Page 113 - Cultural Theory and Popular Culture an Introduction

CULT_C05.qxd 10/25/08 16:31 Page 97

Freudian psychoanalysis 97

After the interpretation of dreams, Freud is perhaps best known for his theory of the
Oedipus complex. Freud develops the complex from Sophocles’ drama Oedipus the
King (c.427 BC). In Sophocles’ play Oedipus kills his father (unaware that he is his
father) and marries his mother (unaware that she is his mother). On discovering the
truth, Oedipus blinds himself and goes into exile. Freud developed two versions of the
Oedipus complex, one for boys and one for girls. At around the age of three to five
years, the mother (or who has the symbolic role of the mother) becomes an object of
the boy’s desire. In the light of this desire, the father (or who has the symbolic role of
the father) is seen as a rival for the mother’s love and affection. As a consequence, the
boy wishes for the father’s death. However, the boy fears the father’s power, in particu-
lar his power to castrate. So the boy abandons his desire for the mother and begins to
identify with the father, confident in the knowledge that one day he will have the
father’s power, including a wife (a substitute symbolic mother) of his own.
Freud was unsure how the Oedipus complex worked for girls: ‘It must be admitted
...that in general our insight into these developmental processes in girls is unsatis-
18
factory, incomplete and vague’ (1977: 321). As a consequence, he continued to revise
his thinking on this subject. One version begins with the girl desiring the father (or
who has the symbolic role of the father). The mother (or who has the symbolic role
of the mother) is seen as a rival for the father’s love and affection. The girl wishes for
the mother’s death. The complex is resolved when the girl identifies with the mother,
recognizing that one day she will be like her. But it is a resentful identification – the
mother lacks power. In another account, he argues that the Oedipus complex ‘seldom
goes beyond the taking her mother’s place and the adopting of a feminine attitude
towards her father’ (ibid.). Already aware that she has been castrated, the girl seeks
compensation: ‘She gives up her wish for a penis and puts in place of it a wish for
a child: and with that purpose in view she takes her father as a love-object’ (340). The
girl’s desire for her father’s child gradually diminishes: ‘One has the impression that
the Oedipus complex is then gradually given up because the wish is never fulfilled’
(321). The paradox being, ‘Whereas in boys the Oedipus complex is destroyed by
the castration complex, in girls it is made possible and led up to by the castration com-
plex’ (341). 19
There at least two ways that Freudian psychoanalysis can be used as a method to
analyse texts. The first approach is author-centred, treating the text as the equivalent to
an author’s dream. Freud (1985) identifies what he calls ‘the class of dreams that have
never been dreamt at all – dreams created by imaginative writers and ascribed to
invented characters in the course of a story’ (33). The surface of a text (words and
images, etc.) are regarded as the manifest content, while the latent content is the
author’s hidden desires. Texts are read in this way to discover an author’s fantasies;
these are seen as the real meaning of the text. According to Freud (1973a),

An artist is . . . an introvert, not far removed from neurosis. He is oppressed by
excessively powerful instinctual needs. He desires to win honour, power, wealth,
and the love of women; but he lacks the means for achieving these satisfactions.
Consequently, like any other unsatisfied man, he turns away from reality and