{"id":3146,"date":"2021-03-01T11:28:10","date_gmt":"2021-03-01T10:28:10","guid":{"rendered":"https:\/\/www.scuoladipsicanalisifreudiana.it\/?page_id=3146"},"modified":"2021-10-11T11:28:17","modified_gmt":"2021-10-11T09:28:17","slug":"il-complesso-paterno-in-letteratura-unindagine-metapsicologica","status":"publish","type":"page","link":"https:\/\/www.scuoladipsicanalisifreudiana.it\/en\/il-complesso-paterno-in-letteratura-unindagine-metapsicologica\/","title":{"rendered":"The father complex in literature: a meta-psychological investigation"},"content":{"rendered":"[vc_section][vc_row][vc_column][vc_empty_space height=”50px”][vc_custom_heading text=”Teacher” font_container=”tag:h2|text_align:left|color:%23707070″ use_theme_fonts=”yes”][vc_column_text]Fabio Ognibene<\/a>[\/vc_column_text][vc_custom_heading text=”Aims” font_container=”tag:h2|text_align:left|color:%23707070″ use_theme_fonts=”yes”][vc_column_text]\n
\n

The course aims to address motifs and passages from ancient and modern literature, reading them from a psychoanalytic perspective.<\/span><\/p>\n<\/div>\n

\n

A few key texts will be analysed adopting the tools of psychoanalytic investigation in order to understand the motives rooted in the authors\u2019 depth psychology, that prompted them to write their poems.<\/span><\/p>\n<\/div>\n

\n

At the same time, following a path within the history of literatures, we will try to dissect some representations of the unconscious and symbols that are often overlooked.<\/span><\/p>\n<\/div>\n

\n

The aim of this module<\/span><\/u> is to highlight and analyse how and when the father complex influences, inspires or determines the creative potential of authors, as well as to examine its dissimulations, images or representations.<\/span><\/p>\n<\/div>\n

\n

These lectures focus on the father complex<\/u>: we will explore every nuance of the conflict with the father in the Oedipus complex, and find examples of such conflict in literature. <\/span><\/p>\n<\/div>\n

\n

The module consists of 6 lectures and has a duration of approximately 3 months.<\/span><\/p>\n<\/div>\n[\/vc_column_text][vc_custom_heading text=”Lecture 1″ font_container=”tag:h2|text_align:left|color:%23707070″ use_theme_fonts=”yes”][vc_column_text]\n

\n

Starting from the analysis of a verse from the \u201cLord\u2019s Prayer\u201d (Pater Noster), we will investigate the evangelical meanings of the words \u201ctemptation\u201d, \u201cgood and evil\u201d using the processes of depth psychology.<\/span><\/p>\n<\/div>\n

\n

We will then consider Sophocles’<\/b> \u201cEdipo Re\u201d<\/b> (Oedipus Rex). Giving for granted its Freudian reading, the text will be analyzed through Pasolini’s<\/b> representation in his 1967 film.<\/span><\/p>\n<\/div>\n

\n

An analysis will be carried out concerning the inconsistencies and some Freudian slips (parapraxis) made by the film director himself when writing the screenplay.<\/span><\/p>\n<\/div>\n

\n

The role of the gaze is crucial and Pasolini confers a particular meaning to it: we will find out how right he is.<\/span><\/p>\n<\/div>\n

\n

The Italic god Giano Bifronte<\/b> (Janus Bifrons) and his symbolic meaning in psychic processes will be discussed.<\/span><\/p>\n<\/div>\n

\n

Philip Roth’s<\/span><\/b> novel Nemesis<\/b> will also be discussed.<\/span><\/p>\n<\/div>\n

\n

The theme of the gaze will be resumed at the beginning of the second lesson.<\/span><\/p>\n<\/div>\n

 <\/p>\n

Bibliography:<\/u><\/strong><\/p>\n

Freud OSF, Interpretazione dei Sogni, <\/em>Un caso di nevrosi ossessiva, 1899<\/p>\n

Pasolini, Edipo Re<\/em> film, 1967<\/p>\n

Pasolini, Le regole di un\u2019illusione<\/em>, quaderni, 1991<\/p>\n

Philip Roth, Nemesi<\/em>, Einaudi editori, 2011<\/p>\n

Sacra Bibbia, Matteo, Discorso della montagna<\/em>, 6,9-13 (CEI 1974)<\/p>\n

Sant\u2019Agostino, Discorso n. 57<\/em><\/p>\n

Sofocle, Edipo Re<\/em>, Feltrinelli, Ed. 2020[\/vc_column_text][vc_custom_heading text=”Lecture 2″ font_container=”tag:h2|text_align:left|color:%23707070″ use_theme_fonts=”yes”][vc_column_text]\n

\n

The second lecture resumes the theme of the gaze introduced during the first lecture. <\/span><\/p>\n<\/div>\n

\n

First of all, the significance of the son’s gaze and the different nuances portrayed in Sophocles’ \u201cEdipo Re\u201d<\/b> (<\/span>Oedipus Rex<\/span>) and in Pasolini’s interpretation will be analysed. <\/span><\/p>\n<\/div>\n

\n

In a more general manner, this topic will intertwine with the theme of the gaze in the Oedipal triangle. Apuleius’<\/b> fable of Cupido<\/b> and Psiche <\/b>(Cupid and Psyche) will also be discussed.<\/p>\n<\/div>\n

\n

Then, we will examine in depth the same subject, reviewing different works, although not strictly literary, such as Stravinskij<\/strong>\u2018s Opera-oratorio<\/b> with a libretto by Cocteau, as well as some paintings from art history. Moreover, a critique of the philosopher Ren\u00e9 Girard’s interpretation of Oedipus will be given.<\/span><\/p>\n<\/div>\n

\n

The theme of the gaze in the love triangle will be completed by analysing some works of early Italian literature written by Guinizzelli<\/b>, Dante<\/b> and Petrarca<\/b>.<\/span><\/p>\n<\/div>\n

\n

The lecture will conclude by returning to the Father’s gaze with a psychoanalytic interpretation of Catullus’<\/b> Carme<\/b> V <\/b>(Poem V).<\/span><\/p>\n<\/div>\n

 <\/p>\n

Bibliography:<\/u><\/strong><\/p>\n

Apuleio, La Favola di Cupido e Psiche<\/em>, Edizioni Mondadori, 1986<\/p>\n

Baldini F., Saggio sulla Favola di Cupido e Psiche<\/em>, 2021<\/p>\n

Catullo, Carme V<\/em>, a cura di Francesco Della Corte, Fondazione Lorenzo Valla, Mondadori, 1989<\/p>\n

Contini, La letteratura delle origini<\/em>, Edizioni Sansoni, 1970<\/p>\n

Freud OSF, Interpretazione dei Sogni<\/em>, 1899<\/p>\n

Girard R., L\u2019antica via degli empi<\/em>. Adelfi, Milano, 1994<\/p>\n

Petrarca, Canzoniere<\/em>, 1336-1374<\/p>\n

Sofocle, Edipo Re<\/em>, Feltrinelli, Ed. 2020<\/p>\n

Stravinskij – Cocteau, Edipo Re,<\/em> Opera oratoria, 1927[\/vc_column_text][vc_custom_heading text=”Lecture 3″ font_container=”tag:h2|text_align:left|color:%23707070″ use_theme_fonts=”yes”][vc_column_text]\n

\n

The purpose of the first part of this lecture is to identify the Father’s gaze within Catullus\u2019 work.<\/span><\/p>\n<\/div>\n

\n

Some of his poems will be analysed in order to understand the complex impulses of emotional ambivalence that characterise the height of Catullus’ poetry.<\/span><\/p>\n<\/div>\n

\n

We will then move on to Aulularia by <\/strong>Plautus, <\/b>giving an interpretation to the Pot of Gold, which the main character hides for fear that someone might steal it. <\/span><\/p>\n<\/div>\n

\n

Terence’s<\/span><\/b> \u201cIl punitore di se stesso\u201d<\/b> (The self-tormentor) and the Gospel parable of the Prodigal Son will also be discussed, in order to find common elements of the son’s revolt against his father.<\/span><\/p>\n<\/div>\n

\n

A comparison will be made between examples, taken from literary texts and from the psychoanalytic clinic, of the son\u2019s opposition to the gaze, \u00a0the so-called Law of the Father.<\/span><\/p>\n<\/div>\n

\n

A quotation from contemporary literature – namely from a short story by Tiziano Sclavi – will close the lecture.<\/span><\/p>\n<\/div>\n

 <\/p>\n

Bibliography:<\/u><\/strong><\/p>\n

Catullo, Le poesie<\/em>, a cura di Francesco Della Corte, Fondazione Lorenzo Valla, Mondadori, 1989<\/p>\n

Cingolani M. M., http:\/\/www.ascolto-ansia.it\/psicologia_riflessioni\/psicologia-padre-legge.html<\/p>\n

Freud, Interpretazione dei Sogni<\/em>, OSF vol. 3, Bollati Boringhieri, 1899<\/p>\n

Plauto, Aulularia<\/em> (La commedia nella pentola), Mondadori, 1999<\/p>\n

Recalcati M., Il segreto del figlio<\/em>, Feltrinelli, 2018<\/p>\n

Sclavi, T., I racconti di domani<\/em>, 2, Della morte e del cielo. Sergio Bonelli Editore, 2020<\/p>\n

Terenzio, Il punitore di se stesso<\/em>, BUR, 1998<\/p>\n

Vangelo<\/em>, C.E.I., Luca, 15, 11-32[\/vc_column_text][vc_custom_heading text=”Lecture 4″ font_container=”tag:h2|text_align:left|color:%23707070″ use_theme_fonts=”yes”][vc_column_text]\n

\n

The lecture will start with an analysis of the father figure as proposed by Dante in the Divine Comedy. The ambivalence, already present in\u00a0 Catullus, can now be found in Dante; the relationship with Virgil is marked by unconditional and redeeming love and trust, destined to dissolve before the maternal Oedipal object.<\/span><\/p>\n<\/div>\n

We will then move on to analyse how Dante avoids the topic of the father and make a comparison with Shakespeare and Dostoevsky\u2019s way of dealing with such issue. Freud’s interpretation of Hamlet will be dealt with and Dostoevsky’s patricide will be discussed.<\/span><\/div>\n

Bibliography:<\/u><\/strong><\/p>\n

Dante, La Divina Commedia, <\/em>Mondadori 1321<\/p>\n

Dostoevskij, I Fratelli Karamazov<\/em>, BUR, 1879<\/p>\n

Freud, Dostoevskij e il parricidio<\/em>, OSF, Vol.10, 1928<\/p>\n

Freud, Interpretazione dei sogni<\/em>, OSF, Vol.3, 1899<\/p>\n

Lacan, Seminario VI<\/em>, Einaudi, 1958-1959<\/p>\n

Shakespeare, Amleto<\/em>, Mondadori, 1602[\/vc_column_text][vc_custom_heading text=”Lecture 5″ font_container=”tag:h2|text_align:left|color:%23707070″ use_theme_fonts=”yes”][vc_column_text]\n

\n

Mozart’s<\/span><\/b> Don Giovanni <\/b>(\u201clibretto\u201d by Lorenzo<\/b> Da Ponte<\/b>) opens a series of examples from the world of literature and art in general: the son surrenders to guilt.<\/span><\/p>\n<\/div>\n

\n

Comparison between the \u201cConvitato di pietra\u201d (Stone guest) and Giorgio De Chirico’s painting “Il figliol prodigo\u201d (The Prodigal Son), exhibited in Milan at the Museo del Novecento.<\/span><\/p>\n<\/div>\n

\n

An interpretative reading of some poems from Saba’s Canzoniere will be given.<\/span><\/p>\n<\/div>\n

\n

Svevo’s<\/span><\/b> \u201cLa Coscienza di Zeno\u201d,<\/b> some passages from Joyce’s \u201cUlysses\u201d<\/b> and Oscar Wilde’s \u201cThe Portrait of Dorian Gray\u201d <\/b>will be discussed.<\/span><\/p>\n<\/div>\n

\n

The lecture will end with a reading, adopting the same approach, of \u201cInfinite Jest\u201d<\/b> by David Foster<\/b> Wallace<\/b>.<\/span><\/p>\n<\/div>\n

\u00a0<\/strong><\/p>\n

Bibliography:<\/u><\/strong><\/p>\n

De Chirico, Il figliol prodigo<\/em>, Museo del Novecento, Milano, 1922<\/p>\n

Joyce, Ulisse, 1922<\/p>\n

Mozart, Don Giovanni<\/em> \u2013 libretto di Da Ponte, 1787<\/p>\n

Saba, Canzoniere,<\/em> 1921<\/p>\n

Svevo, La coscienza di Zeno<\/em>, Mondadori, 1923<\/p>\n

Wallace, Infinite Jest<\/em>, 1996<\/p>\n

Wilde, Il ritratto di Dorian Gray<\/em>, 1890[\/vc_column_text][vc_custom_heading text=”Lecture 6″ font_container=”tag:h2|text_align:left|color:%23707070″ use_theme_fonts=”yes”][vc_column_text]\n

\n

Kafka and Beckett. We will deal in detail with the works: \u201cLettera al padre\u201d<\/b> (<\/span>Letter to the father), \u201cDavanti alla legge\u201d<\/b> (Before the law), \u201cUn messaggio dell\u2019imperatore<\/strong>\u201d\u00a0 (A Message from the Emperor)<\/strong> by\u00a0Kafka<\/strong>\u00a0and try to account for the author’s inability to free himself from the castrating influence of his father. \u201cIl processo\u201d<\/b> (The trial) will also be discussed adopting the same approach.<\/span><\/p>\n<\/div>\n

\n

We will then move on to the reading of \u201cAspettando Godot\u201d<\/b> (Waiting for Godot) by Beckett, framing the work from the point of view of existential emptiness resulting from the symbolic murder of the father, which phylogenetically retraces the mass murder of the primitive horde.<\/span><\/p>\n<\/div>\n

\n

Finally, we will compare Beckett’s existential emptiness with the nihilism that permeates the novels of the contemporary writer Sclavi, in particular \u201cNon \u00e8 successo niente\u201d (Nothing happened).<\/span><\/p>\n<\/div>\n

Bibliography:<\/u><\/strong><\/p>\n

Beckett, Aspettando Godot, 1952<\/p>\n

Kafka, Davanti alla legge<\/em>, 1915<\/p>\n

Kafka, Un messaggio dell\u2019imperatore<\/em>, 1918<\/p>\n

Kafka, Lettera al padre<\/em>, 1919<\/p>\n

Kafka, Il processo<\/em>, Feltrinelli, 1925<\/p>\n

Sclavi, Non \u00e8 successo niente<\/em>, Mondadori, 1998[\/vc_column_text][vc_empty_space height=”50px”][\/vc_column][\/vc_row][\/vc_section]\n","protected":false},"excerpt":{"rendered":"

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