By Eckart Goebel, James C. Wagner
In accordance with Freud's later works, we don't feel good or loose inside civilization. Our discontent by no means disappears, and we will by no means turn into thoroughly trustworthy contributors of society. Alcohol already suffices, Freud tells us, to destroy the delicate structure of sublimations. on the grounds that ‘Beyond the excitement Principle,' sublimation seems not anything greater than a euphemism for suppressing the drives. We sublimate simply because we didn't get or weren't allowed to have what we ‘actually' sought after. Is sublimation an insignificant surrogate or even even the identify psychoanalysis discovered for ‘theoria' within the 20th century? With Freud as its pivot, Goebel presents an highbrow historical past of sublimation, which additionally serves as an creation to different key rules linked to the authors mentioned, reminiscent of Schopenhauer's philosophy of track, the need to strength in Nietzsche, the constitution of Freudian psychoanalysis, Adorno's proposal of recent paintings, or Lacanian ethics. In reading either its prehistory and reception, Goebel argues that sublimation may be reconsidered because the highway towards a person and social existence past discontent.
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Extra resources for Beyond Discontent: 'Sublimation' from Goethe to Lacan (New Directions in German Studies)
The lyrical 38 Beyond Discontent subject’s stunningly prosaic reaction underscores why the beloved talks so well. Unlike the poet, she is actually young, and far from death. ” By revoking the principle of living in the moment and dismissing himself with a casual remark, Goethe makes clear that this poem documents the end of a life. ” In a second step, however, the poem corrects this diagnosis, inasmuch as it celebrates love as an illuminating illusion, for the experience of which the beloved is owed thanks.
The entire elegy, from beginning to end, is concerned with working out this unalterable erotic factum brutum, this unapologetic insistence on “presence”: Now from our meeting what can be expected, From this new day whose flowering’s not yet ready? In Paradise received, to Hell rejected; How changeable my thoughts, my heart unsteady! – She stands at Heaven’s gate! Away with qualms! She lifts you up and takes you to her arms. 64 Friedrich Schiller: Letters on the Aesthetic Education of Man, in: Essays (trans.
The “Elegy” openly describes a state of embitterment, pain and sorrow, the hellish abyss that always remains open beneath the experience of love, and wonders, in the light of its parallels with the poem “To Werther”, what exactly the difference is. Goethe mitigates his depiction of these dark feelings not only through the restored melodiousness of his language (the elegy’s end-rhymes are almost all “feminine”). He also softens the blow of these emotions through a well-established practice, by embedding them in a metaphorics of nature organized around the semantic fields of winter, associated with the lover, and of the sun, associated with the beloved.