by neufer » Fri Nov 01, 2013 3:10 pm
Beyond wrote:Psnarf wrote:
There's a red monster reminiscent of the one in "Forbidden Planet" that I was going to highlight before learning it's all smoke and mirrors.
Just think of it as 'special' effects, just like the monster of the id.
http://peace.saumag.edu/faculty/kardas/courses/GPWeiten/C12Personality/EgoIDSuper.html wrote:
<<The structure of the personality in psychoanalytic theory is threefold. Freud divided it into the id, the ego, and the superego. Only the ego was visible or on the surface, while the id and the superego remains below, but each has its own effects on the personality, nonetheless.
The id represents biological forces. It is also a constant in the personality as it is always present. The id is governed by the "pleasure principle", or the notion of hedonism (the seeking of pleasure). Early in the development of his theory Freud saw sexual energy only, or the libido, or the life instinct, as the only source of energy for the id. It was this notion that gave rise to the popular conception that psychoanalysis was all about sex, sex, sex. After the carnage of World War I, however, Freud felt it necessary to add another instinct, or source of energy, to the id. So, he proposed thanatos, the death instinct. Thanatos accounts for the instinctual violent urges of humankind. Obviously, the rest of the personality would have somehow to deal with these two instincts. Notice how Hollywood has capitalized on the id. Box office success is highly correlated with movies that stress either sex, violence, or both.
Aspects of adult behavior such as smoking, neatness, and need for sexual behavior were linked to the various stages by fixation. To Freud, fixation is a measure of the effort required to travel through any particular stage, and great efforts in childhood were reflected in adult behavior. Fixation can also be interpreted as the learning of pattens or habits. Part of the criticism of psychoanalysis was that fixation could be interpreted in diametrically opposite fashion. For example, fixation in the anal stage could lead to excessive neatness or sloppiness. Neil Simon's play, "The Odd Couple", is a celebration of anal fixation, with Oscar and Felix representing the two opposite ends of the fixation continuum (Oscar-sloppy, Felix-neat).>>
http://www.ncbi.nlm.nih.gov/pubmed/20001197 wrote:
A psychoanalytic study of Edward de Vere's The Tempest. by Waugaman RM.
J Am Acad Psychoanal Dyn Psychiatry. 2009 Winter;37(4):627-43. doi: 10.1521/jaap.2009.37.4.627.
Abstract: <<There is now abundant evidence that Freud was correct in believing Edward de Vere (1550-1604) wrote under the pseudonym "William Shakespeare." One common reaction is "What difference does it make?" I address that question by examining many significant connections between de Vere's life and The Tempest. Such studies promise to bring our understanding of Shakespeare's works back into line with our usual psychoanalytic approach to literature, which examines how a great writer's imagination weaves a new creation out of the threads of his or her life experiences. One source of the intense controversy about de Vere's authorship is our idealization of the traditional author, about whom we know so little that, as Freud noted, we can imagine his personality was as fine as his works.>>
[quote="Beyond"][quote="Psnarf"]
There's a red monster reminiscent of the one in "Forbidden Planet" that I was going to highlight before learning it's all smoke and mirrors.[/quote]
Just think of it as 'special' effects, just like the monster of the id. :yes:[/quote][quote=" http://peace.saumag.edu/faculty/kardas/courses/GPWeiten/C12Personality/EgoIDSuper.html"]
[float=right][img3="[b][color=#0000FF]“[i]I no longer believe that… the actor from Stratford was the author of the works that have been ascribed to him. Since reading Shakespeare Identified by J. Thomas Looney, I am almost convinced that the assumed name conceals the personality of Edward de Vere, Earl of Oxford… The man of Stratford seems to have nothing at all to justify his claim, whereas Oxford has almost everything.[/i]”[/color] - Sigmund Freud (1856-1939)[/b]"]http://4.bp.blogspot.com/-H6G7fYVB_NE/UB4JblO67nI/AAAAAAAAAGk/F99SJprbh_4/s1600/books020410_03.jpg[/img3][/float]
<<The structure of the personality in psychoanalytic theory is threefold. Freud divided it into the id, the ego, and the superego. Only the ego was visible or on the surface, while the id and the superego remains below, but each has its own effects on the personality, nonetheless.
The id represents biological forces. It is also a constant in the personality as it is always present. The id is governed by the "pleasure principle", or the notion of hedonism (the seeking of pleasure). Early in the development of his theory Freud saw sexual energy only, or the libido, or the life instinct, as the only source of energy for the id. It was this notion that gave rise to the popular conception that psychoanalysis was all about sex, sex, sex. After the carnage of World War I, however, Freud felt it necessary to add another instinct, or source of energy, to the id. So, he proposed thanatos, the death instinct. Thanatos accounts for the instinctual violent urges of humankind. Obviously, the rest of the personality would have somehow to deal with these two instincts. Notice how Hollywood has capitalized on the id. Box office success is highly correlated with movies that stress either sex, violence, or both.
[b][color=#0000FF]Aspects of adult behavior such as [u]smoking, neatness, and need for sexual behavior[/u] were linked to the various stages by fixation. To Freud, fixation is a measure of the effort required to travel through any particular stage, and great efforts in childhood were reflected in adult behavior. Fixation can also be interpreted as the learning of pattens or habits. Part of the criticism of psychoanalysis was that fixation could be interpreted in diametrically opposite fashion. For example, fixation in the anal stage could lead to excessive neatness or sloppiness. Neil Simon's play, "The Odd Couple", is a celebration of anal fixation, with Oscar and Felix representing the two opposite ends of the fixation continuum [url=http://asterisk.apod.com/viewtopic.php?f=29&t=31898&p=205191&hilit=flying%20+spaghetti+monster#p205191](Oscar-sloppy, Felix-neat)[/url].[/color][/b]>>[/quote][quote=" http://www.ncbi.nlm.nih.gov/pubmed/20001197"]
A psychoanalytic study of Edward de Vere's The Tempest. by Waugaman RM.
[size=85]J Am Acad Psychoanal Dyn Psychiatry. 2009 Winter;37(4):627-43. doi: 10.1521/jaap.2009.37.4.627.[/size]
Abstract: <<There is now abundant evidence that Freud was correct in believing Edward de Vere (1550-1604) wrote under the pseudonym "William Shakespeare." One common reaction is "What difference does it make?" I address that question by examining many significant connections between de Vere's life and The Tempest. Such studies promise to bring our understanding of Shakespeare's works back into line with our usual psychoanalytic approach to literature, which examines how a great writer's imagination weaves a new creation out of the threads of his or her life experiences. One source of the intense controversy about de Vere's authorship is our idealization of the traditional author, about whom we know so little that, as Freud noted, we can imagine his personality was as fine as his works.>>[/quote]