The Relationship Between Poetic Creation, Childhood Play, and Adult Fantasies, Resúmenes de Psicoanálisis

¡Descarga The Relationship Between Poetic Creation, Childhood Play, and Adult Fantasies y más Resúmenes en PDF de Psicoanálisis solo en Docsity! 1 Made by MatyBuda THE LITERARY CREATOR AND FANTASIZING Sigmund Freud (1908 [1907]) Summary: We laymen have always been deeply intrigued to discover where the poet gets his materials from and how he manages to move us and provoke emotions in us. We are even more interested in the fact that the poet himself cannot fully explain this process. Even if we understand the conditions under which he chooses his materials and how he molds them, that does not help us become poets ourselves. However, we are encouraged by the idea that there may be some activity similar to the act of poetizing in ourselves or in our fellow human beings. If we could find traces of this activity in children, we might begin to better understand poetic creation. Play seems to be the most intense and preferred occupation of children. We could say that every child who plays behaves like a poet, creating a world of his own or reorganizing his world in a creative way. This game is taken very seriously by the child, who invests copious amounts of affection in it. The poet, like the child who plays, creates a fantasy world that he also takes seriously and endows with affection. However, this imaginary world is clearly separated from actual reality. The language reflects this similarity between children's play and poetic creation by calling the poet's representations "games", which often need to be supported by tangible objects and are susceptible to being represented. This separation between the poetic world and actual reality has important implications for artistic technique, since many things that would be impossible in reality can happen in the game of fantasy, and emotions that might be painful in themselves can become sources of pleasure for the audience. Moreover, the opposition between actual reality and play can fade in the mind of an adult, who may remember with nostalgia the seriousness with which he used to take his childhood games and, by putting them on an equal footing with his adult responsibilities, find pleasure in humor and lighten the burdens of life. The adult stops playing and seemingly gives up the pleasure he got from the game. However, we know that giving up a known pleasure is difficult for human beings. Actually, we do not give up completely, but we exchange one thing for another. When the adult stops playing, he simply trades the support on real objects for fantasies. Build castles in the air and create what are known as daydreams. The act of fantasizing in adults is less visible than children's play. While children play openly, adults tend to hide their fantasies, considering them intimate and personal. This can lead them to believe that they are the only ones who have such fantasies and not suspect that others have them as well. The child's play is motivated by the desire to be an adult, while the adult's fantasies are the product of unfulfilled desires. Neurotics, compelled by the need to seek psychic treatment, confess their fantasies to the doctor, which provides information about the phenomenon of fantasizing in general. Fantasies are based on ambitious or erotic desires, which vary according to the person's gender, character, and life circumstances. Often, these desires are oriented towards the exaltation of the personality or towards the erotic realm. However, these desires are often hidden, especially in society, where some control over erotic impulses and personal ambition is expected. We must avoid thinking of the products of fantasy as rigid and immutable. Rather, they adapt to changing life impressions and alter themselves according to living conditions and new experiences. Each fantasy carries with it a "timestamp," reflecting its connection to time in a substantial way. We can say that a fantasy oscillates between three times: the present, the past, and the future, all intertwined by desire. Fantasies are closely related to daydreams and nightdreams. Both are expressions of desires, although nighttime dreams are often more distorted due to the repression of unconscious desires. Dream interpretation shows us how these repressed desires are symbolically expressed in dreams. Now, as we consider the poet, we ask ourselves whether we can compare him with the "daydreamer" and his creations with daydreams. We look at the less pretentious narrators, who create central characters whom they protect and care for with special attention. These heroes seem to reflect the author's "I" and are objects of sympathy and protection, just like the characters in daydreams. Other typical features of these narratives, such as the simplification of secondary characters into "good" and "bad," also point to a kinship with daydreams, where the dreamer's Self is often the centre of the plot, and situations are simplified to suit his desires. 2 Made by MatyBuda We recognize that many poetic creations may seem far removed from the archetype of the naïve daydream. However, we do not rule out the possibility that even the most extreme deviations are connected to that model through a series of continuous transitions. We note that many psychological novels describe a central character, the hero, from the inside, while so-called "eccentric novels" feature a passive hero who observes the actions of others. These variations are also observed in the daydreams of non-poets, where the Self plays the role of spectator. To equate the poet with the one who has daydreams and his poetic creation with the daydream itself, it is necessary to demonstrate his fecundity in some way. We can apply our thesis on the reference of fantasy to the three times and the desire that connects them to the poet's works. This helps us understand the links between the poet's life and his creations. Although the formula may seem complicated, I suggest that it is actually only a first approximation and may prove useful in understanding poetic production. We must not forget that the insistence on childhood remembrance in the poet's life stems from the idea that poetic creation, like daydreaming, is a continuation of children's games. We must also consider the type of poems in which the poet works with pre- existing material, such as myths and traditional tales. Although the poet may have some autonomy in the choice and variation of material, it comes from the popular treasury of humanity, which we have not yet finished exploring in its entirety. Although I have devoted more attention to the fantasies than to the poet, I can justify this decision considering our current knowledge. Fantasies, like the poetic choice of materials, are fundamental to understanding how the poet provokes emotions in us through his creations. The poet faces the challenge of sharing his fantasies in ways that attract us and provide us with aesthetic pleasure. This skill involves softening the selfish character of the daydream and seducing us with an aesthetic representation that offers us prior pleasure. This aesthetic pleasure allows us to enjoy our own fantasies without restriction, which is a door to new inquiries. Although we have reached the end of this explanation, it opens up interesting perspectives for us to explore in the future. Explanation and conclusion: The text explores the poet's creative process and its relationship with children's play and adult fantasies. It highlights how children's play and adults' fantasies share similarities with poetic creation, as they all involve the construction of imaginary worlds charged with affection and seriousness. In addition, he points out that the separation between actual reality and fantasy allows the poet to explore themes and emotions that might be impossible in real life, which has important aesthetic implications. By equating the poet with the "daydreamer" and his creations with daydreams, the text suggests that poetic production can best be understood through the study of underlying fantasies and desires. While acknowledging that many poetic creations may seem far removed from the archetype of the naïve daydream, he suggests that even the most extreme deviations may be connected to that model through continuous transitions. In summary, the text highlights the importance of understanding the poet's creative process through the study of fantasies, childhood games, and underlying desires. It provides fascinating insight into how imagination and fantasy play a crucial role in poetic production and how these activities can be central to our understanding of human creativity in general. Main Ideas: - We are intrigued to discover where the poet gets his materials from and how he provokes emotions. - The poet cannot fully explain his creative process. - There is an activity similar to the act of poetizing in children, who create imaginary worlds through play. - Children's play and poetic creation share similarities in affective inversion and separation from the real world. - Fantasy in adults is less visible but equally present, based on unfulfilled desires. - Fantasies are related today and night dreams, expressions of desires and longings. - Poetic storytellers protect and care for their characters as a reflection of the author's Self. - Although some poetic creations may seem far removed from daydreaming, they are all connected in some way. - Equating the poet with the daydreamer requires demonstrating the fecundity of his creative process. - Fantasies are fundamental to understanding how the poet provokes emotions in the reader.