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This essay places Sigmund Freud in a long tradition of allegorists who portray the psyche as self-disciplining. While Freud’s writings on the ego, id, and superego are reminiscent of premodern allegories, however, Freud is considerably less willing than many of his predecessors to encourage conscious self-discipline. Though he conceived of the superego as a disciplinary agent, Freud believed that analysis often calls for “the slow demolition of the hostile superego.” Psychoanalysis, in other words, entails a counter-confession: an intersubjective asceticism through which analyst and analysand discipline the discipliner within. The conclusion posits that the uncanny resemblance between Freud’s allegories and those of his premodern predecessors presents us a pedagogical opportunity to teach our students the long history of psychological allegory and help them appreciate the dynamic complexity of both Freud’s works and the archive of premodern allegory—bodies of writing that they often presuppose to be static, reductive, or irrelevant.

The article first resumes up-to-date conceptualisations of the superego in psychoanalytic theory, stretching from the superegoic sense of guilt (Freud) up to the superego as an "imperative od jouissance" (Lacan), and at the same time as an imperative of transgression insofar as enjoyment is by definition based upon transgression of the law. Against this background, the article develops another conceptualisation of the superego, which consist in the completion of the superegoic dialectics of "dirty and necessary" in perversion. This conception is based upon perverse self-instrumentalisation of the subject, which transforms the "dirtiness" of subjective enjoyment and transgression into their necessity. The article then moves toward the analysis of how especially this new conceptualisation of the superego manifests itself in the popular crime series Chicago Police Department (CPD), and in some logically and structurally similar phenomena, which occurred during Donald Trump's presidency. [ABSTRACT FROM AUTHOR]

Although Orson Welles's 1958 Touch of Evil is the most critically and commercially recognised film within the border noir submode, this essay instead examines Robert Montgomery's often overlooked 1947 film noir Ride the Pink Horse because of its close attention to the borderland setting. The article utilises a psychoanalytic understanding of affect and a border-influenced reverse anthropology to examine how the deterritorialised effect of the border zone and the uncanny atmosphere of the carnival environment in the film distresses the traditional noir antihero. Specifically examined is the relationship between two major manifestations of anxiety, two major affects: guilt and shame. This attention illustrates how the relocating of the noir universe out of the confines of the conventional dark urban streets to the liminal border zone uncannily transforms the guilt usually associated with the noir protagonist into a type of shame and a stronger encounter with anxiety as, appropriately, a borderless enigma. While guilt usually provides a distance from this enigma for the conventional noir antihero, shame produces a flight into being, as illustrated in the film's narrative details. Ultimately, Montgomery's cocksure character (Lucky Gagin), through his encounter with the deterritorialisation of the uncanny border zone, is transported from the conventional noir hero's masculine position (psychoanalytically conceived) into an abject position that aligns more precisely with the feminine discursive position. [ABSTRACT FROM AUTHOR]

Judith Kestenberg conducted extensive research into child victims of Nazi persecution. She sought not only to understand the psychological effects of the traumatic experiences and persecution experienced by those children but also to understand the psychological processes behind Nazi ideology and behavior. The objective of this article is to present some of her hypotheses about how Nazi ideology acted on both the victims’ and the Germans’ superegos, as well as to address her conception of the psychological motivations for Nazism. The author claims that Nazism managed to invade the superegos of both Germans and some of the victims, which meant that, in the case of the latter, the persecution continued, even after the end of the Nazi regime. She also states that the children of Nazis were also victims of this regime, whose ultimate motivation would be the Germans’ impulse to kill their own children.

Key to psychodynamic and psychoanalytic work is an observing ego and the capacity to reflect on conscious and unconscious dynamics. Supervision frequently requires us to think the unthinkable and consider and reflect on material that might be shame inducing or provoke anxiety. However, this requires the ego to allow unconscious thoughts and feelings to surface and not be inhibited by the superego. The superego affects us in many ways. It sometimes acts as a censor determining what can be consciously thought in order to manage anxiety and inhibit unwanted thoughts and affects entering consciousness. It can persecute us with shoulds and oughts but it can also protect through consideration of what is appropriate and ethical. In this paper I explore the impact of the superego on supervisory and clinical work in terms of being a censor, a persecutor and protector. The paper interweaves theory with clinical examples and examines how the superego can inhibit the exploration of clinical material and the development of a reflective and psychodynamic understanding of the client's internal world. In addition I consider how the superego is a factor that ensures good practice and that the work of the clinician is fit for purpose. [ABSTRACT FROM AUTHOR]

Humans are social animals and in this respect they are bound to adhere to the norms of society. Socio-cultural norms prove crucial in maintaining decorum and harmony in society. If anyone does something which is against the codes of society is poked by various forces. In Freudian sense human behaviour is governed by three factors i.e. ego, superego and Id. Id represents all the desires whereas superego represents morality, values and ethics; and being social animals, the mind human beings use is ego which strikes a balance between the two i.e. Id and superego. This research paper explores how the abundance of Id results into clashes with the forces of ideology and power in the movie, Amar Singh Chamkila. This paper also showcases that how the unconsciousness of the masses has been revealed under the predominating influence of superego. Besides this, it projects the protagonist struggling for survival attempting improvisation ranging from immoral songs, sublimation, devotional lyrics amidst the complex web of socio-cultural milieu sacrificing his life eventually. [ABSTRACT FROM AUTHOR]

Social media has become a crucial part of everyday life, especially during the Covid-19 pandemic, which has led to a shift towards virtual interactions. This research examines the parasocial relationship between fans and public figures on TikTok, focusing on Major Teddy Indra Wijaya, who is known for his popularity on TikTok as Mr. Prabowo Subianto's personal aide. Using a descriptive qualitative research design with a case study approach, this research involves in-depth analysis and careful observation of specific cases to gain a comprehensive understanding of the phenomenon. Data was collected through detailed observations and indepth interviews with TikTok users who admire Major Teddy. The case study method allows for an integrative and thorough examination of the individuals involved. The data was analyzed using Sigmund Freud's psychoanalytic perspective, focusing on the concepts of Id, Ego, and Superego. The results indicate that individuals involved in parasocial relationships may experience negative impacts such as obsessive behavior and stress from negative comments by other users on the platform. These findings highlight the importance of understanding and managing parasocial relationships wisely to prevent potential psychological harm to the individuals involved. [ABSTRACT FROM AUTHOR]

Copyright of Journal of Abant Social Sciences / Abant Sosyal Bilimler Dergisi is the property of Journal of Abant Social Sciences and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Sigmund Freud is recognized worldwide as the original psychoanalyst founded to form theories and concepts surrounding the existence of mental illness and its nature in relation to human behavior. Throughout his psychological and psychoanalytic studies, Freud concluded that behavior can be explained through the investigation of one's experiences and traumas by accounting for the motivation of a person's actions. Interpretation of his findings concluded that a person can adapt his/her behavior from childhood experiences to become part of the hidden state of consciousness He studied unobservable behaviors, parts of personality that are not clearly visible within one's nature and at a basic level, cannot be explained. In 1923, Freud created a psychological idea or theory that the human mind had three elements that conceptually make up the "Psyche". The Id (instincts), Ego (reality), and Superego (morality) are not tangible physical areas within the brain, but rather entities that Freud concluded make up the human personality. What Freud called the "psychic apparatus," three elements of the human personality are now established as the unconscious level that dictates biological desires and instincts. Psychoanalytic criminology is a method of studying crime and criminal behavior that is based on Freudian psychoanalysis. This theory or school of thought examines the personality and psyche (especially the unconscious) for motive in crime. Other areas of interest are fear of crime and the act of punishment. Criminal behavior is attributed to maladjustment and dysfunctional personality. According to Buhagiar, "psychoanalytic criminologists were not against the principle of solitary confinement and often favored increased punishment." [ABSTRACT FROM AUTHOR]

Cet article aborde la place et la fonction de l'éthique psychanalytique dans les pratiques médiatisées et dans les dispositifs qui sont supposés y former. À partir d'une différence entre deux traductions de P. Lacoue-Labarthe commentant l'emploi par Adorno du terme Entkunstung , désartification et désart , il sera montré en quoi le désart introduit à une dimension particulière que convoque et vise toute improvisation : celle d'une pratique sans objet, d'un art sans œuvre. Or, l'improvisation concerne spécifiquement les pratiques des médiations thérapeutiques, lorsqu'elles sont orientées par la psychanalyse. Comment donc penser le désart dans ces pratiques cliniques qui se nomment médiations thérapeutiques par l'art et comment y former ? Pour traiter cette question les auteurs se basent sur l'analyse des processus psychiques et transférentiels en atelier de formation à l'université. Dans les ateliers de formation aux médiations thérapeutiques (ici par la musique), on observe le déploiement de plusieurs dimensions du désart : une dimension du désart dans l'Imaginaire (ruine de l'idéalisation groupale), dans le Réel (l'impossible rapport à l'instrument), et une dimension symbolique du désart (insistance du désir du clinicien-artiste-formateur). Ces dernières apparaissant comme les coordonnées borroméennes d'une orientation par le désart. Ces dispositifs de formation transmettent bien plus qu'un abord de l'esthétique ou que la mise en œuvre de techniques d'animation faisant référence à des protocoles existants. Ils représentent une scène privilégiée pour cerner et fonder la spécificité de l'éthique psychanalytique en médiation. Cette orientation du désart relève l'articulation de deux positions qui pourraient de prime abord apparaître comme contradictoires mais qui deviennent maintenant conciliables : celle du clinicien et celle de l'artiste. This article discusses the place and function of psychoanalytic ethics in therapeutic mediation through art and in the training of therapists in the use of these tools. Starting from a difference between two French translations by P. Lacoue-Labarthe of Adorno's term Entkunstung (désartification and désart), it will be shown that Entkunstung as "disart" introduces a particular dimension that all improvisation summons and aims at: a practice without an object, art without a work. Yet, improvisation specifically concerns therapeutic mediation practices when they are oriented by psychoanalysis. So how can we think about Entkunstung in clinical practices that use art as a therapeutic mediation, and how can we train for it? To answer these questions, we explore psychic and transferential processes in university training workshops. In the training workshops for therapeutic mediation (here through music), we observe the deployment of several dimensions of Entkunstung : a dimension of Entkunstung in the Imaginary (the ruin of group idealization), in the Real (the impossible relationship with the instrument), and, finally, a symbolic dimension of Entkunstung (the insistence on the desire of the clinician-artist-trainer). These three dimensions appear as the Borromean coordinates of an orientation through Entkunstung. These training systems transmit much more than an approach to aesthetics or the application of leadership techniques referring to existing protocols. They represent a privileged stage for identifying and establishing the specificity of psychoanalytic ethics in mediation through art. The notion of Entkunstung highlights the articulation of two positions that might at first appear contradictory but which can be reconciled: that of the clinician and that of the artist. [ABSTRACT FROM AUTHOR]

Freud's publication of The Ego and the Id sparked a diverging set of psychoanalytic models - ego psychology, structural conflict theory, Kleinianism, object relations theories, Lacanianism, etc. - each of which attempted to deal with the clinical limitations of his first topography in regard to unconscious guilt, negative therapeutic reactions and primitive character organizations. This paper attempts to look back on these developments from the perspective of contemporary, post-Freudian psychoanalytic theories. [ABSTRACT FROM AUTHOR]

This study aims to analyze the psychopath and psychosis phenomena reflected by D. H. Lawrence in the novella The Fox (1923), from a psychoanalytic perspective. In this research, the fundamental problems are how Henry Grenfel depicts his psychopathy and manipulates without guilt and sympathy for his desires. And how Nellie March depicts her psychotic behaviors by perceiving hallucinations and delusions. This research uses qualitative method which uses data in text. To analyze the data, the researcher uses descriptive analysis. The findings of this research suggests that Henry Grenfel, the main character, is a psychopath who is a very manipulative person, has no guilt and empathy and has intense desires. D. H. Lawrence writes the Novella to show that poor parenting in early childhood and environmental disturbance can make anyone a psychopath because every human is a born psychopath. Through March, the female protagonist, Lawrence shows a process of being psychotic. This novella also shows that while struggling in life, rumination can cause a psychotic disorder and perceives hallucinations and delusions that may horrify the person; however, with time it can be healed by self-esteem and environmental stability. [ABSTRACT FROM AUTHOR]

Psychoanalysis has long lost its historical influence on U.S. academic psychiatry. Psychoanalytic theory, however, provides us with a rich and remarkably comprehensive knowledge of human development, both normative and pathologic. This article describes a psychoanalytic concept that enriches our understanding of the mind and its disorders: Freud's structural hypothesis. This core concept provides a theoretical foundation for understanding the clinical features of both neurotic and personality disorders. It also informs a psychodynamic psychotherapy. [ABSTRACT FROM AUTHOR]

Through Lacan’s formalization of the theory of discourses and the discourse of the capitalist, we aim to locate the operation modes present in neoliberal rationality. We start from the introduction of a new modality of social bond, which seems to block the working possibilities of a quarter spin and operates under the psyche in the mold of an unlimited production, reducing desire to the dimension of demand. This movement captures the subjectivity through the superego and begins to be guided by horizons forged by neoliberalism. The endeavor of the capitalist discourse resembles the “perfect crime”, which has as its goal the erasure of any trace that serves as a desiring orientation. We bet on the inscription of desire through the act of listening as a strategy for locating possible representations. In this way, the consummation of a perfect crime is avoided and it is turns to be about an operation with a leftover that cannot be assimilated by the market economy. It is to the extent that this remainder can be welcomed through listening that the possibility of producing not only a coordinate based on desire, but also a political strategy in the face of the unlimited nature of contemporary markets is inscribed. [ABSTRACT FROM AUTHOR]

This paper explores the links between trauma, guilt, and the superego, and through this exploration attempts to make some additions to our understanding of individual dynamics, group regression, and group delusions. The author first describes his concept of the zero process as the form of mental functioning that is a product of the breakdown of the construction of the present moment during trauma. These unconstructed, bits and pieces memories exist as present experiences or future expectations. From time to time, in relation to traumas that are either individual or developmental, inner objects which have the quality of immediate presences form—we usually call them introjects. The author suggests that these are best conceptualized as zero process structures in having many characteristics of the zero process, and that the obligatory connection between trauma and guilt, and the manner of transmission of culture and the superego, and of conspiracy theories and other group delusions, can be better and more deeply understood once the part that zero process structures play in all these phenomena is brought into focus. [ABSTRACT FROM AUTHOR]

This essay undertakes an analysis of the underlying causes behind Kurtz's difficulties in Joseph Conrad's Heart of Darkness, primarily drawing upon the scholarly works of Emile Durkheim and Sigmund Freud regarding civilization and its discontents. Drawing from sociological and psychological concepts of the late nineteenth century and examining instances of alienation within industrialized society, the paper approaches Kurtz's issues of corruption through Durkheim's homo duplex and Freud's theory of psychological conflicts among the id, ego, and superego. Kurtz emerges as a construct and casualty of European society, burdened by its imposition of strict rules and regulations aimed at subduing primal desires and interests in favor of collective security, peace, and social order. Therefore, his liberation from the oppressive structures of European society in the Congo grants him the opportunity to expose his primal self, characterized by inclinations towards violence, debauchery, and transgressive behavior. The responsibility for transforming Mr. Kurtz into the ruler of the jungle cannot be placed solely on the natives, as the central culprit, as elucidated by Conrad's interventions in the text, is the European civilization that curtails and suppresses individual identities and desires. The essay portrays the prevalent discontentment and restlessness inherent in the early stages of industrial society through a combination of sociological and psychological elements and fictive characters. [ABSTRACT FROM AUTHOR]

Copyright of Journal of Tikrit University for Humanities is the property of Republic of Iraq Ministry of Higher Education & Scientific Research (MOHESR) and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

This article investigates the stakes of violent acting-out in adolescence from an inter and transubjective perspective. Many studies have highlighted the role of early trauma in adolescent perpetrators of violent acting-out. This work is specifically focused on the vagaries of unconscious generational transmission and the stakes of telescoping of traumas making collusion between the traumatic experiences of different generations. With this aim, the data were collected from adolescents in a situation of migration via semi-structured interviews as well as two projective techniques (Rorschach et TAT). The repercussions of generational transmission in the process of subjectivation have been brought to light by studying the construction quality of the three ideal instances, the ideal ego, the ego ideal and the superego, as well as the articulation between these instances. [ABSTRACT FROM AUTHOR]

This essay unfolds in four parts. In the first part I argue that the struggle against apartheid must be understood as a war against war, namely a war that is waged with the superego of apartheid as war itself. In the second part, I consider J.M. Coetzee's essay on The Mind of Apartheid in the context of the hypothesis put forth by Jacques-Alain Miller and others that racism is the theft of enjoyment. I show that the superego of apartheid is both a threatening and a threatened object and that working to produce the impression that the object of enjoyment is under constant threat is an essential component of the superego's sadism. In part three I stay with Coetzee's essay to consider the spatialisation of the superego under apartheid. I argue that this spatialisation should be understood in terms of Carl Schmitt's concept of the nomos. Finally, in part four I reconsider earlier work on apartheid as enforced melancholia to argue for a burial of the apartheid superego that can release the subject of the postapartheid from enforced psychosis. [ABSTRACT FROM AUTHOR]

Freud's mature theorizing about human morality entrenched the functioning of the superego in anxiety stemming from the fear of punishment, a view with which many later psychoanalysts took issue, producing a debate as to the distinction between superego and conscience. This debate would later be mirrored more broadly in academic psychology concerning distinctions between shame and guilt. This is an area where the clinical observations and theoretical discussions of psychoanalysis have subtly guided research in cognitive psychology and the cognitive and affective neurosciences. These areas, in turn, have both clarified and supported psychoanalytic theory and practice without negating the rich phenomenological and theoretical basis on which psychoanalysis rests. [ABSTRACT FROM AUTHOR]

National research studies report elevated suicide rates amongst gay men, particularly those under the age of 26. Much of the current health and psychiatric literature on suicide tends to focus on the external world impacting on the suicidal individual. Although valuable, it is not enough to understand the specific circumstances that could contribute to gay men's suicidality. This paper focuses on the relationship between the external and internal dynamics at play in the suicidality of gay men, with particular emphasis on the development, influences, and nature of a cruel and punishing superego. The author provides some contemporary psychoanalytic theories on same‐sex desire as a useful framework to understand minority sexuality. Some influential classic and contemporary psychoanalytic theories regarding suicidality and the development and character of a cruel and punishing superego are presented. The concept of internalized homophobia and the impact of heteronormative masculinity on the gay man's psyche are explored as drivers for suicidality. A composite case study from clinical experience with suicidal gay men in an NHS setting is presented to illuminate the discussion. This paper could add new perspectives and important dialogue for psychoanalytic psychotherapists working with this patient population. [ABSTRACT FROM AUTHOR]

Acrimony, dissension, and controversy have characterized psychoanalytic education from the beginning. The usual scapegoat for this situation has been the training analyst system. But this system is seen as just a symptom of deeper, underlying conflicts about our field and preparing for it. In particular, the tendency toward authoritarian dogmatism amongst psychoanalysts is a prime contributor. This inclination derives from the defensive idealization and fanaticism characterizing many psychoanalysts. Such idealization helps us to manage the many uncertainties that characterize our theory, our practice, and our pedagogical efforts. Various methods to address these uncertainties more directly are suggested as a way to counteract the negative effects of fanaticism. [ABSTRACT FROM AUTHOR]

The ego and the id is considered the last of Freud's great theoretical works, in which he brings us a new model of the mental apparatus, whose bases can be traced back to the Project for a Psychology for Neurologists (1895). The change in the model of the mental apparatus is preceded by the change in drive theory (Beyond the pleasure principle, 1920). There are two kinds of drives: life or Eros and death or Thanatos. This new theoretical basis has as consequences the revision of concepts and their expansion, giving rise to thinking about normal and pathological mental functioning from a broader perspective. [ABSTRACT FROM AUTHOR]

The study about the types of comicality, and in special the humor, worried the romantics and had an influence on the studies in the beginning of the XX century. Freud, influenced and influencing this context, writes two works that treat about this thematic. In this paper, the theme humor goes to some discussions: the humoristic laugh like the framing of the affection and the effect of the affable speech of the Superego for this formation. When the plastic represented by the humoristic laugh is understood, it takes into consideration that this process gathers two possibilities of a trap, both can be constituted either as by the invoking drive or as the scopic drive. The first, by the affable and consolatory speech of the superego, that seems to work as a voice-tamer, the sonority of this speak offers a new place that is not only the deadly imperative. The second trap would be the humoristic laugh, which can be thought as a look-tamer. The contained laugh that frames the sensation of the mockery play in front the risk confronted, even knowing that this challenge persists for out of your edge, which can be approached to tears. To think the effects of the artistic and esthetic characteristics of the humor, two episodes of the work Dom Quixote de La Mancha are taken as illustration. The parts of the romance help to think how the laugh, through the imagistic and sonorous expression, can frame the affections or overflow in excess. This esthetic comprehension helps to situate your reach, that either can be the share of the pleasure or the lonely reaffirmation of the jouissance. Thereby, the humoristic smile can work as a trap for the affection, frames it reveling, retracted, that what terrifies can be faced, even that's not annihilated; the rest is excess. Therefore, even in a risky way, the humor is capable of constructing the utterance of the loss, that remits the subject to their desire. [ABSTRACT FROM AUTHOR]

In this article, we aimed to analyze how the pervert, sadist, or masochist, when acting out his fantasy ($<>a) takes himself as an object a to refuse castration and locates it in his anguished and divided partner ($). Thus, he enjoys and meets the superego imperatives in a very peculiar way. This is a stubborn strategy to restore the voice of the Other, to make him non-castrated, which would give him access to a mythical jouissance. To this end, neurotic and perverse fantasies are distinguished and the way in which the engendering of jouissance is correlated to the position of the object and that of the divided subject in each one is analyzed. Besides this, the relations of the superego with the fantasy of the perverse, sadist, or masochist are deeply studied, which demonstrates their particularities. Therefore, it is concluded, by the importance of the clinic and the differential diagnosis in the studies about the superego. [ABSTRACT FROM AUTHOR]

Starting from the distinction between “ideal ego”, “ego-ideal” and “superego” structured from the Imaginary-Symbolic-Real triad made by Lacan, this study investigates how is possible to distinguish the a-sexual social space from the domain of libidinally-cathexed interactions. Through the analysis of Balibar’s, Miller’s, Schuster’s and Hägglund’s ideas, paths and strategies are defined to analyze the existing dynamics between symbolic power, law and superego. What emerges is the reconstruction of a new subjectivity which is capable, at the same time, to overcome the jouissance-superego dynamic at the basis of Lacanian reflection and face the challenges of contemporary post-humanism. Therefore, what subject stands for is the inhuman core of being-human, what Hegel called selfrelating negativity, what Freud called death drive. The text proposes, in short, how the Subject is what is in a human being more than human, the immortality of the deathdrive which makes it a living dead, something that insists beyond the cycle of life and death.

Özünde insanın anlamaya ve açıklamaya çalıştığı benliğini, bilim adamları ve sanatçılar, çoğu zaman farklı kavramları kullanarak aynı şekilde izah eder. Divan şairleri ise kadim bilgiler, öğretiler, inançlarla şekillenen söylemlerini -başka çağ ve coğrafyalarda bambaşka adlandırılmış olsa da- insana dair temel özellikleri esas almak sureti ile evrensel biçimde işlemişlerdir. Nitekim farklı disiplinlerin alanyazınından istifade edilerek yapılacak tahliller, klasik Türk şiirinin mantık ve evrensellik çerçevesi ile kuşatılmış bir bütünlük olduğunu göstermesi açısından önem arz etmektedir. Psikoloji bilimi ve psikanaliz çalışmaları da bu noktada klasik şiirlerde anlatılan insanı farklı bir bakış açısıyla değerlendirebilme açısından çeşitli imkânlar sunmaktadır. Psikanalizle ilgili önemli çalışmalara imza atan Freud, yapısal kişilik kuramı ile insan duygu ve davranışlarının id, ego, süperego diye adlandırdığı zihinsel yapıların etkileri sonucunda ortaya çıktığını ifade eder. Bu kuramla bilinçdışı istekler, dürtüler ve haz ilkesine bağlı hareket eden bir yapı olarak id, gerçeklikle bağlantı kurmaya çalışan, bilinçli denge mekanizması ego ve geleneksel değerlerin ve ideallerin içsel temsilcisi süperego (üstbenlik) sistematize edilerek açıklanır. İdin ahlak dışı istekleri ile süperegonun mükemmelliğe ulaşmaya çalışan ahlakî ve vicdanî yönü arasında benlik işlevlerini yerine getirmeye çalışan egonun, dürtüler üzerinde egemenlik kurma ve diğer taraftan da id, süperego ile gerçekliği bağdaştırma çabasına değinilir. Gelenekte ise benliğin parçaları olarak ifade edilebilecek id, ego ve süperegonun özellikle tasavvufi şiirlerde belirginleşen nefs, akıl ve gönül/kalp kavramları ile zikredildiği söylenebilir. Klasik Türk şiirinde dünyevî zevklerin peşinden giden, insanın var olma amacı ile uyuşamayan, mantıksız içgüdüleri kovalayan nefs, bu özellikleri ile aşağılanan ve eleştirilen bir unsur olarak karşımıza çıkar. Kendi istekleri doğrultusunda harekete geçen ve İlahî gerçekliğin farkında olmayan nefse karşı kalp/gönül ise insan-ı kâmil olma idealini gerçekleştirmeye çalıştığından doğru ve yanlışı özellikle tasavvufî öğretiler çerçevesinde belirleyen manevi bir yapı olarak takdim edilir. Diğer taraftan akıl, nefsin dürtülerini bastırmak, onun haz ilkesine karşı gerçeklik ilkesini devreye sokmak durumundadır. Ancak aklın, gönlün isteklerini de çevresel koşullar gereğince denetleyip düzenlemesi gerekmektedir. Bu noktada genellikle gönlün yanında tarafını alan divan şairleri gönlün arzuları üzerinde egemenlik kurmaya çalışan aklın karşısında bir konum alır. Onu gerçek anlamı bulma konusunda eksik ve aciz olarak tanımlar. Şairler, genel olarak akıl engelini aradan çıkarıp nefsi de saf dışı bırakmak sureti ile yalnızca gönülle hemhal olma isteklerini sıklıkla vurgular. Şairin iç dünyasına, insana ve hayata bakış açısına dair bilinçli veya bilinçaltı düzeyde çeşitli ipuçları sunan nefs, akıl, gönül ve onlarla bağıntılı kullanılan imgelerin id, ego ve süperego ile örtüşen anlam çerçevesini tespit, bu makalenin amacını oluşturmaktadır. Bu doğrultuda Freud’un teorik saptamaları esas alınarak Fuzûlî Divanı’ndaki nefs, akıl, gönül, kalp odağında çeşitli anlatım hususiyetleri ve kavramlar ele alınmış; yorumlanmaya çalışılmıştır. Fuzûlî’nin, özellikle tasavvufî fikirlerinin yansıması olan anlatımlarında, nefsin hoş karşılanamayacak isteklerini, aklın ise iyi ile kötüyü ayırt etme vasfını ön plana çıkardığı görülmektedir. Ancak sorgulayan ve engel çıkaran akla karşılık şair, mutlak güzelliğin tecelli aynası olan gönlün değerlerini öncelemiş; gönlü manevî ve ulvî bir konuma yerleştirmiştir. Çalışmamızda nefs, aklı, kalp ve gönül kavramlarının Fuzûlî Divanı’nda hangi bağlamlarda kullanıldığını belirlerken içerik analizi yöntemi kullanılmıştır. Söz konusu bu kavramlar, divanda fişleme yöntemi ile tasnif edildikten sonra, manzumelerin teması çerçevesinde şairin kavramlara yüklemiş olduğu anlamlar üzerinden genel bir değerlendirmeye gidilmiştir.

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This study tends to explore the effects of guilt and remorse in Julian Barnes’s The Sense of an Ending. The study argues that guilt and remorse have both positive and negative effects. Major characters have been taken for analysis and interpretation under the broad vision of psychoanalytic theory. Classical psychoanalytic theorization of guilt and remorse by Sigmund Freud and Melanie Klein makes the theoretical framework of the study where guilt and remorse arise due to conflict among id, ego and superego. This study examines the novelist’s depiction of guilt and remorse in the novel. It makes a contribution to the bulk of knowledge as guilt and remorse in the novel have not been investigated before. The study finds that despite postmodern incredulity towards ethical considerations, the elements of guilt and remorse and its effects justify Barnes’s humanistic and optimistic approach towards life. [ABSTRACT FROM AUTHOR]

Depicting the existence of social, ethical, and religious problems in institutional church and aristocracy, many of the novels written in Gothic tradition are critical of the aesthetics of the neoclassical period. Not only did gothic novels emerge as a reaction to the values and dynamics of the neoclassical period, but they also depicted a realistic panorama of the Romantic period with its usage of supernatural and mysterious elements. In this respect, Gothic tradition is a mixture of reality and hidden feelings that individuals and society had at that time. Being an anachronistic representation of the period, The Monk (1796) by Matthew Lewis is highly critical of the Medieval representation of the Church covering incestuous villains, oppressed religious characters like a villainous monk, seducing demon and evil nuns, the plot structure is an extensive presentation of the dark side of the human and problematic issues taking place in and around the Church along with the presentation of aristocratic life. Lewis presents not only what is visible but also highlights contradictory applications of the Church. This deep and dark relationship is one of the main issues of the Medieval period portrayed by Lewis in the late 18th century. In this context, this study intends to shed light on this interwoven and complicated relationship from a Freudian perspective by highlighting connections, especially between the id and superego to reveal hidden and deeper feelings inside human beings. [ABSTRACT FROM AUTHOR]

This paper attempts to analyze Amir's triple personality in the novel, The Kite Runner towards his father (Baba) and his friend (Hassan) by applying Freud's personality theory. His jealousy toward Hassan brings his dominance over Id, so he feels guilty for his past mistakes and redeems by rescuing Hassan's son Sohrab from Assef by completing it. Finally, he becomes a good man again. All the personality traits of Amir have been identified but his personality traits vary significantly depending on the perceived presence of his social context. [ABSTRACT FROM AUTHOR]

This paper addresses various facets of psychological changes observed in adolescence when they are propelled into a dangerous or uncertain situation. Based on Freud's tripartite structure of Ego psychology, the characters are studied concerning their age and other external factors. It also shows the dynamics of the Id, Ego and Superego in three adolescent characters in the novel The Prince of Mist (1993) written by the Spanish novelist Carlos Ruiz Zafon and translated into English by Lucia Graves. The plot is set during the Second World War and the young protagonist Max, his sister Alicia and their friend Roland are stuck in a ballgame unknown to them. While trying to unravel the mystery they face their greatest villain, their fears. These characters witness a series of ill-fated events that forces them to be on edge. The conflict between their moral and realistic visions results in impulsive actions which are examined using the three structures proposed by Sigmund Freud i.e., Id, Ego, and Superego. [ABSTRACT FROM AUTHOR]

Pakistan is a male dominant country where women are not just subjugated under patriarchy but to societal norms as well. In this social context, this research paper addresses the question of how Stockholm syndrome can be found in the women of Pakistan. The researcher has aimed to break down the power dynamics between the men and the women of Pakistan through the lens of psychoanalytical framework and Stockholm syndrome. This article is a qualitative research article and it studies two characters, Persephone and Hades, from Greek mythology that Louise Glück uses in her two poems: A Myth of Innocence and A Myth of Devotion compiled in her book Averno (2006). This article identifies Persephone as a victim of Stockholm syndrome representing Ego under stress and the reasons behind why she is captivated by Hades. It also studies Hades as an abductor of Persephone and the representation of Id that fully takes over him. The poems have been written by an American but they are applied on Pakistani men and women .The findings of this article highlight that women in Pakistan may become the victim of abuse by their spouses, but yet choose to stay with them either because of their attachment with their partner/tormentor or feeling pressurized by the society and its twisted and hypocritical rules. When women choose to defy these rules they become the victim of domestic violence. [ABSTRACT FROM AUTHOR]