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This is a collection of psychoanalytical essays on a broad spectrum of well-known Russian authors, such as Puskin, Dostoevsky, Gogol, Belyj, Tjutcev, Axmatova, and Nabokov. The volume includes some reprints, among which a contribution by Sigmund Freud on Dostoevsky and Parricide'. The majority of the contributions are original publications by present-day specialists in the field. This is a book which may benefit literary scholars as well as professional psychoanalysts.
This is a collection of psychoanalytical essays on a broad spectrum of well-known Russian authors, such as Puskin, Dostoevsky, Gogol, Belyj, Tjutcev, Axmatova, and Nabokov. The volume includes some reprints, among which a contribution by Sigmund Freud on Dostoevsky and Parricide'. The majority of the contributions are original publications by present-day specialists in the field. This is a book which may benefit literary scholars as well as professional psychoanalysts.
Lebeau examines the long and uneven history of developments in modern art, science, and technology that brought pychoanalysis and the cinema together towards the end of the nineteenth century. She explores the subsequent encounters between the two: the seductions of psychoanalysis and cinema as converging, though distinct, ways of talking about dream and desire, image and illusion, shock, and sexuality. Beginning with Freud's encounter with the spectacle of hysteria on display in fin-de-siecle Paris, this study offers a detailed reading of the texts and concepts which generated the field of psychoanalytic film theory.
Dostoevsky was hostile to the notion of individual autonomy, and yet, throughout his life and work, he vigorously advocated the freedom and inviolability of the self. This ambivalence has animated his diverse and often self-contradictory legacy: as precursor of psychoanalysis, forefather of existentialism, postmodernist avant la lettre, religious traditionalist, and Romantic mystic. Dostoevsky and the Riddle of the Self charts a unifying path through Dostoevsky's artistic journey to solve the “mystery” of the human being. Starting from the unusual forms of intimacy shown by characters seeking to lose themselves within larger collective selves, Yuri Corrigan approaches the fictional works as a continuous experimental canvas on which Dostoevsky explored the problem of selfhood through recurring symbolic and narrative paradigms. Presenting new readings of such works as The Idiot, Demons, and The Brothers Karamazov, Corrigan tells the story of Dostoevsky’s career-long journey to overcome the pathology of collectivism by discovering a passage into the wounded, embattled, forbidding, revelatory landscape of the psyche. Corrigan’s argument offers a fundamental shift in theories about Dostoevsky's work and will be of great interest to scholars of Russian literature, as well as to readers interested in the prehistory of psychoanalysis and trauma studies and in theories of selfhood and their cultural sources.
This study explores Freud's influence in Russia during the 20th century, discussing the lives of the Russian Freudians. The author concludes that the oscillations in Russian attitudes toward Freud during Soviet rule reflected shifting tensions within Russian culture at large.
In the Russian modernist era, literature threw itself open to influences from other art forms, most particularly the visual arts. Collaborations between writers, artists, designers, and theatre and cinema directors took place more intensively and productively than ever before or since. Equally striking was the incursion of spatial and visual motifs and structures into verbal texts. Verbal and visual principles of creation joined forces in an attempt to transform and surpass life through art. Yet willed transcendence of the boundaries between art forms gave rise to confrontation and creative tension as well as to harmonious co-operation. This collection of essays by leading British, American and Russian scholars, first published in 2000, draws on a rich variety of material - from Dostoevskii to Siniavskii, from writers' doodles to cabarets, from well-known modernists such as Akhmatova, Malevich, Platonov and Olesha to less well-known figures - to demonstrate the creative power and dynamism of Russian culture 'on the boundaries'.
Marxism was not the only Western idea to influence the course of Russian history. In the early decades of this century, psychoanalysis was one of the most important components of Russian intellectual life. Freud himself, writing in 1912, said that "in Russia, there seems to be a veritable epidemic of psychoanalysis." But until Alexander Etkind's Eros of the Impossible, the hidden history of Russian involvement in psychoanalysis has gone largely unnoticed and untold. The early twentieth century was a time when the craving of Russian intellectuals for world culture found a natural outlet in extended sojourns in the West, linking some of the most creative Russian personalities of the day with the best universities, salons, and clinics of Germany, Austria, France, and Switzerland. These ambassadors of the Russian intelligentsia were also Freud's patients, students, and collaborators. They exerted a powerful influence on the formative phase of psychoanalysis throughout Europe, and they carried their ideas back to a receptive Russian culture teeming with new ideas and full of hopes of self-transformation. Fascinated by the potential of psychoanalysis to remake the human personality in the socialist mold, Trotsky and a handful of other Russian leaders sponsored an early form of Soviet psychiatry. But, as the Revolution began to ossify into Stalinism, the early promise of a uniquely Russian approach to psychoanalysis was cut short. An early attempt to merge medicine and politics forms final chapters of Etkind's tale, the telling of which has been made possible by the undoing of the Soviet system. The effervescent Russian contribution to modern psychoanalysis has gone unrecognized too long, but Eros of the Impossible restores this fascinating story to its rightful place in history.
The fledgling science of psychoanalysis permanently altered the nineteenth-century worldview with its remarkable new insights into human behavior and motivation. It quickly became a benchmark for modernity in the twentieth century--though its durability in the twenty-first may now be in doubt. More than a hundred years after the publication of Freud’s The Interpretation of Dreams, we’re no longer in thrall, says cultural historian Eli Zaretsky, to the “romance” of psychotherapy and the authority of the analyst. Only now do we have enough perspective to assess the successes and shortcomings of psychoanalysis, from its late-Victorian Era beginnings to today’s age of psychopharmacology. In Secrets of the Soul, Zaretsky charts the divergent schools in the psychoanalytic community and how they evolved–sometimes under pressure–from sexism to feminism, from homophobia to acceptance of diversity, from social control to personal emancipation. From Freud to Zoloft, Zaretsky tells the story of what may be the most intimate science of all.
Andrï Gide once said that Feodor Dostoevsky "lost himself in the characters of his books, and, for this reason, it is in them that he can be found again." In Dostoevsky: The Author as Psychoanalyst, Louis Breger approaches Dostoevsky psychoanalytically, not as a "patient" to be analyzed, but as a fellow psychoanalyst, someone whose life and fiction are intertwined in the process of literary self-exploration. Raskolnikov's dream of the suffering horse in Crime and Punishment has become one of the best known in all literature, its rich imagery expressing meaning on many levels. Using this as a starting point, Breger goes on to offer a detailed analysis of the novel, situating it at the pivotal point in Dostoevsky's life between the death of his first wife and his second marriage. Using insights from his psychological training, Breger also explores other works by Dostoevsky, among them his early novel, The Double, which Breger relates to the nervous breakdown that Dostoevsky suffered in his twenties, as well as Notes from Underground, The Possessed, The Idiot, The Brothers Karamazov, and so forth. Additionally, details from Dostoevsky's own life—his compulsive gambling, his epilepsy, his philosophical, political, religious, and mystical beliefs, and the interpretations of them found in existing biographies—are analyzed in detail.
A journalist, diplomat, and writer, William Christian Bullitt (1891-1967) negotiated with Lenin and Stalin, Churchill and de Gaulle, Chiang Kai-shek and Goering. He took part in the talks that ended World War I and those that failed to prevent World War II. While his former disciples led American diplomacy into the Cold War, Bullitt became an early enthusiast of the European Union. From his early (1919) proposal of disassembling the former Russian Empire into dozens of independent states, to his much later (1944) advice to land the American troops in the Balkans rather than in Normandy, Bullitt developed a dissenting vision of the major events of his era. A connoisseur of American politics, Russian history, Viennese psychoanalysis, and French wine, Bullitt was also the author of two novels and a number of plays. A friend of Sigmund Freud, Bullitt coauthored with him a sensational biography of President Wilson. A friend of Bullitt, Mikhail Bulgakov depicted him as the devil figure in The Master and Margarita. Taking seriously Bullitt’s projects and foresights, this book portrays him as an original thinker and elucidates his role as a political actor. His roads were not taken, but the world would have been different if Bullitt’s warnings had been heeded. His experience suggests powerful though lost alternatives to the catastrophic history of the twentieth century. Based on Bullitt’s unpublished papers and diplomatic documents from the Russian archives, this new biography presents Bullitt as a truly cosmopolitan American, one of the first politicians of the global era. It is human ideas and choices, Bullitt’s projects and failures among them, that have brought the world to its current state.