Freud and the Scene of Trauma / / John Fletcher.

• Superior document: Title is part of eBook package: De Gruyter Fordham University Press Complete eBook-Package Pre-2014
• VerfasserIn: Fletcher, John,
• Place / Publishing House: New York, NY : : Fordham University Press, , [2013]; ©2013
• Year of Publication: 2013
• Language: English
• Physical Description: 1 online resource (336 p.)
• Other title: Frontmatter --; Contents --; List of Figures --; Acknowledgments --; Preface --; Prologue: Freud’s Scenographies --; Part I: The Power of Scenes --; 1. Charcot’s Hysteria: Trauma and the Hysterical Attack --; 2. Freud’s Hysteria: “Scenes of Passionate Movement” --; Part II: Memorial Fantasies, Fantasmatic Memories --; 3. The Afterwardsness of Trauma and the Theory of Seduction --; 4. Memory and the Key of Fantasy --; 5. The Scenography of Trauma: Oedipus as Tragedy and Complex --; Part III: Screen Memories and the Return of Seduction --; 6. Leonardo’s Screen Memory --; 7. Flying and Painting: Leonardo’s Rival Sublimations --; Part IV: Prototypes and the Primal --; 8. The Transference and Its Prototypes --; 9. The Wolf Man I: Constructing the Primal Scene --; 10. The Wolf Man II: Interpreting the Primal Scene --; Part V: Trauma and the Compulsion to Repeat --; 11. Trauma and the Genealogy of the Death Drive --; 12. Uncanny Repetitions: Freud, Hoffmann, and the Death- Work --; Epilogue --; Bibliography --; Index of the Works of Freud --; General Index
• Format: Mode of access: Internet via World Wide Web.
• ISBN: 9780823254620; 9783111189604; 9783110707298
• DOI: 10.1515/9780823254620
• Access: restricted access
• Hierarchical level: Monograph
• Statement of Responsibility: John Fletcher.

This book argues that Freud’s mapping of trauma as a scene is central to both his clinical interpretation of his patients’ symptoms and his construction of successive theoretical models and concepts to explain the power of such scenes in his patients’ lives. This attention to the scenic form of trauma and its power in determining symptoms leads to Freud’s break from the neurological model of trauma he inherited from Charcot. It also helps to explain the affinity that Freud and many since him have felt between psychoanalysis and literature (and artistic production more generally), and the privileged role of literature at certain turning points in the development of his thought. It is Freud’s scenography of trauma and fantasy that speaks to the student of literature and painting.Overall, the book develops the thesis of Jean Laplanche that in Freud’s shift from a traumatic to a developmental model, along with the undoubted gains embodied in the theory of infantile sexuality, there were crucial losses: specifically, the recognition of the role of the adult other and the traumatic encounter with adult sexuality that is entailed in the ordinary nurture and formation of the infantile subject.