 coming straight from her it is coming in part from his knowledge that he's done of other analyses of other patients and he's saying yeah I've filled in those spaces but he says I've tried to tell you exactly when that's happened and when I am inserting my own ideas and when I'm not so that you know the difference but again this image of digging of finding something that's secret underneath you know the dirt and I want to ask you how does it make sense to say that what Freud is doing is digging up the remains of antiquity that he's an archaeologist how does that fit with what he's doing do you think or does it so you're it's it's like archaeology in that you're making conjectures informed guesses on incomplete information yeah that makes sense cool and the other way in which you would think he's an archaeologist yes yeah yeah and and even more so all of these things have happened in her past I mean he really is digging into her history so just like an archaeologist has to dig deep within you know the earth to find the remains of a past civilization Freud thinks he is digging deep into the consciousness or the unconsciousness to find the remains of the past of that person that they have repressed so it's always when you've got a hysterical symptom or a neurosis for Freud it's always based on some sort of past trauma something that's bothered you in the past something that has caused you some sort of pain and that you're repressing so you really are looking at a history and Freud also says I can't remember if I have this on the slide or not I don't think so not on the next slide but Freud also says that what he's doing on pages 10 and 11 is giving back to the person a coherent life story a coherent history of where they've been and what they've done so he says that on page 10 that the person who's a hysteric cannot this is part of being a hysteric they cannot give a full and coherent account of their past of who they are what they've done of certain elements certain events in their past that are just completely gone they've they've lost those they've dropped them there's huge gaps so the person themselves can't even tell their own history so what does psychoanalysis do on page 11 in the middle of the last paragraph on page 11 the pair amnesias prove untenable and the gaps in his memory are filled in it is only toward the end of the treatment that we have before us an intelligible consistent and unbroken case history whereas the practical aim of the treatment is to remove all possible symptoms and to replace them by conscious thoughts we may regard it as second and theoretical aim to repair all the damages to the patient's memory so it's as if he's doing an archaeological dig into the person's memory itself to try to repair it okay but getting back to sexuality because really hysteria always has to do with something at least one thing that has to do with sexuality he says there may be other reasons that you'll develop a hysterical symptom but sexuality is always in there when he's doing this digging there are there are times when he and others refer to it in a fairly sexual manner so this is his letter to Fleiss one of his correspondence and it's in the introduction to our door a text I have a new patient a girl of 18 the case has opened smoothly to my collection of pick locks possibly it's because I've read a lot of Freud but this seems obviously to me whether he meant it so or not a reference that fulfills some of his own criteria for being sexual if you look at Dora page 61 he says jewel case is a favorite expression for the same thing that you alluded to not long ago by means of reticule you were wearing for the female genitals I mean and then 89 where is the key seems to me to be the masculine counterpart to the question where is the box they're therefore questions referring to the genitals and this is not just in this text I mean there are other places where if I recall correctly Freud talks about boxes and cases and you know things that hold other things as female genitals and keys as male now what does this mean to me I'm connecting it back to the idea of female sexuality being a secret and there's also in many texts that I've read in the past especially in centuries previous to Freud there's also a fair bit of rhetoric of speaking of nature as being female and knowledge of nature getting knowledge of nature as somehow entering into her secrets in a way that seemed quite clearly sexual I had some quotes by Francis Bacon that were very obvious about this but I decided to take them off because we were not reading Francis Bacon but he says something like come with me through the outer courts of nature where many have trodden so that we may enter into her inner chambers and this is goes along with a trope of the scientist as as being the first to enter into knowledge of nature as if she were virginal and Freud's knowledge of Dora here he's describing in a sexual way I'm going to know what she's like what the case is like and in that sense I'm going to uncover the secrets of female sexuality but the most obvious place where I found this is also in the introduction and it's by the author of the introduction who wrote this in 1962 which might tell you something but I actually I don't really recommend reading the introduction except as a sort of counterpoint to much of what I'm gonna say or which of the way I think about Freud he he's very positive about Freud and Freud's mastery and how wonderfully Freud has has chased her fugitive inner life and beaten it down with his interpretations it's actually rather violent but then there's this one which is the most obvious the facts Freud uncovered about Dora took their life from the precise truth of Freud's multiple analytic thrusts into her unconscious I cannot get past that one I just maybe it's again maybe I've read too much for it but I can't read multiple analytic thrusts into her unconscious as any other way of a sexual and yet that is the way this man is describing getting knowledge so knowledge sexuality female sexuality it's all about opening secrets opening hidden casus but let's move on Freud is retelling Dora secrets I mean she's spent you know how many sessions talking to Freud about trying to get over her hysterical symptoms and he recognizes that publishing this is questionable that maybe the patient probably wouldn't have said so much if the patient had known this was going to be published and quite possibly people reading it may think wow Freud you certainly shouldn't have published so much detail about a single person and for he doesn't publish a lot of case histories he publishes more from what I have read descriptions of his theory based on a number of cases that he has analyzed where he'll bring in a little bit from various cases to describe his views and to justify his views now there are a few books that he's written that are specifically case histories including this one but it is a question it is a problem it is an ethical issue whether you describe someone and their family and what they do and how old they are in such detail and their intimate lives and then publish it right that's highly that's at least a fraught question he publishes it five years after the analysis was done so he does wait a little while and of course he changes all the names so he hopes that nobody will find out who it was and his defense is of course that he thinks it's important for the sake of science that even if this should fall into the hands of the person of whom it was about it's still worth it because science will be the better for learning about psychoanalysis and its theory and you can decide what you think about that yeah already did that oh no this is separate he recognizes that it may seem he is publishing a roman a clay does anyone know what a roman a clay is anyone look it up what does it mean in French novel with it with a key what clay is key so it could be a mystery novel yeah but more specifically it's it's a type of novel that I actually am not that aware of but that had been published you know around this time before this time where you would write about a particular person or group of persons particular events that are real but you change the names you change just enough to make it seem more like fiction and then people would be invited to try to figure out who it was to come up with the key to the novel sometimes the author might actually produce the key themselves a little bit later so you'd read the novel first and wonder what it was and then later the author would produce the actual key to tell you who it was and sometimes it was just left up to the readers to try to figure it out and apparently people would do this sometimes to talk about people or events that if they did it in a usual fashion would get in trouble for or might libel somebody so they would just sort of hide it by pseudonyms and that sort of thing and he says it may seem like that's what he's doing here may seem like he's inviting you to try to figure out who it was and as we'll see well whether that's what he meant or not that's exactly what happened I mean people did try to figure out who it was I don't know what it is about human psyche that you know if you know this was a real person but the pseudonyms are there and you just want to know who it really was and maybe it's not everybody maybe it's just me but that's what happened people were really trying to figure it out and it was eventually figured out and I also want to say that this story does feel a bit like a novel although it's not it's about a real person which makes you know what Freud has done to Dora if you think it's problematic even worse because it's not just a fiction but he gives fictional names to the characters to the places he tells the story of what happened to her and this comes from Stephen Marcus Freud and Dora in a book about this case Dora's case who says you know you can kind of read this a bit like a novel and you can ask yourself are there is the narrator Freud is he a respectable narrator is he an honest narrator is he a questionable narrator I mean you can ask a number of interesting literary questions about the text and he is retelling parts of Dora's life to her that she has lost and Marcus points out as I also read on on pages 10 and 11 that what psychoanalysis at least in the stage Freudian psychoanalysis seems to say is health mental health requires that you be able to among other things tell your life story to be able to know your story and not have gaps in it that part of being ill is missing pieces of your life and not understanding yourself and so what Freud is doing is he is retelling her story to her and giving her that story which she can't give to herself and it reads rather like a novel even though he claims I'm not writing fiction this is not fiction I'm telling you the truth it does actually feel a bit like one nobody can keep the secret I can't keep the secrets so I mean you will find this anywhere on the internet who she really was others couldn't keep the secret one they found it out and neither can I so Dora was someone named Ida Bauer and the only picture I could find that's a legitimate to show publicly because it's not in a copyright is one where she's very young with her brother at age eight but you can find other pictures of Ida online if you wish I just can't show them here Dora her father did have syphilis her father died from tuberculosis so this idea of him having a continual cough and these references to as Freud put it some sort of illness that he got before his marriage that somehow tainted him and tainted her mother was syphilis from what we can tell her mother also died of tuberculosis not too long actually right before her father in 1912 and she did marry in 1903 so Freud writes this text in 1905 or publishes it 1905 and if you notice at the very end the afterwards section he says I believe that she is married now I hear that she's now married and if my senses don't deceive me or if the signs don't deceive me it's to that engineer that I was talking about earlier and yeah he was unfortunately deceived so he didn't marry the engineer but she married a composer and had a son who also became a musician and she apparently did continue to have problems throughout her life physiological problems that were explained through psychological issues like dizziness ringing in the ears migraines she continued to have the dragging foot that Freud talked about this is because she went to go see another psychoanalyst later and so we have information from that person after her death that he published so that's who Dora was and then there's a little bit of course about Freud I tried to find one that would be a picture of what he would have looked like then so the one on the left is kind of like that although somebody said it's probably in the 18th or 19th century as opposed to 1905 but yeah oh that's a good question I guess if they knew who she was then people could have probably figured it out from their family history and who they had lived with and who they had spent time with yeah but I didn't look that up so you know Freud might have looked approximately like the picture on the left by the time he was seeing Dora and then a very famous picture of him from Life Magazine in 1921 on the right and Freud died in 1939 so that's a fair bit after the 1921 picture he was the first son of his father's second marriage first child by his father's second wife and the interesting thing about that is that his father's second wife was 20 when she had him and his father's other kids were about the same age so his father's other kids were about the same age as the new wife said he married there were eight kids in that family Freud moved sorry married in 1886 and had six kids himself and he left Vienna in 1938 as a result of the Nazi persecution he actually wasn't born in Vienna he moved to Vienna when he was four but he spent most of his life there but in 1938 he had to leave because of the Nazis and died in England where he contracted what he had for a while mouth cancer from the cigars that are so famously associated with Freud and had been suffering from mouth cancer for a very long time and was using numerous drugs to try to deal with the pain and the way he eventually died is that a doctor and a friend of his helped him commit suicide with morphine and took a couple of days they gave him a lot of morphine and eventually he died from it because he was in so much pain yes yeah he did use cocaine and I think it was partly to do with this pain that he was dealing with but if I remember correctly and I didn't look this up so take it with a grain of salt but if I remember correctly I thought he prescribed it for other people as well for other ailments but I'm not sure yes is that right okay thank you huh oh LSD did it exist then okay that that's a new one to me I knew about the cocaine but well he was a physician by training he went to medical school and he was interested in various techniques of fixing medical issues and of course the things that we think of as recreational drugs today might have started off as being used to actually treat illnesses even though they may or may not have worked that well right if the fact that he was a physician also affects how he approached hysteria which we'll get to in a minute because he was thinking of hysteria in part and certainly at first as being a physiological problem and only later did he come to think that it had a both a physiological basis and a psychological basis so he at first was looking for things to do with the nerves and that sort of thing but he was never only a psychologist he never only wanted to deal with the mind he also was very concerned about what was going on with patients bodies and sometimes you'll read in the footnotes to this text he'll say things like you know I I treated this other person but it turned out that it was just a physiological issue it had nothing to do with you know their mental issues so what I did with this talking cured had nothing had no effect and we'll see that in hysteria too hysteria is not just a psychological issue it is also related to physiological problems so before we break let's look a little bit at the history of hysteria and then we'll dig into the text all right how many people were confused by what the heck hysteria is in this book quite a bit did you get any sense of it from the text what is it supposed to be that your hand yep yeah he didn't define it in the text and I think he does assume that people know because at the time it was a pretty well known disease pretty well known condition and so I guess he's just and probably he's writing for other doctors and so he just figures oh everybody knows what hysteria is yeah I don't think so it does not only affect women I can't remember if he ever wrote about hysterical hysteria in men but I know that other people at the time including Charcot who he agreed with in some respects thought that hysteria could affect men as well yeah and I think even those who think that hysteria can affect men still thought it was mostly a female problem so that's where they're gonna spend most of their time on when I read this for the first time and I didn't know what hysteria was I was like what she's got all these different symptoms right she's got coughing that has no physiological reason for it she's got loss of voice she's got a dragging foot how are all these part of the same thing what is this hysteria yes I'll talk about that I just know that Charcot will talk about a second did treat some men that he claimed to have hysteria but it's really been typically considered a female disease and part of that comes from its history so Hippocrates and Plato from Athens and Galen from a little later in Rome all tied it to women and the word hysteria has to do with womb so that's why it gets tied to women because in its beginnings in ancient Greece people thought the reason why certain symptoms would occur like shortness of breath headaches loss of consciousness was because the womb was moving in the body now you know it's ancient Greece okay it's hard for them to know exactly what's going on but for example let me get Hippocrates here Hippocrates thought the womb was capable of movement in the body and if it gets too dry it can move upward in search of moisture and this can result in a loss of menstruation shortness of breath and other problems because if it moves upward and presses on the long as you're not going to be able to breathe right okay so what do we do if it is too dry sexual intercourse to moisten the womb among other things that is one of the things we can do in Plato Plato he says that the womb also may move in the body if you don't have sex he says the animal within women is desirous of procreating children and when remaining unfruitful long beyond its proper time gets discontented and angry and wandering in every direction throughout the body closes up the passages of the breath and by obstructing respiration drives them to extremity causing all varieties of disease until it length the desire and love of the man and the woman bringing them together and as it were plucking the fruit from the tree so in the womb as in a field animals meaning children so again a cure for this problem is having sex and having children you're seeing a pattern okay Galen finally I mean there's a number of people who talked about hysteria in the ancient world but Galen did not did not say the womb got dry and he did not say it moved rather in fact he'd used dissection or other people had used dissection to see that it can't move it's really you know connected with connective tissue it doesn't move around the body so that's can't be happening he says in place of movement to another part of the body he blames retention of substances within the womb so what's happening is you'll get a retention of menstrual blood or a retention of what Galen calls the female seed which is like the male seed and women have it too and it's just that if it gets stuck in the womb for too long it can cause you problems it can cause disease it can cause nasty humors it can start to rot it can make it hard to breathe because they've got vapors coming up so again what's the suggestion sexual intercourse among other things because that will expel the stuff that's inside the womb well now we come to the 19th century and you might not be surprised to hear that Freud says one of the same things we say on page 71 if I've got the page number correctly yep page 71 and this is what I think you were referring to earlier hysterical symptoms hardly ever appear so long as children are masturbating but only afterwards when a period of abstinence has set in they form a substitute for masturbatory satisfaction the desire for which continues to persist in the unconscious until another and more normal kind of satisfaction appears where that is still attainable for upon whether it is still attainable or not depends the possibility of a hysteria being cured by marriage and normal sexual intercourse so interestingly even though the old ideas of the womb wandering or being too full of seed or what have you as the causes of hysteria are gone and we'll see what Freud thinks the cause of hysteria are the idea of the cure or one of them being sexual intercourse is still there and I'm gonna go back to this in a second so I want to talk about this one before we break so there's a relatively new book out in 1999 called Rachel excuse me called the technology orgasm by Rachel P. Maines that basically says what you were describing that one of the the very common treatments for hysteria in the 19th century and early 20th century was through genital massage and it is what you think it is bringing people to bring women to a hysterical paroxysm and then leading to a betterment of their symptoms at least temporarily and this was especially for people who were not able to have sex through intercourse because they were not married or they were widowed for some other reason and it's interesting you can read the first chapter of her book online it's free it's really interesting because it's such a different thing than you can imagine ever happening in a doctor's office today but it was normal it was considered a medical treatment for hysteria and in fact her book is actually about vibrators and the fact that they were developed in the late 19th century in parts in fact in large parts to do this sort of work to allow doctors to be more efficient so they didn't get tired very interesting actually had no idea about this and vibrators were even sold through women's magazines in the early 20th centuries until they started showing up in pornographic films around the 1920s and then they no longer were considered a proper medical device so once again you've got this is the treatment for hysteria but but Freud takes a different route and he does say okay well they could get married and they can have sexual intercourse and that might solve the problem but that's not really the route he basically goes even though that's what a lot of other doctors of the time were doing we're just going back briefly to Dora symptoms Dora symptoms are not they don't really fit together into any coherent whole not on the face of it they do after Freud has given his interpretation so the way Freud deals with hysteria is to say well what's actually going on is your unconscious is trying to express feelings or desires or thoughts or fantasies and the only way it can do that is to get through the the process of repression that your conscious mind is holding it down even though you don't know you're doing that and it has to get through somehow one way it can get through is through attaching itself to various bodily symptoms and so though they seem disparate and they don't seem to connect in any way when you really just look at the bodily symptoms they are quite connected according to Freud and once we can tell the story of where they come from you can see that and once we can get your conscious mind to recognize what the unconscious wants to tell it through the bodily symptoms the symptoms will go away that's the idea so she's got migraines difficulty breathing coughing spells that just keep coming back and coming back a phonia loss of voice fits of unconsciousness with amnesia her dragging foot and her threatened suicide there may be more those are just the ones that I managed to pull out on a recent read but other common symptoms of hysteria that you would hear at the time around this time were paralysis loss of feeling in your limbs so numbness hallucinations delusions and convulsions which Dora did not have any of these as far as I recall Jean Marseille Charcot was one of the people who was most famous I think in talking about hysteria he worked at a hospital in Paris called the Saint Petraire and their patients with hysteria and other neurological disorders would stay and live for a number of years and tell hopefully they were cured and Freud visited him for a few months in 1885 and 1886 and was quite influenced by his ideas and Charcot thought when some people had considered hysteria as being something that women just made up or just made up that it was faking it because they couldn't tell any physiological underlying reason why they were having these symptoms so the thought was maybe they're just making it up and Charcot was one of the sort of prominent people saying that's not true they're not making it up it is a real problem but it is tied to physiology it has to do with neurological disorders and he was trying to figure out what those neurological disorders were that led to hysteria and he had done a lot of work on neurology he learned how to diagnose multiple sclerosis and Lou Gehrig's disease and it Emiotrophic lateral sclerosis which in French is called Charcot's disease in North America it's called often Lou Gehrig's disease he also learned how to diagnose Tourette syndrome and locomotor ataxia or inability to control your movements due to alcoholism so he had a lot of work in neurology and he was trying to figure out how the nerves and maybe some degeneration of the nerves like in these other problems might be related to hysteria but one thing that he did that is he's perhaps most well known for is that he basically set up a theater where other people would watch and he would demonstrate hysterical symptoms he got to the point where he knew how to induce hysterical symptoms in his patients and there would be sort of performances of this I mean speaking of telling secrets Freud is is writing a book about a woman and telling her secrets but at least he's trying to hide who she is you know Charcot is just hey look here she is and see what she's doing this painting a copy of it was in Freud's study for a long time actually just sort of a reminder of his time with Charcot and I don't you know this is a stylized image of what actually went on but but he did show hysterics doing their thing in front of an audience and these are some pictures actual photographs from the hospital of patients in typically hysterical positions so the one on the top I believe her name is Augustine I'm not sure but you see her quite often in images from the Salpietre hospital because she was one of his longest lasting patients and she was photographed quite often and there's there's actually at least one book possibly two books of photographs from this hospital of hysteric patients where they they took a long time and in photographing exactly what hysteria looked like what facial movements people would do what bodily movements people would do and on the bottom left it's hard to see but it's actually a person who is engaging in convulsions and so the whole body is contorted and moving and doing you know arcs and that sort of thing which was also considered a very common picture of hysteria so it could have been worse than what Dora had she was not having these sorts of issues and let's take a break here and talk about Freud's view of hysteria afterwards and get a little bit more into the text so just thinking about Freud's view of hysteria as opposed to the things we've looked at so far and I've already mentioned this in passing but how it starts for Freud and when you know you've got the conscious and the unconscious and for Freud at this time he doesn't he hasn't developed the ego and superego distinctions that he develops later so that's why none of that is in this particular text so he only talks about consciousness and unconsciousness and in between there is a process called repression and that happens without your knowledge I mean sometimes he speaks of the psyche is having a sensor inside another you know little person inside censoring what gets released up into consciousness and what has to stay in the unconscious and where that sensor is exactly I don't know but it somehow must be unconscious because we don't know what's happening and it will allow some things through based on what you think of as you know polite or customary or the thing you ought to be thinking or doing and then the other things get repressed so memories feelings desires or fantasies and he says on age 39 that in hysteria as I've mentioned it always has some sexual component are pushed out of consciousness into the unconscious but and this is an idea from Freud that you may often hear there's always a return of the repressed and Freud's working at this point with a kind of what do you want to put it pressure steam hydraulic model of the psyche as if when you push something down or away into the unconscious it's like you're trying to apply pressure and yet what's being pushed is still trying to get out as if you have to keep a continual pressure on it this is one of the things he says in one of his texts on repression that's a repression is constantly excuse me the things that are repressed are constantly trying to come back to the surface and you have to keep putting on a counter pressure so they seek to emerge in into consciousness some other way and in hysteria and in many other neuroses they speak they actually tell you something in a different language and that language comes out through dreams or through symptoms or sometimes through slips of the tongue you know when you say one thing accidentally and it actually indicates what you really mean but it was an accident or jokes sometimes you can get some unconscious material coming out through jokes but in this particular text we'll just look at the symptoms and the dreams as that's how the repressed contents come out I had another thought there was another idea I will forget and then the role of the analyst what does the analyst do translate the language so somehow inside your psyche there's some sort of process that allows your feelings to be changed into a new language so that you can't understand it but yet these feelings desires fantasies are still being expressed somehow that's kind of interesting really and this is one of the things that's that's you know many people will still say it is quite interesting about Freud is this idea of the unconscious and things trying to come up from the unconscious and speaking in a different way so the analyst is translating this language retelling the patient's own secrets to him or her and the idea is once you bring these things to consciousness the symptoms resolve because the only reason why you had to have your dragging foot where you're coughing or your loss of voice is because you didn't have in your conscious mind what your unconscious is trying to tell you and if you get that into your conscious mind your unconscious doesn't have to put that into a symptom anymore so that's the idea of hysteria and there's a couple of keywords that he uses in the text that relate to this process one of them is conversion he talks about on page 46 that what happens is some sort of psychological energy is converted into a physiological symptom so that it's as if there's some kind of material that's psychical that gets transferred into some sort of material that's physiological that just moves from the psyche into your arm and the energy gets converted in that way and he also says I think it's also on that page that your symptoms in hysteria are going to repeat over and over again until and unless you get that unconscious material to consciousness so he says that for example Dora's coughing didn't start once and then go away it kept coming back she would get better and then her coughing symptoms would come back and then she would get better and then it would come back and I think the same thing happened with her loss of voice that it happened more than once and for his explanation of that as well you haven't understood what your unconscious is trying to tell you and as soon as you do then it's going to go away and then finally somatic compliance is also related to his idea of what happens in hysteria that psychological energy attaches to a physiological experience or symptom that the patient already had and again it's sort of like there's some sort of process in your psyche that's deciding where that psychological meaning or that desire that fantasy is going to attach to your body and it's going to attach to something that is already going on with your body so with the dragging foot she twisted her foot once already and that's why it's going to attach to that as a symptom because there was this small injury already and because it's related to what the psychical meaning is that that foot dragging is is connected to it's supposed to be about appendicitis which she thinks Dora thinks someone else who's had appendicitis had a dragging foot so her dragging foot is related to her appendicitis which Freud thinks is actually related to her desire to have a baby and be pregnant etc etc but somehow the connection between the desire the fantasy and the body has to make some kind of rational sense and it attaches to something that the body is already doing or has already had happened to it so for example the cough Dora's cough on page 74 she's looking at the text she's not just going to develop a cough out of nowhere she's had a cough before she got one while she was or she got out of breath that's a different center she got out of breath while she was on a hiking trip in the mountains and this then later repeats and gets attached to a psychical meaning because it's an experience she'd already had her cough on page 74 at the bottom of the page we will now attempt to put together the various determinants that we have found for Dora's attacks of coughing and hoarseness in the lowest stratum we must assume the presence of a real and organically determined irritation of the throat which acted like the grain of sand around which an oyster forms its pearl it's the idea is somehow she'd had a cough for some reason some organically caused reason and this acts like a grain of sand around which an oyster creates its pearl now what does he mean by that there are psychical or psychological coatings coatings that get put around it and that make it continue because now it's not just a physiological cause for the cough but now the cough continues because of the psychological cause that has somehow wrapped around the original physiological cause so on page 75 let's see page 75 he says where is it where is it okay it was brought to fixation by what was probably its first psychological wrapping her sympathetic imitation of her father who also had a cough and by her subsequent reproaches on account of her guitar the same group of symptoms moreover showed itself capable of representing her relations with hair K it could express her regret at his absence and her wish to make him a better wife so that's on one of these earlier pages where he says the reason why she's coughing is because she coughs when he is absent and when he comes back hair K she stops coughing and this is an imitation although reversed to her case wife Frau K who gets sick when hair K is there because she does not want to have sex with him and it's better when he leaves town so here Dora's desire to be with hair K her love for hair K is expressed in her cough which she has only when he is gone which is the opposite of when what Frau K does so the idea is that somehow these desires are going to attach their psychological meaning to a physiological symptom that is in some way related to that psychological meaning and that has already been in existence for the person for some other reason then there's dreams and most of this book is is talking about her dreams well at least the second half the first dream and the second dream and dreams are another way for the unconscious material to be expressed on page nine the dream is one of the roads along which a consciousness can be reached by the mental material which on account of the opposition aroused by its content has been cut off from consciousness and repressed and has thus become pathogenic the dream in short is one of the detours by which repression can be evaded so that's why you spend so much time analyzing her dreams not just her symptoms and what they say about her psyche but also her dreams and what's coming out through there and shortly before this book he had published a very long text called the interpretation of dreams and he says in this one that this book is a sort of application of that like I told you how to interpret dreams in the first book here's the way it works in hysteria and so that's what he claims this book is largely about this figuring out how we can interpret dreams to help hysterics but either through dreams or through symptoms there are certain ways that the unconscious speaks turns into a language that the the psychoanalyst has to translate there are certain processes that go on in the psyche that make it so that you don't recognize what's happening in your unconscious when you get these symptoms or these dreams one of them is condensation he mentions on page 41 and you'll see this in the dream especially that one symptom or one aspect of a dream can represent many many different unconscious thoughts and that's why this text is so hard to read sometimes because he'll jump around you'll think well what is this symptom related to or what is this part of the dream related to well it's related to about five or ten different things so it's very hard to put it all together but in his in his book interpretation of dreams he describes this in very detailed way how condensation works and it's just an easy way for the psyche to get all of this different unconscious material somehow through right let's just stick it all into one image or one symptom and then that that energy can be expressed so the house on fire in Dora's first dream Dora's first dream is very short it's like three or four lines and yet the analysis of it is I don't know how many pages very long that in itself shows you condensation that he thinks he doesn't just take one element of the dream and explain it move on to the next element and you're done in two pages it is lots of different things going on so the house on fire and Dora's dream is related to her brother's room and being him perhaps not being able to get out because of where it is located and the doors that are locked around it it is related to the fear of fire that her father expressed when they first arrived at the house by the lake at the case house it is related to bedwetting that Freud says you know why they don't allow children to play with matches and Dora says no of course my obvious answer is because they can get burned no that's not what Freud says it is because they will think of fire and then with their bed to try to put it out okay well maybe there's two ways of reasons why they don't allow people to play with matches but that's how he connects it to the dream because in the dream her father wakes her up from sleeping and says we got to get out because the house is on fire so that's why he would relate it more to bedwetting because a father would come in and wake you up from sleep if you're wetting your bed and of course the bedwetting then leads him to masturbation because he says women and children generally who masturbate have more bedwetting and so that's why how he thinks he is then uncovered one of her secrets but the fire is also related to erotic love related to her K it is related to a desire for a kiss from her K and Freud because it has to do with smoke and both of them smoke so the point here is you can take one element fire smoke and analyze it into all sorts of different things right and come up with all sorts of different meanings now it does some of these seem far-fetched I agree but what I find really fascinating is that Freud is trying to take I mean the whole idea of the way he's approaching hysteria is very interesting to me and whether it's right or not but he's trying to take very disparate symptoms and put them together into a story and say this is why you're having these symptoms and this is why you're having these dreams this is how it all fits together now maybe it's very wrong and maybe he's making jumps and conclusions but it's actually quite a literary technique in a way and it's actually quite an interesting way to try to deal with mental disturbances you know is there a way in which we can find something that's happened in your past and put it together that explains why you're acting this way that's very typical these days you don't hear the word hysteria today no and I looked that up because I wondered you know it's been going on since ancient Greece and then the 19th century in the 20th century they were still talking about hysteria what happened I don't know exactly when it got dropped from you know the usual speaking of of mental illnesses and that usually comes from these days the diagnostic and statistical manual of something or another cycle like mental disorders the DSM I don't remember exactly when it got dropped from there do you okay yeah I don't know exactly when it changed but usually if you hear hysteria now it's often related to either mass hysteria like you were describing that people would start acting in the same way if they're in the same place and usually it has to do with a very strong sense of emotion and actions related to that but now there is something that that people think of as sort of the descendant of hysteria which is just called conversion disorder and as far as I could tell it comes in part from where is it conversion from Freud's word and as far as I can tell it is just a disorder that that people have cycle excuse me physiological symptoms that do not have a clear organic or physiological cause but that are coming from a trauma or some other mental concern that are manifesting themselves in physiological symptoms so do I have it here I looked this up and maybe I have the little sheet that I printed out about it and maybe I don't oh I know I made a slide wasn't sure if we were going to get to it so this is what these are some of the symptoms that I found relating to conversion disorder paralysis numbness inability to speak seizures or convulsions fainting hallucinations Tourette syndrome like ticks so that's all I know about it but it's not called hysteria anymore but it has some relationship to what Freud called hysteria because Freud called hysteria a translation or a conversion of something from the unconscious into a physiological symptom but you had your hand up okay I didn't know when it was that's quite recent so it was hysteria before that okay yeah and now either you hear it in terms of mass hysteria or you hear it just as a word to describe someone who's over emotional or you know having histrionics right which sometimes is still got that that's that tie to women not mass hysteria but becoming hysterical and having histrionics not always but it it can have that gender link okay let me go back okay so we've just talked about condensation in the house on fire and then there's a various psychical meanings of Doris cough which I read earlier all these different things that can be connected to her cough imitation of her father wanting her K to be around so he's coughing when she isn't as opposed to Frau K being sick when he is there then he also ties it of course to her putting herself in a fantasy position in or at least imagining in her fantasy the sexual relationship between her father and for okay where he is impotent so it has to be oral sex so therefore that is also considered to be part of the unconscious drive to the cough and you can kind of understand how that ties to the physiological cough symptom which is what it has to do in some way so that's condensation something can mean a lot of things at the same time displacement Freud also talks about the reason why I'm going through these is because I find it really hard to understand this text like where's Freud going why is he saying this why is he saying that and I think if you can understand that some of the background of the theories he's working with like you can find this is condensation this is why he's talking about ten different meanings to this one symptom or why is he saying that when she thinks this she actually means the opposite well he thinks that the other way or another way that the unconscious speaks through the repression is by displacement unconscious thoughts desires are displaced onto different physical sensations or symptoms or different feelings again I mean the whole idea is that your unconscious has to disguise it has to not be the same thing that's coming out in your dream or in your physical body because if it was if that told you directly what the unconscious thought was you wouldn't accept it it wouldn't come out it has to come out in a disguised way to keep you from rejecting it this is you know the model that he's working with so for example displacement then this is also in the first stream with the house on fire her father comes to wake her up her mother wants to save her jewel case and her father says I'm not risking the lives of my two children for your jewel case that's basically the first thing something like that the jewel case is as I've already said for Freud in in German and I can't speak for this because I don't speak German but apparently he says it is a word for the female genitals and that her mother wants to save her jewel case in the dream is a displacement of Dora wanting to save her jewel case from hair Kay who was standing over her bed or standing over her when he broke into or walked into the bedroom that she was using and so what Dora has done is displace this memory of hair Kay doing this and her fear of that onto her mother wanting to save her jewel case but if you look at page 62 it becomes much more convoluted than that that's a pretty simple displacement I want to save my jewel case mother wants to save a jewel case but then later it goes into really difficult complications about how we have to put Dora in the place of her mother and hair Kay in the place of her father and we have to think about her father wanting jewelry or mother wanting jewelry that her father couldn't give her and eventually what happens is Freud says you would like to give to hair Kay your jewel case what he cannot get from his wife just like your mother can't get the jewelry that she wants from her father so that's the real sort of underlying unconscious desire that has to be masked and how is it masked you just place it it's your mother wanting to save her jewel case that seems very innocuous right and another displacement this one physiological hair Kay's first kiss when she was 14 and she oh my gosh she's with him alone in his place of work and he they're gonna watch a parade or something going on outside and he basically blocks the door and forces a kiss on her and she freaks out and doesn't like it so not surprisingly you know 14 year old girl dealing with someone else's husband who's much older than her and she no longer remembers much about that except a very strong pressure on her chest to which Freud says what you are doing is you are displacing the memory of pressure on the lower body the pressure on the lower body to the pressure on the upper body because that is a more innocuous memory so something that you don't want to face you are displacing to a different part of your body and and he says that she also is unable to to even be around other couples where men and women are talking because she's afraid she might actually see that thing that she felt and doesn't want to have anything to do with it's very hard to talk about Freud in class so another way that that's unconscious speaks through symptoms and dreams is by reversing the affect and this goes back to that first kiss that she got from hair K on page 22 this is one of the most problematic sections of the text for me starting on page 21 no maybe starting on page 2 okay starting on page 21 Dora told me of an earlier episode with hair K which was even better calculated to act as a sexual trauma she was 14 years old at the time her K had made an arrangement with her and his wife that they should meet one afternoon in his place of work etc etc when the time for the procession approached he asked the girl to wait for him at the door which opened upon the staircase leading to the upper story while he pulled down the outside shutters he came back and instead of going out by the open door suddenly clasped the girl to him and pressed a kiss upon her lips this is the part that I don't really like this was surely just the situation to call up a distinct feeling of sexual excitement in a girl of 14 who had never before been approached but Dora had at that moment a violent feeling of disgust tore herself free from the man and hurried past him to the staircase and from there to the street door and then on page 22 the behavior of this child of 14 was already entirely and completely hysterical I should without question consider a person hysterical in whom an occasion for sexual excitement elicited feelings that were preponderantly or exclusively unpleasurable and I should do so whether or not the person were capable of producing somatic symptoms this is reversal of affect so the idea is that she should have felt sexual excitement and because she couldn't face that consciously it stayed in her unconscious and turned into its reverse which is discussed so that's the way he can explain why she is disgusted and then finally the last thing that I'll talk about about ways that the unconscious speaks through dreams and symptoms is through projection and Freud here says and I'll just let you look at this one that you can Dora doesn't even recognize how the reproaches that she's giving against her father are reproaches she could turn against herself because these are things she doesn't want to face and with this one the idea is that she's really angry at her father for her his relationship with frauque and she can't let it go for it's trying to figure out why she can't let that go why she just is so upset and it's driving her crazy and one of the reasons Freud says is because it's an unconscious drive from her own from her own unconsciousness that just keeps coming back well what's going on she's angry at her father in part because her father is not paying attention to what hair K is doing to Dora because he wants to keep his relationship with frauque so her father may not believe Dora of what she says hair K is doing her father just may not want to think about it because he doesn't want to upset his relationship with frauque and she's really angry about that so Freud says well this is so strong and keeps coming back and coming back and you can't get over it and maybe it is something from your unconscious that's continually trying to come up and maybe what that is is that if you think about it you too haven't really worked hard to expose the relationship between your father and frauque you're not paying that much attention to that relationship just like he's not paying that much attention to your relationship with hair K and he goes on and pages 20 and 29 says what she has and has not done even when the governance pointed it out to her she didn't really do anything about it and Freud says you're not paying attention to that one so that you can stay closer to hair K because if you throw open the door to your father's adulterous relationship with his wife you're not going to be spending much time with the case so it's your desire for hair K that leads you to project your anger to your father at his focusing too much on his relationship with frauque alright last couple of things what happens in psychoanalytic treatment you know if all these things are going on the psyche is interpreting your unconscious in ways that allows you to to accept what it's saying even though you don't really understand what it's saying so the psychoanalyst has to interpret that language you can't do it yourself I mean unless you're trained as a psychoanalyst maybe you could analyze yourself but the thing is all you've got in your consciousness are things that your consciousness allows you're not going to see those things you're not going to understand what the language is being spoken is about because it is by definition unconscious to you so you have to have someone help you out someone who knows how to read symptoms someone who knows how to read dreams and maybe if you became an analyst you could do it yourself but you wouldn't be able to do it without that and Freud points out on 42 again the same idea I mentioned at the beginning that if you bring the unconscious material to consciousness this will get rid of the symptoms the whole effectiveness of the treatment is based upon our knowledge that the affect attached to an unconscious idea operates more strongly and more injuriously than the affect attached to a conscious one so once you understand what's going on the symptom hopefully disappears and what does the patient have to do the patient has to say everything communicate everything that comes to mind whether it seems wrong whether it seems unusual whether it seems embarrassing without criticism or without admitting what might seem irrelevant that's all the patient has to do what does the doctor have to do listen and translate and ideally without preconceived notions without a preconceived purpose without knowing where this is going to go try not to let your own unconsciousness affect your interpretations be like a mirror for the patient's unconscious so the thing that you're supposed to do is be completely objective be completely passive and taking in what the patient is saying what their dreams are saying what their body is saying and simply mirroring that back to them in a way that they can understand and not having your own feelings desires unconscious material affect you that is probably impossible if to try to do entirely because the psychoanalyst is a human being and the psychoanalyst has got unconscious desires and feelings and these are likely going to affect the interpretation I'm going to read that one when I do Foucault sorry if it's better with Foucault so what can happen is two things and this is going to lead us to my question about Freud at the very end transference and counter transference transference is where the patient treats the doctor like some other person in his life or her life where the patient transfers their feelings about some other situation or some other person onto the doctor now that might seem problematic but before he says it's actually really useful analysis what's more problematic is the counter transference when it happens the other direction but the transference is not so bad really for it says on 106 what are the transferences new additions or facsimiles of the tendencies and fantasies which are aroused and made conscious during the progress of analysis they replace them earlier person by the person of the physician so this is actually yet another way that your unconsciousness comes to light because if the doctor can see that you are treating them as if they are your father or hair K which is what Freud goes on to say I'm 106 107 but she was treating me the way she treated her father and then she was treating me the way she treated her K if you can recognize that and point that out to the patient and say look what you're doing to me and you're treating me like hair K that must be how you feel towards him that can be really enlightening right that's just another way for the unconscious to come out I just said that the way for the conscious to come out but then there's the counter transference and Freud thought this as problematic at least at this point in his life and he doesn't talk about this in this particular text but I think it's interesting to consider whether this is going on the counter transference is where the doctor transfers his or her unconscious feelings and desires towards something or someone else onto the relationship with the patient so it's really just the same thing in reverse the patients transference is treating the doctor like hair K or like her father or like someone else in her life which can be useful therapeutically if you can point that out to them of course Freud knows and this is what he claims at the end of the text the reason why this case failed why he didn't why he wasn't able to continue the treatment and why she quit was because he didn't recognize early on enough that she was treating him like her K and that she was taking revenge on her on him by leaving like she wanted to take revenge on her K for having in Freud's interpretation mistakenly or dishonestly pretended like he really loved her as far as she can tell he's just treating her like the governess that he loved for a while and dropped so Freud's interpretation of what happened with this case is that he should have caught that transference earlier and then pointed it out to her and then things would have been okay but what he doesn't talk about and what would be interesting to think about is whether there's a counter transference going on in this text where the unconscious feelings or desires of the doctor are somehow affecting the interpretations that are being given that are keeping them from being objective how much of this may be an evidence in Dora is something that I'm just going to leave for discussion in seminars because I think it's kind of a big question how much can you see in the text of Freud's own perhaps unconscious thoughts about Dora or just generally about women or what have you in his interpretations so I want to come back to secrets the Dora case history seems an invitation for readers to uncover Freud's own unconscious secrets so again getting back to the transference counter transference I should say I just think the way this text is even written sounds like it's inviting us I don't think he means to do this but it feels like an invitation to try to uncover Freud's secrets remember he says in the beginning of the Dora text that one of the things that that hysterics experiences gaps in their memory they don't have a coherent picture now this may be stretching in a bit but look this is a fragment Freud talks about this case as being a fragmentary analysis he wasn't able to finish it he doesn't give full an analytic interpretations of everything that's going on there are things he still doesn't understand is incomplete it contains gaps for it also draws attention to how the case was recorded from memory on page 4 he says you can't really take notes during the session I think that's because you might arouse the suspicion of the person speaking that if you know if you start taking notes on one thing but not another then they start thinking well that was important but the other thing wasn't and they start second guessing themselves so you can't really take notes during the session so that this particular text he claims he wrote up shortly after the sessions ended but doesn't publish until five years later and that the dreams he wrote up right afterwards right after the session so that he said the dreams were were definitely right that's what she said but then the later interpretations that he gives and all that he writes afterwards is months after the sessions have ended so just like the hysteric may have gaps in their memory Freud may have gaps in his memory that he fills in the case history reads like a psychoanalytic session to me he says in the beginning of this text that that he starts off by just asking the patient to say whatever comes to their mind and he starts with whatever their unconscious brings to them at the moment and this particular case history really jumps around a lot it is fragmentary and it jumps around a lot and there's not a real clear nice logical sequence of course when you're dealing with dreams that's in condensation of lots of things into one image that's not going to be easy to get but it feels more like he's discussing things by association sometimes even stream of consciousness so for example on page 66 he says the middle of the page after discussing some aspect of the dream I might at this point hesitate whether I should first consider the light thrown by this dream upon the history of the case or whether I should rather begin by dealing with the objection to my theory of dreams which may be based upon it I shall take the former course is sort of just talking to himself and sort of thinking about what am I going to do now okay I'll take that and then 87 and to the first paragraph on 87 I shall thus present the material produced during the analysis of this dream in the somewhat haphazard order in which it recurs to my mind it's just sort of it feels a little bit to me like he is he is giving this text as if it were him just sort of going through and then analytic session in a way the treatment failed because he didn't see the transference early enough which invites us to ask when he claims that's the reason why he couldn't continue because it just didn't occur to him invites us to ask what in his own unconscious kept him from seeing this so I'm just saying there's aspects of this text that invite us to read into it what's going on with Freud just the way he reads into Dora what's going on with her and so might we engage in analytics for us I'm sorry I just can't get over that phrase into the dark hidden recesses of his psyche to uncover his secrets by reading this text and I think that's a very interesting thing to do and that's all I have wow I finished on top I didn't go over time I'm so amazed so questions if it were I'm sorry yeah I don't know that he can well one of the things that that Freud says I don't remember where he says that one of the ways you can stop your own unconscious thoughts and interpret this the thoughts and desires from effecting your interpretation is to go through analysis and understand your unconsciousness better so that you are more what's the word present to yourself so that there's less stuff that's completely unconscious to you right okay if you have to go go but otherwise there are people who are trying to ask a question yeah so also a patient in some way yes and in fact even today in psychoanalysis I believe even today certainly 20 years ago or so you had to go through analysis yourself in order to become an analyst because of those very reasons yeah yeah I don't think it is no so that's why he has to get a detailed personal history he has to hear a lot about what the person has gone through because it's going to relate to and usually that he goes back to their childhood which there isn't that much here good yeah it's actually mostly about Freud's dreams maybe not mostly there's a lot of Freud's dreams in there but there's also dreams from some of his other patients so it is yeah it's not like a general key it's tied to that individual person and what we know about that person and therefore trying to figure out what that aspect of the tree might mean yeah okay oh goodness I don't know because I don't know when when he was working with young Johnny you know yeah yeah there's a there's a new movie yeah yeah yeah yeah yeah in treatment cool okay and if people have to leave it is time to go but that's a huge question yeah I think we can take some of it seriously I don't think you need to take everything he says in this book seriously but I think I think a lot of the things that that he did it with the whole idea of the theory of the mind is some of it is still accepted today do you want to respond yeah yeah oh in psychology I don't know how legitimate he's still considered I think that yeah I mean just as a historical figure and someone who started the whole idea of the talking cure I mean the whole idea of talking through your problems with a with a analyst or with a counselor who started with Freud and his associate Breuer in the late 19th century so yeah sure all right thanks everyone