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This paper deals with the very different ways in which Friedrich Nietzsche and Sigmund Freud deal with the subject of violence. Both start from its recognition as a basic magnitude of the human being and of an eminently pulsional nature. But while the former sees it as an essential manifestation of its central category-the will to power, the latter sees it as the greatest threat to culture, and thus emphasises the essential function of the law as its support and the condition of its possibility. This different approach finds its expression in the choice of two equally differentiated mythological figures as the motif of their respective reflections. Dionysus is the Nietzschean figure, and Christ aims to be the Freudian one, although their final confirmation cannot be attested, only deduced by way of the theoretical contradictions that hinder their crystallisation. Clarifying this difficulty is the final aim of this work. Both mythological figures are then considered in their relationship with wine, establishing the different rituals in which one and the other guide their use. In contrast to the Dionysian bacchanal and the Dionysian forest, the Christian wedding and the Christian temple. And above all: against the Dionysian dissolution of the individual, the affirmation of the individual as the subject of the word in its sacrificial dimension. Joker by Todd Phillips, 1919 and Gran Torino by Clint Eastwood, 2008 constitute the visual background of this work, together with Raphael, Michelangelo, Leonardo, Titian, El Greco, Goya, Leveque, Ribalta, Vos, Van Gogh... [ABSTRACT FROM AUTHOR]

This paper starts from the observation of the symptomatic absence regarding the interpretation of the mytheme of the encounter with the Sphinx, both in Freud's analysis of Sophocles' Oedipus Rex and in his theory of the Oedipus complex. A detailed study is made of the allusions to the figure of the Sphinx in Freud's work and in the Sophoclean text, as well as their repercussions in the biography of the founder of psychoanalysis. A critical review is also made of later approaches to the subject, with particular emphasis on the work of Marie Delcourt and Didier Anzieu. Following a review of the concepts of castration and the primary scene in Freud's work, it is proposed to interpret the mytheme in question as a mythological manifestation of the primary scene, promoted to the status of gateway to the Oedipus complex and seen as the castration scene of the phallic mother. As the psychoanalytical reflection is developed, simultaneously the anthropological one is created. Freud's reflections on matriarchy are reviewed and the thesis is formulated that Sophocles' version of the Oedipus myth constitutes a precise manifestation of the patriarchal revolution, which put an end to a previous matriarchal regime in the Mediterranean world. [ABSTRACT FROM AUTHOR]

The similarity of the dream with hallucination and psychosis is a constant idea that runs, in the background, throughout Freud's work. It is therefore quite surprising that Freud does not pay attention to the specific status of the nightmare in relation to both. The aim of this paper is, in its starting point, to fill this gap: to bring to light, by examining the two Freudian texts --the 14th of his Introductory Lectures on Psychoanalysis (1915-1917) and the Scheme of Psychoanalysis (1938)--, the theoretical place of the nightmare at the frontier that separates dream and psychosis, by pointing out certain common significant uses by Freud in his description of both nightmare and psychosis. In the light of which the borderline position of the nightmare in relation to psychosis --in which insomnia comes to occupy a prominent position-- is established, and the central deficit of the psychotic ego is examined, concluding that it is the result of the failure in the construction of the superego. [ABSTRACT FROM AUTHOR]

This paper studies the insistent presence of Ernst Kris's case known as the fresh 'brains man' in Jacques Lacan's speech. We identify direct allusions to it, we specify certain notable distortions and contradictions -never declared- that contains, as well as we review other forms of influence that not for being indirect are less relevant. This makes it possible to establish the profound shock that the knowledge of Kris's case and interpretation produced in the French psychoanalyst, all of which motivated by a shared family constellation and a very similar passion for plagiarism. This work is part of a textual analysis of Lacan's discourse that sheds a specifically psychoanalytic -and we could also say clinical- light on some of the most characteristic features of his rhetoric, on the way he led the institutions in which he participated, and on the peculiar nature of the way these institutions work. [ABSTRACT FROM AUTHOR]

In this paper we are going to tackle the singularity and the power of the great cinematographic close-up. We will argue its relationship with the primordial imago -and, hence, with the figure of the female face. Next, we will address the display of that presence -that of the primordial imago- in the fantasmatic scene that is found in many cinematographic stories. Lastly, we will analyse the act that this presence summons and the drive impulse that nests within it. This reflexion is projected historically through the concise analysis of the nuclear scenes of Broken Blossoms (1919, D.W. Griffith), Alfred Hitchcock's The Birds, (1963, Alfred Hitchcock), Prometheus (2012, Ridley Scott)), The Good Star (1997, Ricardo Franco), The Searchers (1956, John Ford) and Casablanca (1942, Michael Curtiz). It can be recognised how the opposite to the impulse to violence is conducted in the classical and postclassical cinema. Finally, and in the light of such analysis, we propose an explanation of the plethora of the meaning that characterises the hero's act in the classical story: that is due to the hero's capacity to put a stop and therefore contain the scene that could have been unleashed in its absence -this is, the violent and disintegratory scene that, contrarily to the classical story, reigns in the postclassical spectacle. [ABSTRACT FROM AUTHOR]

1. Men think about themselves through and in their relationship with the gods. As their gods are something more durable and less variable than them, only through their construction, can men introduce new categories that allow them to think about themselves. 2. With the emergence of the idea of equality for everyone -and the notion of universal mankind that makes it possible- human beings needed a mythological story of the birth of a god's son separated from any tribe, from any territory and any nation: the son of a God that is pure word -since only the capacity of speaking equals everyone beyond their infinite differences of all kinds. 3. A God, that is not only the incarnation of the real, but also is against it, which explains the reason that will make Freud affirm that it is an ethical God, which represents the foundation of a new notion of being. 4. And finally, a God, that instituted the repudiation of the human sacrifices in order to lighten a new form of sacrifice and enjoyment: not the other's sacrifice, but the self-sacrifice. 5. In order to get a better historical understanding of the revolutionary dimension of these novelties, we will proceed to sketch the archaical past scene against which this God emerges: this is the moment of the gods, Moloch, Saturn, Jehovah....that claim human sacrifices and in whose most archaical origin the maternal divinities were probably found. [ABSTRACT FROM AUTHOR]

In this work we raise the idea that the 21st Century holocausts were precisely that, holocausts, and we will interrogate the cause that has made that possible during decades that the precise word was used to denominate them, and at the same time, the acknowledgment of its meaning was negated. Given the fact that those holocausts consisted of massive human sacrifices which were not offered to the monotheist and patriarchal God. Given also that such sacrifices were committed only when the idea of its death had been diffused and there had been generalised the contempt for the most strict virtue associated with him, the compassion; it all seems to indicate that the divinities towards which these sacrifices were offered up, had the character of maternal and archaic divinities. Finally, we will raise the idea that the supermen's tribal bond with their maternal goddess is considered as a primary identification, which excludes all oedipal constitution of subjectivity and that, in the same way, is constituted over a background of psychotic nature. [ABSTRACT FROM AUTHOR]