receive the professor extraordinary Appalachian that he was hoping to get in one of his dreams So when it talks about Denominational considerations as to whether or not he will get promoted to become a professor That's what it's talking about and he does refer to having felt some sense of of alienation and Certainly clearly by the late 1930s a sense of persecution for his Jewish heritage and He also Claims in his autobiographical essay that the fact that he felt alienated and Felt kind of alone and separated from a number of people Actually helped him to think more independently and to think more creatively and to come up with things that other people weren't coming up with and To sort of feel okay by the fact that the things he was saying were very controversial at the time So he didn't feel a need to sort of be conforming to what everybody else was doing this idea of him being already an alien in some sense He claims anyways seems to have helped him say fine. You don't want to talk about child sexuality too bad It's important and you ought to be listening and yeah, I know it's controversial, but whatever So I don't to what degree that's a true statement about himself That is at least what he says it did for him and he said he spent most of his life as a physician For nervous diseases neuroses hysteria, which he would treat both with physiological treatments when necessary and also with psychological treatments He actually ended up killing himself Because of cancer of the mouth. This is how he died in 1939. He had cancer of the mouth Starting in 1923 so that that's a long time that he had it And it was so painful Apparently was from smoking Is what we think it was so painful that he had a friend of his a doctor helped him commit suicide with morphing And he died a couple of days later so he that it's just an interesting fact I think about his life that He didn't feel that this was a problem right if you're in so much pain that is a legitimate way to to get out of it that's all I'm going to say about him as a person Now I want to look at what he's doing this Oh, I don't have the quote. Sorry. Oh, well, okay. I left the quote somewhere else This picture refers to something that he says in a text called the etiology of hysteria in 1896 and the interpretation of dreams is published in 1899. It's dated 1900 So it's somewhere around there and this is just before that an essay that he writes just before that And he says that what he's doing as a psychoanalyst is kind of like an Archeologist and he says imagine that you go to a a new place that's that not very many people have seen and All these ruins you find some columns that are sort of broken down you find remnants of walls you find inscriptions that's sort of half erased and As an archaeologist what you could do is you could dig deeper you could dig underneath You could look really carefully at what's going on to fill in the gaps To get a lot of information about this past civilization And he claims that's what psychoanalysis does psychoanalysis Uncovers digs into the earth or digs into the psyche Because all we have are little bits and pieces on the surface But what we want to do is get more of what's really going on within a person's mind and To do that you have to really dig deeper You get some clues from what's on the surface and here this a lot of this has already been dug out But imagine that you just had a few rocks on the top and you knew there was something in there Now we got to go deeper and find out what's going on So he talks about psychoanalysis as being a kind of archaeology He talks about it sometimes as being revealing secrets revealing what is hidden Based on the little clues that are left on the surface And here are some quotes from or not necessarily quotes, but here are some specifics from the text we read So in dreams in the dreams text he says we can see past the sensor To our unconscious wishes through our dreams so our dreams provide us with Hints on the surface of what's going on so we can get something from the dream We can get some pictures of what's happening, but we need to get deeper in we need to go past the sensor and Interpret what's really happening our unconscious wishes This is a nice quote as well psychoanalysis has excellent methods that help to bring hidden material to light This one in particular relates back to seeing and knowing so what are we trying to do as psychoanalysts? We are trying to see more of what is hidden in the darkness of what is buried So the more we can bring to light the more we can uncover in a person's psyche The more we can know about them and the more they can know about themselves Last quote psychoanalysis can penetrate the most fascinating secrets of human nature Now it's not just because this is interesting to do which of course Freud obviously thought it was But it's also because this has a therapeutic effect And this is not so clear what we read but in other texts by Freud He says if we can reveal these secrets these hidden things from our unconscious and bring them into consciousness So if we can interpret our dreams for example and see what they really mean What sorts of unconscious wishes are down below there? That's actually going to help us be more healthy psychologically Because what happens is and we'll see this with some of the charts I make what happens is that in the psyche there may be unconscious desires or wishes or fantasies that were holding down almost as if through a pressure and When we hold them down they still try to come back up and they still try to return After being pushed down that can happen in any number of ways, but some ways that can happen are neurological neurotic Symptoms so you can have in in hysteria at the time there were lots of women who were suffering from what was called hysteria And they had all kinds of symptoms anything from not being able to speak for weeks To having paralysis of one part of their body to having a nervous cough that doesn't seem to have any organic basis Freud interpreted these as all unconscious fantasies or ideas or desires that are trying to get back out into consciousness and one way they can do so is through these Physiological symptoms and if we can bring them to consciousness Then we get better. That's what he claimed So revealing what is hidden is important for just knowing ourselves, but it's also important therapeutically he claims But we are often going to be seeing what we don't want to see when we reveal what is hidden There are going to be things that we wish we hadn't seen and the most obvious quote for that is from his discussion of edifice Like edifice we live in ignorance of I couldn't think of any other word because it's now just edipal wishes Meaning we too have those wishes to kill our mothers and this sleep with our fathers or vice versa We have we live in ignorance of those wishes Repugnant to morality Those are hidden But after their revelation we may all of us well seek to close our eyes to the scenes of our childhood Just as edifice did just as edifice Actually, literally gouged out his eyes in order to close his eyes to these wishes that are then revealed to him And then of course Freud is saying well, we all have these really this is the reason why the edifice story is Compelling still it's not because we care about fate and free will he claims it's because we have these wishes too and it is it is Frightening in some sense to see it happening on stage But it's compelling because it's bringing out something that we also have a desire for Though it's like what analysis not only gets us to see things about ourselves that help us to know ourselves better to Improve in our health, but it also brings us things. We don't want to see Including what he has to say about Leonardo So he says several times in that text, you know I hope you don't worry about psychoanalysis because of what it reveals. I hope you don't think I'm doing him a disservice Because I'm revealing imperfections and what is supposedly a great man But this is really important stuff to do nevertheless. I know you don't want to hear it You don't want to hear about Leonardo's homosexuality You don't want to hear about his vulture fantasy in the tail flipping in and out of the mouth And what Freud thinks that means Nobody wants to hear this Because it is that sort of stop that we normally don't talk about we normally keep repressed But Freud thinks it's important to bring it out into the light nevertheless So we're gonna see things we don't want to see in Freud as well Okay This is some of the background that I think is useful for reading interpretation of dreams and Well, in fact all of the Freud texts and in fact the Hoffman texts as well I'm gonna talk about too much As for the structure of the psyche One of which is in the dreams text and the other which comes later the other one is the one you're probably the most familiar with So how many people have heard of the id ego and super ego? Most of the class that's the most famous Structure psyche structure that you will hear about from Freud. It's the one he developed later I'm gonna talk first about what he's discussing in the interpretation of dreams, which is not exactly incompatible but slightly different So in dreams He says there are two systems in the human psyche and this is on page 168 169 I don't think I put that on the slide So 168 one system constructs a wish that the dream expresses and the other Exercises a censorship upon this dream wish and by the use of that censorship forcibly brings about a distortion in the expression of the wish So he's talking about two systems One creates a wish And I'm making amusing arrows here because it kind of tries to move upwards. You'll see you'll see what I'm doing I hope so one system creates a wish and that is the unconscious there's some sort of unconscious wish in us and Just for an example the the dream that Freud talks about the most in our readings is the dream of Irma's injection And I think one way of putting the unconscious wish in that dream is I am not responsible for Irma still feeling unwell Otto is responsible or somebody else is responsible, but it's not me So he's got this unconscious wish That that would be the case then the second system is The sensor He says the second system exercises a censorship upon the dream wish and forcibly brings about a distortion in the expression of the wish so he literally talks about this like a political sensor like Somebody who is trying to publish something in a country and that has to get it through the censorship Before it will actually be published. So this is a really sort of political authority kind of image So there's some kind of sensor in our psyche and that sensor distorts the wish. I'm just calling that the dream distortion And it can enter our dreams, but it has to be different That's why I've made it a little shaded, you know It has to be a different kind of thing when it comes into our dreams because our sensor somehow doesn't want To the consciousness or the dream to get to the real reality that has to be buried And so here's what it turns out to be in the dream Well part of the dream. There's a lot going on in that dream, but here's part of it. That's related to that wish Okay, so what he dreams of is Otto gave her an injection Probably the needle wasn't clean. There's lots going on in that dream, but that's one part of it So the idea is we can see through dreams apparently according to Freud But there's at least two systems in the psyche one is where the wishes are developed and try to get through The other has this sensor who somehow distorts the wish and turns it into something different Before it is allowed into a dream So that's one picture we get from the interpretation of dreams Let me see what the next slide is and that doesn't tell me. Oh, yeah, forgot about this He then says well in dreams we can see two two kinds of things Manifest content of the dream and the latent content of what's actually going on and Sometimes this is confusing because he doesn't always use the same terms For latent content. He'll sometimes call that the dream thoughts Latent content is the dream thoughts. So what's actually going on under the surface is Not what's going on in the dream, but under the surface what's actually unconscious and then he sometimes calls the manifest content the dream content It's a little confusing. So manifest content is dream content. What's actually happening in the dream? dream thoughts are What's going on unconsciously that's sort of the real Unconscious wishes desires fantasies, etc Okay, well, how does that sensor do that? What happens to when the sensor occurs the sensor? Changes what's unconscious into something that can appear into the dream There's at least two methods. There's more than this, but I'm just going to mention two one is called Condensation and this is not in the reading that we gave to you I was trying to cut down on the reading because there's so much that I could have given you and Interpretation of dreams is 700 pages. So I just picked and chose something But so this isn't in the reading But one way in which the sensor distorts The latent content the dream wishes the real wishes underneath is through condensation Condensation is One image in the dream can be linked to numerous different lines of dream thoughts So here's one image in the dream of Irma's injection He looked down her throat and he saw a white patch and Turbinal bones covered with scabs Turbinal bones covered with scabs or scales. No, it's scabs. Sorry. That's on page 135 So the condensation means there's one image, but there's a lot of things going on unconsciously that's connected to that So I'm just going to put all these up here He mentions in the text all of these things That one image brings up all of these dream thoughts So all of this latent content So you should think about the sensor as being between the green and the blue I didn't put the sensor on here because it's just too much going on So the white patch of the Turbinal bones covered with scabs relates to his daughter's illness To Irma's friend who apparently had some illness that's related to that To Freud's own use of cocaine which he had been using for Oh, I can't remember exactly what he said he was using it for I don't remember to a patient of his who used cocaine and ended up having some problems with her nasal passages, I believe And then to a friend who had overdosed on cocaine All of those things from that one single dream image That's condensation But condensation also goes the other way too condensation is individual dream thoughts blue latent content what's really going on underneath Individual dream thoughts are represented in the dream by several elements So one of these blue things is going to have several dream connections The friend who died from cocaine is connected to the white patch in the dream The friend who died from cocaine is connected to the part of the dream that says autoimmune conjection Is that my hair doing that? That's really lovely. Sorry Because the friend who died from cocaine had injected it when Freud told him not to That's what Freud says and the friend who died Is connected to the part of the dream that says you shouldn't give injections lotlessly So condensation works, but it can be one part of the dream connected to a lot of unconscious things Or one unconscious thing connected to a lot of the dream So when you start really getting into this you realize how complicated dream interpretation is for Freud like It's not just one thing to one thing one thing to one thing one thing to one thing it is a mess of connections So that's one way the sensor distorts what's unconscious to allow it into dreams I forgot that one. There's another one. There's another thing that that is connected to you. That's okay The other way that the sensor distorts what's allowed into consciousness is through what he calls displacement And this also is not in the in the reading we gave you So this is the dream about our was my uncle And a yellow beard stood out clearly on his face And this is from What page is this from 162 to 166 is when he talks about this So he's got this colleague are And he dreams that this colleague is his uncle And that he's got this yellow beard And this the yellow beard stood out clearly Now displacement means That though what is important in the dream Is displaced it's different from what is important in what's really going on unconsciously So what is important in the dream Freud says and again, this is not in your version of the text It's a little later He says one thing that stands out in that dream is that yellow beard for some reason that seems really important There's this yellow beard That seems like really strong in the dream But it turns out that really doesn't make much of a difference because what Says his friend are if he's like his uncle, he's a simpleton But his friend are was also being possibly considered to be promoted to professor Which Freud was as well And so was his friend n being considered to be promoted to professor They are both Jews Freud wants to know is that the reason why they didn't get promoted No This is his wish This is his unconscious wish religion was not why They didn't get promoted again. This may not be true. This is his wish. All right, so in the unconscious you have a wish How does that wish get expressed? Well, I'm going to connect r with my uncle who was a simpleton And r is connected to n and n then is also connected to my uncle. My uncle was also a criminal So look the reason why they didn't get promoted was because there are simpletons and criminals, right? That's the real That's the real meat of the dream The beard makes no difference whatsoever. Like it's just this little, you know Thing that helps to connect r to the uncle, but it's it's very much minor So displacement can happen too where what seems important in the dream Is really not what's actually important when you look at what's going on underneath in the unconscious So those are two things the sensor can do to create dreams Okay, here's another picture of The structure of the psyche that's also from the interpretation of dreams But also from a later part of the text that we didn't read It's related to the two things we looked at before the sensor and the unconscious So later in the text Freud talks about three parts of the psyche the conscious the pre-conscious and the unconscious And you know, he's not the first one to talk about an unconscious But he was certainly one of the first ones to really make it well known and widely discussed So when we hear about the idea of the unconscious, we tend to think of Freud even though he was not the first And why should we even think there's anything in our psyche that's unconscious It's an interesting question because so many people now just kind of accept that there is an unconscious But it wasn't accepted for for a long time Freud and others thought well, perhaps the reason why we could think there are some things that are unconscious Are from very simple everyday examples like dreams Why do we dream what's going on in our dreams what's driving those thoughts in our dreams? They're not conscious right something else is happening there Temporary gaps in our memory You know a word you know that word You cannot It will not come to your consciousness no matter what you do and then you know an hour later you find it, right It's in there somewhere. It has not disappeared There it is in your psyche is somehow So somehow it is just not in consciousness. There must be something else When you walk or you drive somewhere automatically And you're not actually paying attention to what you're doing, but you just do it That seems like there's something not purely conscious That's driving you so these are just some simple examples of why somebody might like Freud might have thought Now there's there's more than just what we're conscious of right But he also listed a pre-conscious between the unconscious That's where the sensor is That sensor that Not at night when we're sleeping determines what unconscious material is going to come up through into a dream and how But that sensor also determines what unconscious material is going to come up to consciousness during the awake time as well So what are we actually going to be conscious of? Of all the stuff that's entering unconscious that's through the sensor and that happens in the pre-conscious In another text Freud has this interesting spatial image of the pre-conscious and the unconscious He says the unconscious is like a large entrance hall In which the mental impulses jostle one another like separate individuals Adjoining this entrance hall. There is a second narrower room a kind of drawing room In which consciousness resides So the unconscious is like this large entrance hall with lots of people jostling together And the pre excuse me the consciousness is like a narrow room off to the side But on the threshold between the two rooms a watchman performs his function He examines the different mental impulses acts as a sensor and will not admit them into the drawing room if they displease him So somehow between the conscious and the unconscious there's this little layer Of the pre-conscious which somehow Decides what gets to become conscious is to go into a dream and he calls it like a watchman or a sensor Now the sensor can engage in repression. I don't know how well you can see that Meaning it cannot allow those things that want to go into the room of consciousness to get in there It can shut the door it can stop them block it whatever And Then it can also in that doing so repress them keep them down sometimes Freud talks as if it's a kind of like Dynamic metaphor of pressure that The sensor or whatever it is that's that's stopping things from getting into consciousness is pushing downwards And it can stop things that we don't want to see things that we don't want to know But That stuff returns Freud speaks Let me find a good quote here This is a nice pressure quote. This is from a article called repression by Freud We may suppose that the repressed exercises a continuous pressure in the direction of the conscious So that this pressure must be balanced by an unceasing counter pressure Thus the maintenance of a repression Involves an uninterrupted expenditure of force While its removal results in a saving from an economic point of view So whatever is there are some things that are unconscious That keep wanting to move up into consciousness and this is kind of odd because You know, this is all happening in my psyche. So it's not exactly voluntary And what is it that's wanting to move up? What is forcing the movement up? What is forcing the movement down is not entirely clear and it ends up being just metaphorical, right? But he does think that some of the stuff that's in our unconscious is pushing upwards the return of the repressed It's constantly trying to return And how does it come out? How does it return? dreams You may repress things they come back in dreams distorted nevertheless still come back Um, there's a lot of ways that they can come out they can come out in hysterical symptoms So neurotic symptoms the repressed material can come out through You know difficulties moving your arms and legs somehow um headaches Mood, you know, it can come out in anything having to do with neurosis It can come out in arts So you might actually have things that you had otherwise repressed appearing in your artworks It also comes out in slips of the tongue Where you mean to say one thing and you actually say another And quite often the the thing that you said instead is very meaningful and says something about what you're trying to repress I think jokes. I'm pretty sure jokes. Doesn't he say jokes is another way that this stuff can come out I don't know enough about Freud on jokes. I can't really explain that one So that is something I think that that will come up again as we discussed Freud another text later Here's one more thing from the text that I didn't ask you to read Uh, again trying to keep keep your reading a little bit not so long this week So why is it that dreams turn into sensory images? Freud thinks this is a really interesting question because you know, it could be that The things that we're trying to repress and and they get through the sensor and it is sorted form in our dreams It could just be some sort of ideas or something, you know, why does it have to be I feel like i'm seeing Or I feel like i'm hearing or I feel like i'm touching something He finds us a really interesting question. Why would our dreams turn into perceptual sensory things, right Because not all of our thoughts are like that Only some of them So he has this really ingenious way of thinking about it in the interpretation of dreams in in 1900 This is his picture of the psyche towards the end of the interpretation of dreams text So the psyche is the stuff in the middle and the outside world comes in that's perception And at the end of the psyche we might engage in some sort of action So outside world's perception that can go into memory This is almost exactly his drawing. I've just reproduced it here Some of that can become unconscious And then we've got the sensor the pre-conscious deciding What is going to become conscious and then what you're going to be able to do on the basis of that in this particular picture He doesn't have the consciousness anywhere So that's what happens When you're awake This is the normal picture when you're awake Now the stuff inside like the relationship between memory and unconsciousness. He doesn't discuss that at all in this picture He's just like, you know that some of it goes into memory. Some of it becomes unconscious It's not clear exactly, you know, some of it doesn't become unconscious So that's what happens when you're awake. Now what happens when you're asleep is things go the opposite direction When you're asleep and dreaming Then there's no perception from the outside world. So that arrow disappears And if I've got the timing right, yes, the outside world disappears. So in a way, you're now just in your head, right? And you're not doing any actions outside. So that's gone too And the stuff moves in the opposite direction So now the pre-conscious This is not what he does. I made it move like this. I mean, he doesn't say anything like this But but I think it has to work like this What happens is what is unconscious has to go through the sensor Which now has to move over And he says the dream is over here in the perceptual area So since we no longer have perceptions coming Now There's space For the movement to go the other direction So what is unconscious can go through the sensor Can be tied to old memories and create a dream That is like a perception I find this kind of interesting It's a spatial metaphor like well before Things came into perception and then they had to go that way But now that nothing is going into perception it can all go the other direction and that would explain why We see things and we hear things and we smell things and we touch things in our dreams Because it's actually happened in the perceptual area Of the psyche. It's just that it isn't coming from the outside So that's I find it interesting why our dreams would be Images and sounds And you know, I have no idea if this is right. This is Freud's attempt to explain it. It probably isn't right at all But it also has an interesting relationship to what hobb says about dreaming And if you remember this hobb says in Leviathan that Our dreams are Remember our perceptions are just movements from the outside Then translating into movements inside our bodies our nerves and our our brains Those um those strings he calls them keep moving That's what gives us a memory And then when we go to sleep The external the inputs from the external world stop But the movements inside keep going and that's when we have dreams Because it's not coming from the outside. It's just happening on the inside It's not exactly the same thing as what Freud says But they're both saying look something changes when we stop getting inputs from the perceptions And that something is still going on in the in the psyche Okay, very briefly How does this relate to what you know of his id ego and superego? This is one of Freud's pictures from 1933. So it's a fairly late lecture Uh, he's changed the picture somewhat Such that now there's these new terms. It's no longer unconscious pre-conscious conscious Now he's added on top of that id ego and superego So the id is that part of which of us which has a bunch of instinctual Um, uh instincts instinctual drives things that that are unconscious. It is all unconscious That we're born with That want to be fulfilled There's this sort of desire for fulfillment of these instinctual drives like food and sleep and sex and a number of other things as well So those are all trying to get fulfilled Now the ego which is partly conscious partly unconscious Is where the sensor is The ego now is that which decides Which sorts of things from the unconscious and from the id's instinctual desires are going to get fulfilled What are we going to go ahead and pay attention to what are we going to actually go ahead and and Have fulfilled as desires and what are we going to keep repressed? So the ego engages in repression as a sensor Then the superego Is the one you've probably heard of where it comes from our parents and our from our society And it tells us what we ought and ought not to do Based on things like morality social customs That helps the ego to determine What it is that it should let through and not let through of our unconscious drives and our unconscious wishes So here's a picture of an iceberg from wikipedia that puts it all together So before I had an iceberg with just the conscious unconscious and and pre-conscious This I think this is right that puts the id ego and superego together that the Superego is partly conscious partly unconscious the ego is partly conscious partly unconscious and the id is all unconscious And here the sensor would be in the ego pushing down repression It would try to come back up and the superego is Giving commands to the ego of what to repress and what to allow through Okay Time for I think sex. Yes Because it's Freud and we always have to talk about sex So the edipus complex in castration There's two versions of this story One for the boy and one for the girl but in in leonardo and in the edipus rex discussion It's he only just talks about the boy. He doesn't talk about the girl at all And partly that's because he's talking about men. He's talking about edipus. He's talking about leonardo So I'll give you that one quickly, but I'll also give you a little bit about what happens with the girl So to begin with Children have a very strong love relationship with their caregivers Now in dream in the dreams text. He says on 275 Girls take their their first love object to be their fathers boys take their first love object to be their mothers He changes that later and says for all children their first love object is their mother Now the relationship infants and children have with their mothers is In some sense is a sexual one And this is where you know, it starts to get really controversial with Freud All he means by saying that he says Infants when they are breastfeeding when they are being washed when they are being loved and hugged and kissed Their diapers are being changed Are getting sexual pleasure I know that sounds nuts, right? And so first, you know, anytime anybody heard that with froy, they were like, ah Yeah, that's crazy And he's constantly battling against that response And in one text, uh, I think it's called the new introductory lectures. No just the introductory lectures on psychoanalysis He says look all I mean Is that the things they're getting pleasure from their mouths Their genitals to some degree when they're being washed They actually get pleasure from excavating their bowels. It actually feels good The things that they're getting pleasure from Are things that later in life people get sexual pleasure from Right the mouth The genitals the breast The anus sometimes so All he's saying is that the pleasures the child are getting They don't think of them as sexual at the time obviously It's the same kind of pleasure that later people associate with sex So it's not like the child and the mother are having a sexual relationship. That's not at all what he's saying It's hard to keep that in mind though with froid when he's saying the child gets sexual pleasure from his mother It's sort of it gets pleasure from sucking Uh, the breast for milk, right and the mouth becomes a zone of sexual pleasure later in life So the boy takes his mother as his first love object. I mean literally that's who he loves At first now, you know, we're talking 19th century things may have changed a lot And maybe mothers are not the only caregivers anymore But that was his claim at the time And he takes his father as a rival Okay, so he wants his father dead And that's what happens to adipose, right? He kills his own father. Now he gets his mother However Oh, no, there's the threat of castration How does he find out this because he discovers that girls don't have penises And Freud says look, he's so focused. He thinks it's so important to have a penis that he thinks everyone has one And when he discovers that girls don't have them, he thinks, oh my god, they must have lost it And the funny thing is Exactly what my son told me. It's really creepy But he Seriously, my son is doing all of this. He um when he was little, I don't know What? When he was like three or four, I can't remember He said mommy, do you have a penis and I said no and he said Mommy you lost your penis Oh my god, Freud was right Okay, so women are castrated. He sees this as something that could happen to him He's very scared about it. And he thinks that It's possible that women are castrated because of some authority figure in their life And he realizes he probably shouldn't be loving his mother because she's taken with his father. So I better not Be in love with my mother anymore. She's gonna kind of fade away a little bit But not completely and I'm gonna transfer my love over to women other women I mean, that's the normal picture of sexuality doesn't always happen like that for a boy Okay for a girl It's much more complicated if she also takes her mother as her first love object Which later Freud says she does not in this not in dreams. He's got an earlier version there Then how does she not just? Uh homosexual all the time right because that's their first love object And how does heterosexual sexuality develop? Um castration Similarly the girl figures out she doesn't have a penis and she figures out that no women have penises And it's actually much more complicated than this but Freud does say a big reason why she stops loving her mother is because Women are castrated and she doesn't like that and she would rather be with somebody who has a penis Now we can talk in seminar about the the metaphorical meaning of this because it's not just that you have the organ It's that you have I think it's that you have the authority that goes along with the organ right women at the time didn't have a lot of authority So you would want to be like or love or be with someone who is has much higher standing So she transfers She doesn't want to be with her mom. She transfers her love to her father But how does she move from her father to other men? That's not clear in anything that I have read in Freud and I've tried I've read a lot of stuff by Freud And how she then stops loving her father and going to somebody else is not as clear as I would like Um, you know possibly because he's taken possibly because of you know, some authority that he has over her and he pushes her away But ultimately if she becomes heterosexual then she moves to other men Now obviously homosexuality is a different picture than this And I'm not sure we're going to get a chance to look at it, but I'll send you those slides for that So looking quickly at Leonardo One of the the important ideas from the Leonardo essay is sublimation So this is one way of which things that are repressed can return The sex drive is endowed with a capacity for sublimation and ability to replace its immediate aim With others that may be more highly valued and are not sexual so whatever sort of drives or or desires we have that are sexual can be Turned in to some other drive And that's what he calls sublimation And he says this is what happened with Leonardo He did not really lack passion. He did not really lack sexual passion He had simply transformed it into a thirst for knowledge So that he sublimated his sexual drives into a desire to know And I wanted to point out just as a really obvious case of what Freud is meaning by this on page 53 If you look down below the sexual image of his description of Leonardo's intellectual work is quite striking Or maybe I'm just reading too much Freud into Freud, but So in the middle of the page on page 53 He had simply transformed his passion into a thirst for knowledge He now devoted himself to scientific research with a perseverance a constancy and an absorption that derived from passion And here's where I think it's very obviously sexual and at the climax of his intellectual work Having attained knowledge He allowed the long restrained emotion to break loose and flow away freely Like a stream of water that had been diverted from a river to drive a machine At the height of a discovery when he could suddenly survey all the interrelations He was overcome by pathos and exalted in ecstatic language The grandeur of that part of creation that he had been studying or to couch it in religious turn of the creator And this could just be an excitement and a joy at the greatness of of creation But there's also some elements in there that really sound a lot like Freud describing it as a sublimated sex drive Okay, I'm going to go through this very quickly Leonardo his mother and a vulture Here's a turkey vulture. I decided not to try to do any image of the vulture with his tail in somebody's mouth Just that you know, you can imagine it right from the reading So Freud connects the vulture To Leonardo's mother and to his homosexuality. I'm going to try to explain that very very quickly how he does that So first of all the problem is That as the introduction notes, and I don't know how many of you read this because you don't have to The the words That it actually comes from the italian is not vulture. It is kite So a lot of what he says that's related specifically to vultures and what the egyptians thought about vultures And how vultures are female and etc etc Isn't relevant to to what Leonardo actually wrote because it wasn't a vulture, but let's just skip that for now That's interesting to note however He connects the vulture to his mother And I think that's partly because the tail is going into his mouth like he would have sucked at his mother's breast And The ancient egyptians connected vultures with mothers because they were all thought to be female And they would be impregnated by the wind. They would just open up their vaginas and be impregnated by the wind similar to Freud only having a mother I mean Freud Leonardo only having a mother not a father according to Freud's interpretation of his childhood So the vulture if it's a female who can live on its own and have babies is like his single mother could live on its own and have babies But Oh and also because the tail is like a penis in the the vulture fantasy the He's connecting that to the the edifice complex Saying well at the time that I had this fantasy it must have been that my mother I still thought she had a penis So the vulture can be the mother even though the vulture's tail represents a penis Because that was before he understood that women were castrated But he also connects the vulture to a homosexual fantasy Which is a little bit easier to see if the tail is supposed to be a penis and it's going into his mouth, right? Now this is the last thing i'll say and then i'll turn it over to a brief very brief break and then jason So Leonardo and homosexuality this is not all homosexuality. This is how he explains Leonardo's homosexuality It's not not every case of homosexuality for Freud looks like this So the child has a love relationship with its mother And according to Freud the mother loves him back very intensely if you look carefully at the Leonardo essay it is the mother's fault Why he becomes a homosexual? Because the mother loves him so much and kisses him so much That this bond is really really strong And the bond is so strong he says that it can't keep going on forever and has to be repressed Now Freud then says All right The boy represses his love for his mother by putting himself in her place Identifying himself with her Come on. There we go And taking his own person as the model whose likeness will determine his subsequent choice of love objects So he claims this is what happened with Leonardo He and his mother were so close that love couldn't continue It had to be repressed and what he did instead was to put himself Into her place and take himself as his love object, which is called narcissism self-love And then of course that can't continue you know you you probably do want to be with other people And so he moves from the image of himself To an to an image of other men to become a homosexual All right, what I don't have time for is the smile And seeing and knowing but I will put these I will send these uh over email and you can look at them later So let's take a five minute break because I want to make sure jason has enough time. So thank you Start because I fear I have far too many slides for 50 minutes And uh, I also want to say perhaps ford would want to have a word with me about the anxiety I'm feeling at getting up here for the first time To do a lecture in arts one Perhaps he'd tell me that I should stop beating myself up by It wasn't my fault that my mother left us so young To move on. I'm I'm I'm not exactly sure at any rate. I am a little bit anxious So please excuse those moments when I don't make sense It's also tough to follow someone like christina who Did a lot in a very limited amount of time and with a great deal of clarity as she always does And so I can only try to be as To say as much and be as clear as she was I'm going to start with this slide specifically because it allows me to sort of return To what christina introduced to us. She sort of framed her discussion at the beginning In terms of Freud as this kind of explorer if you like the seeker and revealer of of truths Of fundamental truths that we don't ordinarily see because we don't look in the right places in these hidden realms And I think a lot of that will be That you'll be sort of you'll identify things that she's said about the unconscious about Our personal histories and indeed about the history of our race as being these places We don't usually look for truth in what i'm going to say here We're looking specifically at an essay that was published in 1919 called the uncanny in german das on heimliche 1919 is perhaps our attention at least for a couple of said seconds as a date Why what immediately strikes you about the importance of the date 1919 if anything does Yeah, exactly. It's the year after the end of world war one, right? So perhaps I mean i'll pose this to you as a question. I won't answer it Perhaps the fact that this was uh Written and published right after the first world war explains to a certain extent Why Freud focuses here on what he does on what repulses us on what frightens us What disgusts us. I mean maybe it makes some sense to understand the topic in terms of Something that's being written right after these cataclysmic War that humankind had never experienced the like of before I think there's another thing to say about the date 1919 and that's that we are now talking about Freud almost two decades after the the publication of Detraum-Deuton the interpretation of dreams The text that Christina spent the majority of her time on so this is a more mature Freud This is or at least this is Freud's thought Further along in his career more mature Than interpretation of dreams and hopefully it'll come out In the ways in which it is more mature as we go through an analysis of the uncanny But I sort of want to start my Lecture proper with hopkins and I want to do this because I think it might help us To understand what Freud's up to in the uncanny If we look at hopkins and Freud's doing something Similar but Freud doing it in a different way if you like and I think understanding that similarity One way to understand that similarity is To think of them as doing aesthetics Now what is it that I actually mean by aesthetics? This is something that we've discussed in our seminar you may not of what does it what does it mean to do aesthetics? Well aesthetics is that branch of philosophy that is traditionally being interested in explaining beauty What is it that makes beautiful things beautiful and especially is also interested in the question of why we How we relate to beauty Why we experience beauty in the way that we do And so I want to claim for hopkins a kind of aesthetic religiosity And I think the best way to sort of explain it is to go right into one of the one of his poems namely the wind over I'll And then I'll sort of you use the poem to explain what I mean by hopkins aesthetic religiosity So he writes as a skates heel sweeps smooth on a bow bend the hurl and gliding rebuff the big wind My heart in hiding stirred for a bird the achieve of the mastery of the thing And what I've done here is highlighted this idea of my heart in hiding and stirred for a bird because that's the aesthetic heart Of the poem for me. I mean what hopkins is up to right is having this experience of nature And it affects him inside in a personal way emotionally And he's trying to communicate that experience to you through the poem This is if you like an aesthetic experience It has to do with an experience of beauty in nature and the way that it affects him as a person Now for hopkins, obviously there's no teasing apart Beauty and god Right religious experience and he says a couple of stanzas on and the fire that breaks from thee then a billion times told Lovely or more dangerous. Oh my Chevalier and Chevalier for a year is is a symbol for christ The idea being then okay, this natural experience That is as it is is only a glimmer of the grandeur of god right to experience god would be something so much more profound But nevertheless We he experiences god in this beauty of nature, right? So this is very much an aesthetic kind of religious experience So How are we how might we relate this to what Freud is up to? Well, Freud is interested in aesthetics too And i'm going to let him speak for himself and hopefully the this difference will become clearer when we hear him He writes and this is relatively early on in the essay that you read the uncanny Only rarely does the psychoanalyst feel impelled to engage in aesthetic investigations Yet now and then he does feel impelled one such instance He says is the uncanny on this topic We find virtually nothing in the detailed accounts of aesthetics Which prefer to concern themselves with our feelings for the beautiful the grandiose and the attractive Right, so if we think back to hopkins and we have sort of the traditional Area of interest of aesthetics namely our feelings Relative to those things that are beautiful It might be nature it might be works of art it might Experiences and aesthetics is interested in sort of delving into and explaining that area Not Freud though his aesthetic investigation is The opposite of that What's he interested in doing he's interested in an aesthetic is Investigation of their opposites namely feelings of repulsion and distress So if you think aesthetics traditionally beauty explaining beauty in our relationship to it the way in which we Experience it What Freud is up to in the uncanny is an investigation of the way in which we Those the way in which we relate to those things that make us feel disgust repulsion and fear so Freud Fairly early on 123 124 and i'm paraphrasing here gives us some idea of sort of what he's going to pursue Like how he's going to pursue the uncanny and the way in which it makes us feel And that's when he says that okay. Well, what we can say early on about the uncanny is that it's a special species of the frightening But what interests him is what distinguishes it from other Sort of senses of the frightening say shock For example, well the uncanniness experiencing something as uncanny is not the same as being shocked by something That's a different kind of being frightened So what distinguishes this specific kind of of being frightened? And then i'm paraphrasing paraphrasing again. He says okay another question that we're going to pursue is what's distinctive about The uncanny's affective nucleus that creates the unique kind of fear and dread in us that it does So affective by act affective. We're talking about emotions, right? We're talking about The way in which we respond emotionally and what he seems to be saying here is okay In things that make us feel this uncanny sensation have this uncanny experience There's a kind of a nucleus there these things are composed in some way If it's a story then the narrative is going to be constructed in some way If it's a work of art, it's going to look and be organized a certain way That we might say is the nucleus of the thing that affects us, you know makes us feel These emotions these uncanny emotions these sensations And the reason I have the two blue arrows here is for Freud You can't think only of the object that's making us feeling uncanny It has to be understood in relation to something inside us, right? And for Freud this is psychological, right? There's something about the way we function psychologically That is activated if you like or is probed or Is disturbed by the affective nucleus the construction of this thing whether it's an experience and sensation or a work of art So the analysis is going to focus not only on those things that create the experiences But he's also very interested in perhaps more interested in what it is about us as psychological beings that it Activates and this is typical of Freud. He's very clear He tells us exactly what he's going to do And he does it relatively early on and he's even kind enough to give us his conclusion in advance So he tells us this is the conclusion i'm going to draw about any tells us on page 124 And he tells us the method he's going to use which has two parts So he's going to do two things The first thing that he's going to do is investigate the semantic history of the german word unheimlich And it's important that it's the word unheimlich and not say the english word uncanny or another word And that's because unheimlich actually has the word heim in it. It has home in it. That's important The german word is it's going to reveal Things about uncanny So a semantic investigation if you like historical linguistics He's going to go back and look at the history of the word and what he's really interested in finding out is if there's something unique about this word Something strange about it. Perhaps that will help us understand You know this this this uncanniness is a sensation of what triggers it or is a feeling of what triggers it And then the second thing that he wants to inquire into is is this question of what it is about certain things that evoke in us the sense of the uncanny Again probing after this kind of effective nucleus. What is it about them specifically that makes us feel this way And then he gives us the conclusion He says well Ultimately, i'm going to come to this conclusion I'm going to prove to you on the way why this is the case and this conclusion is that the That species of the frightening The special kind of fear and dread that goes back to what was once well known as long and has long been forgotten So here we have this idea. There's something, you know That we've forgotten you're already thinking in terms, you know because you know a little bit about Freud from this introduction And perhaps elsewhere it's going to have something to do with what we've oppressed Something that we can no longer recall and what's going to happen is particular work of art Because it it's constructed the way it is. It's going to make us remember that if you like So the first thing that Freud does the first part of this two-part method If you like is to have a look at the history of this word when Heimlich And he really is he's asking what's unique about the history of the word I've always found this part of the essay the most questionable I've never really understood why this linguistic historical analysis is necessary for Freud Maybe I've never really understood it well enough and that's why I I've always considered it sort of the dubious part of the essay That's a question for you guys. Perhaps you'll be able to explain exactly why it is that Freud sort of needs to do this Why it has to be a linguistic Perhaps you'll be able to come up with a better answer than I've been able to But at any rate this is what he does And at this point I sort of want to digress perhaps is the right word for it I'm going to ask this question to you on a few occasions Who is this dr. Freud, right? You probably came into This week thinking well, I know something about Freud, you know, he's a psycho psychoanalyst or the father of psycho psychoanalysis He was a doctor and what we've learned today is and you have to give props to Freud for this No, actually, he's an art historian as well. This is what he does right with the At least this is part of his investigation into Leonardo Leonardo da Vinci's homosexuality Is the study of art history, right? I mean he clearly needs to know the background in that sense And then here the first thing that he really does in his investigation is involved in it's get involved in historical linguistics So I want you guys to think a little bit about All of the different areas that Freud seems to show interest in and More than just interest or intellectual curiosity, but he gets really quite deeply involved in I put doctor under erasure if you like or crossed out the word doctor because um Freud has been Freud's ideas have been sort of largely discredited when you guys take your psych your psychology classes, you know If you hear about Freud, it certainly won't be connected to the ideas You know with an explanation of how Freud was right about, you know, our psyches and who we are a psycho But he remains a really important guy indeed. He's still, you know, in for example, what I do which is literature German literature specifically Considered pretty important theoretically, you know people do psychoanalytic analyses of stories just As as he does with the sand man here. So his importance today Is in other areas now not really as a historical linguist, but I just want to raise the general point. I suppose that you know Freud remains important if perhaps not for the reasons that he used to be So let's return to this first part of the method this historical linguistic analysis of the words Heimlich and unheimlich This is a pretty dry part of the essay for those of you who work through it Goes through a number of definitions from a number of carefully collected Characters many of them are literary And what he finds and this is sort of the thing that that Freud certainly wanted to find right is that there's this slippage That there's this merging If we look on the left hand side, we see the word Heimlich Homie familiar comfortable. This is the way it's defined at one time And then it seems to be defined by others as it's opposite Or a near opposite secret hidden concealed So it means familiar, but it also means concealed And then unheimlich he sees the same sort of slippage there, right Defined sometimes by some people as unhomie unfamiliar But then it's opposite as well unhidden veiled but he sees this sort of merging I'm paraphrasing again, but the conclusion he comes to through as a result of this So the historical linguistic analysis of these words is that Heimlich the the word Heimlich becomes increasingly ambivalent It doesn't mean one thing means both One thing and it's opposite Until it finally merges with its antonym with its opposite unheimlich And for it's really good at drawing conclusions from what he does In very questionable ways But the conclusion he draws here is that the unhacani That's unheimlich the unhomely is in some way a species of the familiar That's Heimlich the homely so The conclusions that Freud draws here are that these the unfamiliar that thing that that um We don't know the other that thing that frightens up that thing that is foreign if you like Is in the home is close to home is private So he seems to conclude from his analysis of the words, you know And I think, you know, you can certainly question what he's doing here this idea of again Other that which scares us that which should have stayed repressed Being very close to home being private I You'll remember that This stands out. I think in all of the definitions of the uncanny of of unheimlich That Freud uncovers in his historical linguistic analysis is that of the romantic german philosopher shelling Who about a hundred years before Freud wrote this of uncanniness That it is everything that was meant to remain secret and hidden and has come and has come into the open so Having already some understanding of sort of Freudian so psychoanalysis You're probably already starting to put the picture together here namely That which was meant to remain secret The repressed that which was supposed to remain in the unconscious Comes out into the open so much for The first part of Freud's method for this examination of the history the development of these words unheimlich inheim You'll remember that the second part of the method Was to inquire about certain persons and things sense impressions experiences and situations That invoke the sense of the uncanny What is it about them if you like what's the affective nucleus? What is it that they share? These particular things if you like that can be these different sense experiences it can be works of art it can be Situations, what is it about them? What do they have in common that creates that sense of the uncanny and what Freud now does is he says well Let's look at a work of art that I think is sort of exemplary of something that creates or that triggers this uncanny feeling Let's go to eta hoffman And let's look at this story the sandman quite a famous story in the german tradition by the german romantic writer eta hoffman And an analysis of this story You know will help us to understand what it is about this effective nucleus if you like That evokes in us the sense of the uncanny I'm not going to say too much about eta hoffman today a little bit more perhaps next time when we look at 19th century german novellum But eta hoffman is one of the central figures of german romanticism He's writing at the beginning of the night He specializes in the novella, which is You could call it a short story that would do for now And perhaps most important is we call the kind of romanticism that hoffman is involved in shower romantic Kind of a frightening or frightful romanticism It's not really fair or accurate to compare it with what we call the gothic in the english tradition tradition But it's not wholly wrong It certainly is the case that hoffman's romanticism his stories are those that are most interested in the supernatural Let's say So what is it that froid does with the stories? with this story Oh another digression So again Here's dr. Freud Taking on another guys Now he's literary theorist I thought he was psycho and so psychoanalyst. I thought he was doctor of psychology No Now he's literary theorist Few pages ago he was historical linguist, but this isn't new to us though, right? This idea of Freud as a as a literary theorist If we go to interpretation of dreams and we look at the very first page we have this epigraph From one of the most important works of classical literature Virgil's aeneid I won't read the latin because I won't read it well, but the english translation is if I cannot bend the heavens above I will move hell. Well, it's got to be something to this epigraph He's written this book of 700 pages the interpretation of dreams and he chooses this to put on its front cover Tells us a couple of things the first thing it says is hey, this makes sense to us He'll move hell. He wants to explore hell. He wants to explore these nether regions This is where the truth is going to be found. This is where the fundamental knowledge is going to be But it also I guess claims that there's never for Freud going to be um that teasing a part of the literary of stories of mythology and our understanding of us psychologically And we already know this because we've read the interpretation of dreams. We've read edipus rex and I'm just going to read the quote here If edipus rex he writes moves a modern audience no less than it did the contemporary greek one The explanation is to be looked for in the particular nature of the material Which makes the voice within us ready to recognize the compelling force of destiny within the edipus His destiny moves us only because it might have been ours Because the oracle laid the same curse on us before our birth as upon him I've hired you of the particular nature of the material and its relationship to this Exactly what Freud's aesthetic is an investigation of the salmonist is up to here, right? What is it about the construction of this thing that somehow activates something in us It's something deep inside of the that explains us something psychological about us and his discussion of as Christina already pointed out What he uses edipus rex to explain is the edipus complex. That's what the image on the far On the left at the bottom is supposed to communicate this idea that we have we're born with We're hardwired with this desire for our mother. She's our first love object and that This has a this wish Comes with this wish that we want our father to be out of the way so that we can that we can have her if you like Okay, so Freud as literary theorist isn't anything new to us Let's get into what he look what he what he does with the sandman specifically Well, some of you might remember from the beginning of the of the uncanny this fellow Yench And what Freud says about Yench is hey, there's been this other guy who's been interested in the uncanny this other researcher really the only one And he tells us that Yench comes to this conclusion namely that the uncanny The feeling of uncanny this this particular kind of frightening is a kind of intellectual uncertainty Though we can't be quite sure about whether x is this or that And then Freud speaks to an excellent case And I quote An excellent case of what yench is talking about would be the doubt as to whether an apparently animate object really is alive And conversely whether a lifeless object might not perhaps be animate I don't know if you think these japanese robots that are coming out these days are make you feel uncanny when you look at them I I think it's pretty weird I've never actually come face to face with one but nevertheless This is the kind of idea right here. I look at this robot and it's so lifelike It's so human like and when I look at that it's just like it makes me experience this very sort of strange kind of discomfort Strange kind of fear Some of you might be familiar with the idea of the uncanny valley anybody familiar with that Yeah, what's the uncanny valley? Yeah, I mean this is so it's a part of part of it the uncanny valley is this idea that was posture that was put forth by this japanese robotics engineer in the 1970s that the closer we get The closer the robots we produce get to actually looking like us and acting like us the more anxiety this produces in us And this has been tested Over time and it's been it's been proven true The more lifelike it is the more the robot the thing that's actually inanimate that isn't real resembles us the more anxious It's been tested we become So perhaps we shouldn't dismiss a gench gench as quickly as Freud does and he does right he he dismisses him relatively quickly Because there seems to be something in this idea that uncanniness has something to do with intellectual Uncertainty about whether something is real or not Of course, Freud disagrees He'll give yenge his view but only to a certain extent He basically says his analysis of the uncanny only goes so far And really in the sand man what causes the uncanny is quote Um, I'll quote him the seemingly inanimate Impea you'll remember she's the automaton that Nathaniel falls in love with is by no means the only one responsible for the incomparably uncanny effect of Huffman's story It's not even the one to which it is principally do indeed the uncanniness is principally do to the sand man character to copelius to copula Of course then Freud's Assignment becomes to explain why And this is where you should start be start to be able to identify with many of the things that Christina introduced to you in her lecture Let's first have a look at what copelius copula the sand man in the story does Nathaniel has been told this story about the sand man this Being that buggy man if you like that visits and Rob's children of their site Which is an inversion of the original sand man story, which was an oral story in europe Hans christian anderson takes it on and the 18th century the sand man was a bringer of sleep What Huffman does is he inverts that the sand man becomes Robber of sight and so hearing this story from his nerf maiden Nathaniel is encouraged To find out who this creepy guy who keeps visiting is who he associates with this character And as he's peeking out from behind the curtain as his father and this copelius figure are engaging in what is probably some form of alchemy He's caught He's caught as the voyeur right spying looking when he shouldn't be And copelius grabs him and is just about to Burn his eyes out with hot coals from the experiment and the father the boy's father intervenes Copelius disappears for a while But he reappears later in the story is Giuseppe copula I think it's pretty clear that both copelius and copula are the same He sells Nathaniel And he's a hawker of optical instruments that would have been characters like this I'm sells Nathaniel a spy glass Nathaniel looks through it Again, I mean i'm only hinting at this stuff, but again. He's a voyeur right He's spying is looking maybe when he shouldn't be he's looking at this beautiful woman along the way There's something wrong with that surely right and the spy glass Makes him fall in love with her. He falls in love with the robot And then lastly copelius shows up at the end of the story. He's seen through the spy glass again up in the tower Is Nathaniel with Clara his beloved his fiance Immediately upon spying copelius through the glass. He loses it again Tries to cast her off the tower to kill her and then eventually Right after that commits suicide himself So copelius the sandman figure in the story is we can surmise responsible for these things happen So let's get a little bit more into the way in which Freud reads the story What is it about these narrative elements then that have the uncanny effect on the reader? Freud is pretty straightforward He says the sense of the uncanny attaches directly to the figure of the sandman And therefore to the idea of being robbed of one's eyes Okay, why's that right for it's got to explain this? The idea of being robbing of one's eyes, okay, that's gonna that's Horrifying but so what? Then Freud you know goes back into his research to justify this and he says well the study of dreams fantasies and myths Has taught us that anxiety about one's eyes the fear of going blind is quite often a substitute for the fear of castration Right, so there's this relationship between eyes and the genitals losing the eyes is castration So this is the argument that Freud makes you don't have to necessarily accept it you He's drawing on his own research to support it And so we might say that he's reading the sandman story the stuff Like this Copelius the sandman this robber of eyes is for Freud a representative of the castrating father Talked a little bit about castration complex. We're going to talk a little bit about it for the next couple of minutes It's true right he first kills the good father. That's what Copelius does And this good father had protected tried to protect Nathaniel's eyes Important also for Freud I think is the fact that Copelius then if you like as this kind of castrating father figure then interferes at every turn with Nathaniel's Abilities at having sort of normal heterosexual relationships of having becoming sort of sexually normal of having this relationship with Clara First in his guys as Coppola as Coppola I'm sorry in his guys as Coppola. He sells the spyglass right that we can Determine to be responsible for the fact that Nathaniel falls in love with a robot Not going to have a very good time with a robot I'm going to leave that alone and then later His reappearance right causes ultimately Nathaniel to try to kill his beloved try to cast her off the tower And then he goes insane and kills himself So important I think to Freud is also the fact that this copelius figure interferes with Nathaniel's love life love interests normal sexuality But what what is Freud up to where is he going with this right? Why should this matter? well, he says So we might ask him. So how do these particular narrative elements, you know Sandmen representing this this castrated figure. Why should that make us feel uncanny? And that has everything Freud is going to argue With our own castration anxiety Now Christine has gone into this Already and I can see me running out of time so I'm going to run through this relatively quickly As Christina pointed out castration anxiety for Freud is this fear of emasculation at the hands of the father Who for the child the child seizes his rival the infant seizes his rival For desiring the mother for the child desiring the mother who's his first love object That's the edopus complex But along with this edopus complex develops in the child this fear of the father's retribution The fear that the father to make sure that the infant can't be his rival will castrate him so The uncanny effect from the story comes from our being reminded if you like of Stration and anxiety Castration anxiety that which has been repressed is re-invoked by the fear of loss of eyes in the story Freud argues I can move relatively quickly at this point. I think Is important to say however though that in order to develop normally sexually The castration anxiety that the infant has has to be overcome. It needs to be repressed repression is necessary This makes sense too if you think about it If you kept having to deal with your castration anxiety as you were you know out on a date or Well, should I you know have a relationship with this woman? And she kind of looks like my mother and if I do what's going to happen to me I mean, I'm obviously kind of being jokey about this, but that could be a real problem. At least that's what Freud So to be reminded of that If you're normal sexually, it's not so hard to understand why that would kind of make you feel uneasy why you would have this uncanny experience And so what the Sandman does it's one example for Freud of The thesis that he wants to present that the end can uncanny arises due to the returned The sorry the return of the repressed And specifically repressed infantile anxiety castration anxiety in this case You feel uncanny because the Sandman Reminds you of what you've repressed namely this feeling of castration This fear of castration Very quickly on this slide don't have to go through it again. I don't think But now we can sort of identify why it is that Freud himself would identify so favorably with Schelling's definition of the uncanny Namely that it is what one calls everything that was meant to remain secret and hidden and has come into the open Was meant to remain hidden in secret castration anxiety to be normal to develop normally sexually That has to remain repressed. It needs to remain hidden uncanniness Accompanies are being reminded of it being brought back to consciousness Leaving the Sandman for now. You'll have more chance to Think about it in the context of next week's lecture But Freud then goes on to discuss Other uncanny experiences that signal the return of of the infantile repressed He first talks about the doppelganger this idea of doubling Just going to mention the last two photos there the third one you might Recognize does anybody recognize the one on the far right? Yeah From the shining The one in the middle you may not recognize it's from a german film from the 20s called the student of prog A romantis german romantic writings are populated By many doppelgangers and so are films in the 1920s Freud is interested in okay. Why is it that when we See people who look like us or we're faced with doubles that you know In strange situations that look Like one another Why does that create this uncanny? sensation in us That's the first if you like Case beyond Castration anxiety that he looks at and then he also looks at repetition compulsion So you've got doubling you know the idea of the double seeing yourself for example And then also repetition things that are repeated in in your life Compulsion to repeat and we get this wonderful anecdote from Freud that I think we're going to encourage you to analyze Freud Who's fond of self analysis elsewhere doesn't really delve into this moment Very much perhaps you like to write this he talks about well here. I was in this small italian town And jeez no matter how hard I tried I just kept showing up in front of this brothel right On this hot summer afternoon this also Creates a sense of uncanniness this this being disturbed being distressed So doubling doppelganger And repetition So we know that the uncanny is going to Signal the return of the repressed something that we've repressed because we've had to to develop normally And what doubling does Freud argues is it signals the The return or the reinvocation of repressed primary narcissism So we've had the castration anxiety We've had the eyes As if you like something that activates our remembering of our own castration anxiety And with the doubling Freud says well, this is a reinvocation of repressed primary narcissism elsewhere He calls it primitive narcissism or it can be translated as primitive narcissism. This creates uncanniness too But what exactly is this what is this primary narcissism? This is the way Freud describes primary narcissism As a child he says you you need this intense sense of self-love What this does is it mitigates your powerlessness and fear of death. Let me explain that a little bit Children Freud would say and you see this in I see this in my own Daughter and I don't know if if my colleagues can say this about their own kids But they can both they engage in a lot of magical thinking if you like right Like my daughter is always talking about herself in the third person You know, she's always saying well, well, Laney will do this or Laney will do that Freud says well, yeah, the reason she's doing that is because she knows right if this Laney gets off There's going to be another Laney so she in in in essence. She's kind of doubling herself in a way to secure her own immortality And she you know children they also he says they they they think of themselves as powerful enough to you know, pick things up and make them fly and and What he says is this kind of narcissism this kind of sort of over Empowerment of the self in their own perception of themselves Is a coping mechanism if you like for their ultimate powerful powerlessness and fear fear of death They're just not ready to handle it and that's why they think this way Freud says well, of course to develop normally you come this He argues elsewhere elsewhere if you don't you become a schizophrenic Right, oh my daughter. God. I hope this doesn't happen, but 25 years down the road. She's talking to the other Laney At that point that Laney's not helping at all Not as severe of that our uncanny experiences We see the dub we see the double in Literature in art we experience somebody who looks like that and we're amended to remind it of what we used to do in our state of primary narcissism And that again is a return of something that we've repressed to develop normally As psychologically as individual What causes the anxiety He says something else about the doppelganger the double okay If we don't proceed, you know, if we don't develop out of the This stage of primary narcissism that we're at infants then the pathology might be as adult schizophrenia But then he also says the concept of the double need not disappear along with this primitive narcissism It may not lead to full on path of pathology psychological illness as in schizophrenia What it also might do is This kind of alter ego if you like might develop into The conscience later Freud and Christina showed you some slides where this idea is already being used develop into this kind of super ego This other me a kind of also paternal figure if you like That represents kind of moral constraints A double that serves as a conscience a double that serves as the censor as christina put it you know that chap on foyd's shoulder Like we see in cartoons who says uh-uh It's not a good idea for you to go into this neighborhood where there are all these women standing in their windows Don't forget you've got a family at home Uh, what would your wife think? Okay, that's a bit again glib So i'm almost out of time but just a couple more slides that i want to talk about Finally, I think we're reaching the end of part two here Freud links The kinds of mechanisms that we employ as infants with early man He's interested in sort of early man as we so is And he does this because he has only gone so far in explaining Uncanny experiences and he still sort of has to explain this type of thing right Of more general The horror motifs He talks about the evil eye, but he also talks about the undead Not necessarily a double but generally those things that frighten us in horror movies And he makes a general claim Says and I quote the uncanny reminds us of our old animistic, you know animism bringing to life those things that shouldn't be alive An old animistic view of the universe of view characterized by the idea that the world was peopled with human spirits By the narcissistic overrating of one's own mental processes So what he's doing here is he's making this connection by Um between the kind of magical thinking that we do as infants in that earliest stage of our development as human beings And the earliest stages of the development of our species This is exactly what we did 15 000 years ago or whenever it was when we were all hunter-gatherers and we all involved We were all engaged in this kind of magical thinking this kind of narcissistic Thinking as a group if you like where we thought that the world was peopled by you know undead characters that inanimate Objects could come to life and so on And then he makes this claim that Everything now generally we now find uncanny is linked with remnants of an animistic mental activity And prompts them to express themselves And I guess the last thing i'll have a chance to say is that this Really shows Freud to be a man of his times He'd make the same claim about sort of primitive tribes as well That they are if you like Trapped in some kind of earlier stage This idea that ontogeny recapitulate recapitulates phylogeny Was an idea that was held by many it comes from this guy named heckle this idea that The development of the individual in the species actually mirrors that of the species over time as a whole So he's making this connection quite questionable for us looking back between infantile thinking the infantile psyche And the sociology and thinking of primitive tribes Both then and those that remain primitive today So that's a bit of a sudden end. I'm sorry about that, but I wasn't so far off in time Freud ends the episode by talking a fair bit about litter the difference between sort of literary or if you like cultural experiences of the uncanny and the uncanny in real life and And Next week in in my lecture, we'll have a chance to talk a little bit more about that in the context of Romanticism in the novella in the 19th century these German stories that you've been asked to read For next week, but hopefully what today has given you sort of a general introduction to what Freud is up to And sort of specifically what Freud is doing in this essay that sees him take a foray into aesthetics and Try to understand what it is about certain works of culture That make us feel the way we do you might try to understand why you're why Horror films zombie films and so on scare you in terms of what Freud has to say Thanks Oh, by the way, I'll send you my slides. I don't know how helpful they'll be but you can have a look at them And maybe they'll jog your memory Good luck with that