Representation Of The Oedipus Complexes

According to Freud's psychosexual stages of development, successful resolution of the Oedipus complex leads to _____

Differently to what is thought nowadays, the Oedipus complex described by Freud goes beyond just the son 's desire to have sex with his mother. The Oedipus complex includes the teenager 's psychosexual idea of feeling jealousy, anger, and above all, competing with his father. Besides, Freud’s theory emphasizes that boys select their mother as their principal object of desire, and subconsciously wish to usurp or even murder their fathers in order to gain exclusive possession of her and become their mothers ' lover.

Oedipus Rex, an ancient Greek tragedy authored by the playwright Sophocles, includes many types of psychological phenomena. Most prominently, the myth is the source of the well-known term Oedipal complex, coined by psychologist Sigmund Freud in the late 1800s. In psychology, “complex” refers to a developmental stage. In this case the stage involves the desire of males, usually ages three to five, to sexually or romantically posses their mother, and the consequential resentment of their fathers. In the play, a prince named Oedipus tries to escape a prophecy that says he will kill his father and marry his mother, and coincidentally saves the Thebes from a monster known as the Sphinx. Having unknowingly killed his true father Laius during his

Freud’s theory of the Oedipal Complex is based off of this play, even though Oedipus did not suffer from the Oedipal Complex. My idea of this is the fact that Oedipus really doesn’t suffer from the oedipal complex because the complex that Freud explain is that a boy has the desire to have a sexual relationship with his mother and even though Oedipus did have sexual with his biological mother, he didn’t know that was his biological mother. This means that Oedipus’ desires to have sexual

Hands and ants repeatedly appear in the film. The metaphors behind them are meaningful for viewers to understand the whole film. In fact, the reason why I am interested in figuring out the metaphors of hands and ants is that I could not understand this film when I first watched it. Un Chien Andalou was created under the cultural movement called surrealism which was “drew liberately on Freud’s theories concerning the unconscious and its relations to the dreams.” (Chilvers, 2009). Without the background knowledge, how can viewers connect their unconscious mind and dreams to the film when they first watch it? With this question in mind, I try to dig into the shots in the films and figure out the metaphors behind these shots. However, the meanings behind the shots may be different from various points of views.

Un Chien Andalou “describes the dramatic collision between desire and the object of desire” (Buache 10). Luis Buñuel and Salvidor Dali wanted to represent a labyrinth of desire in its various forms by constructing a psychoanalytical surrealist film, thus creating Un Chien Andalou. The whole surrealist thought is the omnipotence of desire; though how powerful it may be, it is able to be imprisoned by the enigmatic, dream-like structure portrayed by surrealist filmmakers. What makes this film successful in relaying this feeling of imprisonment is its use of logical images in an illogical sequence. Buñuel stated in his autobiography that “No idea or image that might lend itself to a rational explanation of any kind would be accepted” (Buñuel 104) in this surrealist film. Due to the irrational progression of juxtaposition, one might have a hallucinatory feeling of anguish from the lack of constraints usually set by time and space: Features that are not present in Un Chien Andalou. Inter titles that enhance the confusion of time and space read such phrases as “three hours in the morning,” “sixteen years later,” and “in the spring.” Because we are not given an initial concept of time, these inter titles send use deeper into the

Oedipus the King, written is 440 B.C., by Sophacles has fascinated audiences for many years. However, Sigmund Freud came up with the ‘Oedipal Complex’ based off of this play that has caused plenty of controversy. He believed that, based of Oedipus the King and the attraction Oedipus had to his mother, that all children share the same desire towards the opposite sex parent. From that one instance, he created an entire complex that graphically lays out a child’s development.

The Oedipal Complex was first developed by Sigmund Freud, the theory revolves around the idea that certain individuals have a hidden desire for sexual interaction with a parent of the opposite

Sophocles was able to turn the piece into a psychological drama. Anders Zachrisson analyzes it further writing, "The story of Oedipus is part of ancient Greek mythology. Freud chose Oedipus as a metaphor for the passionate relationships in the family because he could observe cognate dynamics in his patients' - and his own - dreams and in the myth. The myth, in Freud's view, expresses a kind of proto-knowledge over family dynamics. He wrote:... the legend of Oedipus sprang from the same primaeval dream-material which had as its content the distressing disturbance of a child's relation to his parents owing to the first stirrings of sexuality." Despite society's progression, there is still a small presence of taboo when it comes to the topic of sex. And even greater taboo, one that evokes shame and disgust is incest. Sophocles makes all of these emotions present

The process of dreamwork involves the transformation, either through condensation, displacement or distortion, of the “latent content” into “manifest content”. In Un Chien Andalou Buñuel and Dalí present many situations lacking in reason, aesthetic and moral concern. These can be interpreted according to this theory of the true functioning of the unconscious mind. In the opening scene of Un Chien Andalou, a man is seen to slice open what appears to be the eye of a woman, with a razor. This is done after a thin cloud is seen to pass over the moon. This semantically contrasting change from one image to another is often present in dreams and can be seen throughout the film. In these juxtaposed images Buñuel and Dalí show the razor mimic the movement of the cloud. If this sequences of events from the film were to form part of a dream, this would explain the lack of reason behind the man’s actions and his lack of moral concern for the well-being of the woman. This ugly and disturbing image could be seen as the latent content before it is transformed into the manifest content of the moon and cloud to prevent exposing the mind to violent ideas, if the dreamer were the man performing the immoral act. Another similar pair of images which deals with the lack of reason and aesthetic in dreams is the image of armpit hair turning into a sea urchin. Here, we witness the scenario where

The Oedipus complex is believed to be a play off of the ancient Greek mythological character Oedipus Rex. According to the myth, Oedipus Rex was a Greek king that killed his father out of envy and rage in order to have his mother. If the ancient Greek myth is viewed in such a way, it would be possible to believe that Oedipus Rex, who had been given a prophecy advising of his fate, was attempting to fulfill such an obligation. From this, it would be possible to say that Oedipus Rex was driven to kill his father in order to live happily with his mother.

The "Oedipal Complex" is best defined by Iokaste in Oedipus Rex when she exclaims, "how many men, in dreams, have lain with their mothers!" Freud's theory examines the desire of all sons to kill their fathers so that they can have the mother to themselves. The basic premise is shown in all three plays in varying degrees. In the "Oedipus Complex's" namesake, Oedipus actually murders his father and marries his mother. In Hamlet, the lack of stage directions enables the director to take liberties with the scene in Gertrude's bedroom. Desire under the Elms possibly has the most bizarre construct of the "Oedipus Complex" through, not only the 'mother/lover' relationship of Eban and Abbie, but through the father/daughter relationship of Cabot and Abbie. As suggested in class, this dynamic being shown over and over throughout

The Oedipal complex occurs, Freud believed, with most young boys. The father is seen as a rival for the mother's affections. Young boys soon realize that this idea has a vale of silence surrounding it and, as a result, they suppress these instincts. Playwrights use their plots sometimes for a psychological revealing of these taboo issues. The Oedipal Complex is at the center of the play Oedipus Rex and was, obviously, named for the title character. The oracle said that Oedipus would kill his father and marry his mother. In Hamlet, a closeness can be felt (and seen in the movie) between Hamlet and Gertrude. Shakespeare seems to have been pointing to the issue when he wrote the bedroom confrontation scene between Hamlet and his mother and even had King Hamlet's ghost appear in a nightshirt. In Desire Under the Elms, Eben and his brothers voice their wish that their father were dead. They all had their first sexual experience with the same prostitute, but the complex really becomes clear in the parlor scene between Abbie and Eben and Eben's mothers ghost. Abbie offers to replace his mother and they make love for the first time in "her" room.

Yet, for Sigmund Freud, the accidents in the life of Oedipus happened because of sexual complexity between Oedipus and his mother. And inspired from this story he coined the concept Oedipus complex. For Freud, all human behaviours are motivated by sex or by the instincts, which in his opinion are physical needs. He firstly referred to those as the life instincts, which perpetuate the life of the individual, initially by motivating him or her to seek food and water, and secondly by motivating him or her to have sex.

Sigmund Freud’s declaration that “neuroses…can be derived only from disturbances in sexual life” (94), challenged the prevailing societal attitudes of his day regarding mental health, childhood development, and human sexuality. Freud explored the inner life of children developing into adulthood by reviving mythological stories of incest, brutality, and obsessive self-love: The Oedipus Complex and the Electra Complex, both variations on the theme of destructive love, murdering the same-sex parent and marrying the opposite parent, and narcissism, destructive love of self, vividly allegorized the perils of the journey to adulthood. Freud approached treating neuroses with a new method he termed psychoanalysis. From the psychoanalytic point of view, the expectation of dysfunction is assumed, in varying degrees, as virtually all individuals experience at least minimal trauma during their development. Freud acknowledged that the very process of growing apart from a parent, notably the mother whose body conceived and sustained the dependent child, is an inherently anxious process, poignantly observing “Anxiety in children is nothing more than an expression of the fact that they are feeling the loss of the person they love” (101). Maturation not only involves vulnerability, it also requires it, as it is built into the process of differentiation.