In his paper, Sigmund Freud draws numerous The Relation of the Poet to Day-Dreaming, connections between phantasy, daydreaming, and literature. He first investigates play, first as the occupation of children, then in its transformation into adulthood daydreaming. Children play without shame or self-awareness, often imitating the adults around them (Freud, 501). This occupation children take very seriously, but as they age and learn to adopt the self-consciousness of adulthood, they begin to hide their phantasies from the world behind a veil of secrecy and shame (Freud, 502). Phantasy thus becomes an intimate occupation, one only revealed through daydreaming. Just as children imitate what they want the authority, knowledge and – responsibility of adulthood in their play, so do are the driving force – adults. “Unsatisfied wishes behind so daydreams form the stage where adults play out the desires they hide from phantasies,” the outside world (Freud, 502). How do beliefs about daydreaming relate to the arts? Freud’s Freud finds a connection through literature. The poet places the reader at the center of their imaginary world, where they fill the role of the hero. It is in this hero that the reader places their hero of (Freud, 504). This transference is what allows art to ego, “the all daydreams” “arouse emotions in us of which (Freud, 500). Whereas we thought ourselves perhaps not even capable” we usually would feel disgusted by a clear display of the writer, through one’s inner phantasies, their unique and unknowable artistic abilities, makes phantasy approachable and immersive (Freud, 505). As Freud clearly shows, there is a direct connection between the phantasies we create for ourselves in daydreams and the phantasies we experience through novels. We can engage these phantasies through not just literature but also through visual art, particularly painting. ideas are complimented, perhaps complicated by the work of Carl Jung. Freud’s Jung’s paper, while fringe in the psychosocial community, acts as an Psychology and Literature,
In his paper, The Relation of the Poet to Day-Dreaming, Sigmund Freud draws numerous connections between phantasy, daydreaming, and literature. He first investigates play, first as the occupation of children, then in its transformation into adulthood daydreaming. Children play without shame or self-awareness, often imitating the adults around them (Freud, 501). This occupation children take very seriously, but as they age and learn to adopt the self-consciousness of adulthood, they begin to hide their phantasies from the world behind a veil of secrecy and shame (Freud, 502). Phantasy thus becomes an intimate occupation, one only revealed through daydreaming. Just as children imitate what they want – the authority, knowledge and responsibility of adulthood – in their play, so do adults. “Unsatisfied wishes are the driving force behind phantasies,” so daydreams form the stage where adults play out the desires they hide from the outside world (Freud, 502). How do Freud’s beliefs about daydreaming relate to the arts? Freud finds a connection through literature. The poet places the reader at the center of their imaginary world, where they fill the role of the hero. It is in this hero that the reader places their ego, “the hero of all daydreams” (Freud, 504). This transference is what allows art to “arouse emotions in us of which we thought ourselves perhaps not even capable” (Freud, 500). Whereas we usually would feel disgusted by a clear display of one’s inner phantasies, the writer, through their unique and unknowable artistic abilities, makes phantasy approachable and immersive (Freud, 505). As Freud clearly shows, there is a direct connection between the phantasies we create for ourselves in daydreams and the phantasies we experience through novels. We can engage these phantasies through not just literature but also through visual art, particularly painting. Freud’s ideas are complimented, perhaps complicated by the work of Carl Jung. Jung’s paper, Psychology and Literature, while fringe in the psychosocial community, acts as an
Formal-Paper-II.docx