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In this book, Ludovica Grassi explores the importance of music in psychoanalysis, arguing that music is a basic working tool for psyche, as words are composed of sound, rhythm and intonation more than lexical meaning. Starting from ethnomusicological, evolutionary, neurodevelopmental, psychological and psychoanalytical perspectives, the book explores music’s symbolic status, structure and way of operating compared to unconscious psychic functioning. Extraordinary similarities are revealed, especially in mechanisms such as repetition, imitation, variation (transformation), intimacy and the work of mourning, of the negative and of nostalgia. Moreover, silence and absence are essential components of music as well as of psychic and symbolic functioning. Time and temporality are specifically investigated in the book as key elements both in music and in symbolization and subjectivation processes. The role of the word’s phonic kernel and of the voice as fundamental links to emotions, the body, the sexual and the infantile has promising implications for psychoanalytic work. All these elements find an articulation in the natural as well as complex activity of listening, which conveys a tri-dimensional and polyphonic dimension of the world, so important both in music and in psychoanalysis. Illuminating the link between music and analysis in new and contemporary ways, The Sound of the Unconscious explores the resulting advances in theory and clinical practice and will be of great interest to practicing and training psychoanalysts and psychotherapists.
Is there an acoustical equivalent to Walter Benjamin’s idea of the optical unconscious? In the 1930s, Benjamin was interested in how visual media expand our optical perception: the invention of the camera allowed us to see images and details that we could not consciously perceive before. This study argues that Benjamin was also concerned with how acoustical media allow us to “hear otherwise,” that is, to listen to sound structures previously lost to the naked ear. Crucially, they help sensitize us to the discursive sonority of words, which Benjamin was already alluding to in his autobiographical work. In five chapters that range in scope from Tieck’s Blonde Eckbert, which Benjamin once called his locus classicus of his theory of forgetting, to Alexander Kluge’s films and short texts, where he develops what he calls “sound perspectives,” this monograph discusses how the acoustical unconscious enriches our understanding of different media, from the written word to radio and film. As the first book-length study of Benjamin’s linguistic, cultural-historical, and media-theoretical reflections on sound, this book will be particularly relevant to students and scholars of both German studies and sound studies.
As critical interest has grown in the unique ways in which art animation explores and depicts subjective experience - particularly in relation to desire, sexuality, social constructions of gender, confessional modes, fantasy, and the animated documentary - this volume offers detailed analysis of both the process and practice of key contemporary filmmakers, while also raising more general issues around the specificities of animation. Combining critical essays with interview material, visual mapping of the creative process, consideration of the neglected issue of how the use of sound differs from that of conventional live-action, and filmmakers' critiques of each others' work, this unique collection aims to both provoke and illuminate via an insightful multi-faceted approach.
NATIONAL BESTSELLER • From the bestselling author of The Drunkard’s Walk, a startling, eye-opening examination of how the unconscious mind shapes our experience of the world. “Mlodinow plunges into the realm of the unconscious mind accompanied by the latest scientific research ... [with] plenty of his trademark humor.” —Los Angeles Times Over the past two decades of neurological research, it has become increasingly clear that the way we experience the world—our perception, behavior, memory, and social judgment—is largely driven by the mind's subliminal processes and not by the conscious ones, as we have long believed. In Subliminal, Leonard Mlodinow employs his signature concise, accessible explanations of the most obscure scientific subjects to unravel the complexities of the subliminal mind. In the process he shows the many ways it influences how we misperceive our relationships with family, friends, and business associates; how we misunderstand the reasons for our investment decisions; and how we misremember important events—along the way, changing our view of ourselves and the world around us.
"The world's leading expert on the unconscious mind reveals the hidden mental processes that secretly govern every aspect of our behavior. For more than three decades, Dr. John Bargh has been conducting revolutionary research into the unconscious mind--not Freud's dark, malevolent unconscious but the new unconscious, a helpful and powerful part of the mind that we can access and understand through experimental science. Now Dr. Bargh presents an engaging and enlightening tour of the influential psychological forces that are at work as we go about our daily lives--checking a dating app, holding a cup of hot coffee, or getting a flu shot. Dr. Bargh takes you into his labs at New York University and Yale where his ingenious experiments have shown how the unconscious guides our actions, goals and motivations in areas like race relations, parenting, business, consumer behavior, and addiction. He reveals the pervasive influence of the unconscious mind on who we choose to date or vote for, what we buy, where we live, how we perform on tests and in job interviews, and much more. Before You Know It is full of surprising and entertaining revelations as well as tricks to help you remember to-do items, shop smarter, and sleep better. Before You Know It will profoundly change the way you understand yourself by introducing you to a fascinating world only recently discovered, the world that exists below the surface of your awareness and yet is the key to unlocking new ways of thinking, feeling and behaving."--Jacket.
During the first ten years of his career in psychological medicine, Sigmund Freud espoused a theory of unconsciousness which predated his own. As Rosemarie Sand describes in The Unconscious without Freud, he would evolve this theory over the course of his career and eventually apply it to his own psychological practice. Once Freud's hypothesis of unconscious mental functioning was published, the same professionals who had valued the traditional concept turned against what they considered to be a catastrophic, logically indefensible revision. The scientific investigation of unconscious influences was retarded for decades as a war zone opened between implacable opponents and intransigent defenders of the Freudian concept of unconscious mind. In the din of this battle, the traditional theory, free of the features which Freud's foes could not accept, was forgotten. Sand argues that a return to this original theory, which psychotherapists and experimenters might both espouse, could contribute to a cessation of hostilities and lead to the peaceful development of a theory of the unconscious—one that is free from the stigma that is currently attached to Freudian theory.
Characteristically, William Faulkner minimized his familiarity with the theories of psychology that were current during the years of his apprenticeship as a writer, especially those of Freud. Yet, Faulkner's works prove to be a trove for psychological study. These original papers from the annual Faulkner and Yoknapatawpha Conference, held in 1991 at the University of Mississippi, vary widely in their approaches to recent psychological speculation about Faulkner's texts. In recent years psychological analysis of literature has shifted largely from investigation of a writer's life to a focus on the work itself. Whether applying the theories of Freud and Lacan, drawing upon theoretical work in women's studies and men's studies, or emphasizing the rigid determinacy of psychological pressure, the essays included in this collection show Faulkner's works to be unquestionably rich in psychological materials.
What happened to musical modernism? When did it end? Did it end? In this unorthodox Lacanian account of European New Music, Seth Brodsky focuses on the unlikely year 1989, when New Music hardly takes center stage. Instead one finds Rostropovich playing Bach at Checkpoint Charlie; or Bernstein changing “Joy” to “Freedom” in Beethoven’s Ninth; or David Hasselhoff lip-synching “Looking for Freedom” to thousands on New Year’s Eve. But if such spectacles claim to master their historical moment, New Music unconsciously takes the role of analyst. In so doing, it restages earlier scenes of modernism. As world politics witnesses a turning away from the possibility of revolution, musical modernism revolves in place, performing century-old tasks of losing, failing, and beginning again, in preparation for a revolution to come.