Literary Theories Session 6 Psychology of Literature Compatibility Mode

8/15/2019 Literary Theories Session 6 Psychology of Literature Compatibility Mode

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LITERARY THEORIESLITERARY THEORIES

SESSION 6

PSYCHOLOGYPSYCHOLOGY


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BASIC ASSUMPTIONS OFBASIC ASSUMPTIONS OF

PSYCHOLOGY OF LITERATUREPSYCHOLOGY OF LITERATURE

psychology and literature.psychology and literature.

observable patterns of human’sobservable patterns of human’s..

Literature exhibits how humanLiterature exhibits how human

e ngs e ave n ea ng w e re ngs e ave n ea ng w e rproblems and environment.problems and environment.


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“the s cholo ical stud of the “the s cholo ical stud of thewriter, as type and as individual” writer, as type and as individual”

Psychology ofPsychology ofthe Authorthe Author

“the study of creative process” “the study of creative process”

t e stu y o psyc o og ca typest e stu y o psyc o og ca typesand laws present within works ofand laws present within works ofliterature” literature”

Psychology ofPsychology ofthe Charactersthe Characters

Literary study in itsstrictest sense

“the study of the effects of “the study of the effects ofliterature upon its readers” literature upon its readers”

Psychology of thePsychology of theAudienceAudience

Literature and Society


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The poet is the “possessed”: he is unlike otherThe poet is the “possessed”: he is unlike other

men, at once less and more; and the unconsciousmen, at once less and more; and the unconsciousout of which he speaks is felt to be at once subout of which he speaks is felt to be at once sub--and su erand su er--rational Wellek 1956: 75 .rational Wellek 1956: 75 .

The poet’s “gift” is compensatory:The poet’s “gift” is compensatory: –– res as was n u e was g ven prop e c v s onres as was n u e was g ven prop e c v s on

–– Pope was hunchback and a dwarf Pope was hunchback and a dwarf

–– Proust was athmatic neuroticProust was athmatic neurotic

–– ea s was s or er an o er menea s was s or er an o er men–– Thomas Wolfe was much taller than other menThomas Wolfe was much taller than other men


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The artist accordin to Freud is ori inall a man who turnsfrom reality because he cannot come to terms with thedemand for the renunciation of instinctual satisfaction as it isfirst made, and who then in phantasy-life allows full play tohis erotic and ambitious wishes (Wellek, 1956: 76)

But he finds a way of return from this world of phantasyac to rea ty; w t s spec a g ts, e mou s s

phantasies into a new kind of reality, and men concede

them a justification as valuable reflections of actual life,

Thus by a certain path he actually becomes the hero,

king, creator, favorite he desired to be, without thecircuitous path of creating real alterations in the outerworld (Wellek, 1956: 76)


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The poet is a day-dreamer who is socially

validated. Instead of altering his character, heperpetuates and publishes his phantasies.


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PSYCHOLOGY OF CREATIVE PROCESSES

The “creative process” should cover the entiresequence rom e su consc ous or g ns o aliterary work to those last revisions which, withsome writers, are the most enuinel creativepart of the whole (Wellek, 1956: 8).

his poems is the whole of his percipient life. Withthe artist, in any medium, every impression is

s ape y s art; e accumu ates no nc oateexperience (Wellek, 1956: 8).


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nsp ra on , e ra ona name or e unconsc ous ac orin creation, is closely associated with the Muses, theDaughters of memory, and in Christian thought with the

. , ,

prophet, or poet, differs from his ordinary state.

In primitive societies the shaman may voluntarily be able to puthimself into a trance, or he may involuntarily be “possessed” by some

ancestral or totemic spirit-control. In modern times, inspiration is felt

impersonality: the work seems written through one.

Creative habits there assuredly are, as well as stimulantsand rituals. Alcohol, opium, and other drugs dull theconscious mind, the overcritical “censor,” and release theactivity of the subconscious.


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PSYCHOLOGY OF CHARACTERS

Characters in plays and novels are judged by uso e psyc o og ca y rue. ua ons are

praised and plots accepted because of this sameualit .

• Hamlet fits the type of “sanguine man’s suffering frommelanchol adust” known to the Elizabethans from theirpsychological theories.

• Jacques, in As You Like It, is a case of “unnatural melancholyproduced by adustion of phleghm.”


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CENTRAL ASSUMPTIONS OFCENTRAL ASSUMPTIONS OF

P Y H L YP Y H L Y

psychical elements (psyche)psychical elements (psyche)

Psychology is a study of human’s psychePsychology is a study of human’s psyche Human’s psyche could be explainedHuman’s psyche could be explained

through human’s observable patterns ofthrough human’s observable patterns of


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The creation of characters may be supposed to blend,in varying degrees, inherited literary types, personsobserved, and the self. The realist, we might say,chiefly observes behavior or “emphatizes,” while theoman c wr er pro ec s ; ye s o e ou e a

mere observation can suffice for life-likecharacterization.

Characters in plays and novels are judged by us to be “ s cholo icall ” true. Situations are raised and lotsaccepted because of this same quality.

[Characters] would be “matter” or “content” like anyother type of information to be found in literature,e.g., facts from navigation, astronomy, or history.


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PSYCHOLOGY OF READERS

Art not only reproduces Life but also shapes it.

People may model their lives upon the patterns offictional heroes and heroines

The young are more directly and powerfully influencedb their readin than the old.

The Inexperienced readers may take literature morenaivel as transcri t rather than inter retation of life.

Those whose books are few take them in more utter


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’’

Psychoanalytic perspectivePsychoanalytic perspective

Behaviorist Pers ectiveBehaviorist Pers ectiveHumanistic perspectiveHumanistic perspective

PerspectivePerspective


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unconscious and the conscious.unconscious and the conscious. The unconscious contains all those drives, urges,The unconscious contains all those drives, urges,

all words, feelings, and actions.all words, feelings, and actions.

The unconscious has two different levels: theThe unconscious has two different levels: theunconsc ous proper an e preconsc ousunconsc ous proper an e preconsc ous(superego).(superego).

People are motivated primarily by drives (libido)People are motivated primarily by drives (libido)

of which they have little or no awareness.of which they have little or no awareness. Behavior represents the conscious self and theBehavior represents the conscious self and the


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– the oldest and most primitive part of the mind,– a mass of wholl selfish desires and the

impulses aimed at the immediate andcomplete gratification of those desires

“–principle.”

– Its demands ma be re ressed but the

remain, expressing themselves in phenomenaas different as dreams, neurotic symptoms,

.


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Ego [I]:

– the part that reacts to the outside world– the part that allows the individual to adapt to

,

– the rational part of the mind,

– the part that controls the id just as the ridercontrols the horse

– provides the individual with the sense of self

– ‘ ’ .– a horse will slip from its rider’s control, just as the instinctual

demands of the id occasionally elude the restraints of ego,but, mostly, the horse is guided and controlled by its rider.


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Super Super--egoego [Higher I][Higher I]– The part that monitors the ego in much the same way

that the ego supervises the id

– The part that demands perfection of the ego(narcissism)

– the internalized voice of parents, carers and society

which provide the individual with the rules and

– provides us all with our conscience, our sense of what isright and what is wrong,

–society at large rather than to our own individual urges.

– Operates under the ‘moral principle.’


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STRUCTURE OF PERSONALITY


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s n e s s

o n s c i

o u

e l s

o f c

L e


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RELATIONSHIP AMONG ID EGO AND SUPEREGO


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Freud clearly regarded the artist as a unique

n v ua w o avo s neuros s an s eer w s u

thinking through the practice of his or her art. The artist or writer is involved in a process of

su ma on re n ng as c r ves, suc as oseof sex and aggression, and converting them into

creative and intellectual activity). inner contradictions and re-establishing aproductive relationship with the world.

a similar relationship to their world, often in anew and critical light.


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Art is an illusion but its effects are real:– ‘Art is a conventionally accepted reality in which, thanks to

artistic illusion s mbols and substitutes are able to rovokereal emotions.’

The best model for a psychoanalytic aesthetics in Freud’s

Unconscious (1905). This study of wit (sometimes translated as ‘Jokes’) explores

not only the psychological state of the person being wittyu a so exp a ns ow w a ec s e au ence an w y

consideration of the social context is important. In creatingand enjoying wit, we share a critique of the socialsuppression of instincts.

Wit, as an aesthetic phenomenon, is very far from being aform of consolation or reconciliation. It enlightens us andenables to share in protest against the self-denial we haveaccepted as the cost of a civilized existence.


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According to Freud, in the earliest phase ofc oo , t e n v ua s om nate y t e

‘pleasure principle’, seeking unreflectinggratification, with no definitely established

. Eventually, the child comes up against the

restrictions of the father. (In pure Freudian termsOedipal desires for its mother by threatening itwith castration.

, ,level.) The father thus comes to represent the ‘reality principle’, forcing the child to heed there uirements of the real world for the first time.


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Identif in with the father now makes it

possible for the child to take on amasculine role and makes it aware for the

institutionalized law.

different stages in the Freudian scheme ofthings, which have been fundamentally

cr c ze y many em n s wr ers. The personality is then split between the

.


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For Lacan, the whole of human life is like a narrative in

.

starts out with a sense of loss (of the mother’s body), andwe are constantly driven by a desire to find substitutes forthis lost paradise. All narrative can, in fact, be understood

. Another important concept in Lacanian thought is that of

‘The Other’. This refers to the developing individual’sawareness of other beings, who are also necessary ine n ng t e n v ua s ent ty. e t er s c ear y a

general concept for the entire social order. As the socialcontext of every individual’s life is constantly changing,however, so is the individual’s sense of identity. It is always

a process, never a s a e.


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Ideolo is also art of ‘The Other’ and

provides a ‘misrecognition’ of the self, afalse interpretation which nevertheless.

gives us the illusion of filling the lack that

desire is eternall seekin to fill which iswhy it always has such a firm hold overus.

en we rea a erary ex oo, we a owit to dominate us in a similar way and tofill the lack in our bein .


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OBJECTIVES: o ev se a t eory o persona ty t at can eas y e

understood and used because it is less metaphysical andcomplicated than Freud’s or Jung’s. To ar ue that instincts and heredit aren’t im ortant causes

of human behavior. To emphasize the social aspects of personality: We must

cooperate with others in order to survive, and everyone has. To show that striving for superiority over our formidable

environment (striving for self-perfection) is the mostimportant human motive.

o re ec reu s emp as s on e ep s o persona y yshowing that the unconscious is relatively unimportant, andthat personality is determined by our consciously chosengoals and methods of achieving them (style of life).


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To argue that personality is an indivisible unity: Conscious ,

never torn by conflicting wishes and goals that set one partagainst another part. To emphasize that personality development is strongly

n uence y t e c s re at ons p w t s er parentsand birth order.

To correct Freud’s belief that mental illness usually hassexual causes b showin that s cho atholo most oftenoccurs when pathogenic parenting (notably pampering andneglect) causes the child to develop an inferiority complex,abandon the desire to cooperate, and try to achievesu eriorit in selfish wa s that hurt rather than hel other

people. To show that successful psychotherapy can be

accomplished more easily and quickly than Freud believed.


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SIGMUND FREUDSIGMUND FREUD ALFRED ADLERALFRED ADLER

People are motivated by sexPeople are motivated by sexand aggressionand aggression

People are motivated by socialPeople are motivated by socialinterestinterest

People have little or no choicePeople have little or no choice

in shaping their personalityin shaping their personality

People are largely responsiblePeople are largely responsible

for who they arefor who they are

Present behavior is caused byPresent behavior is caused bypast experiencepast experience

Present behavior is shaped byPresent behavior is shaped byview of the futureview of the future

Behavior is largely driven byBehavior is largely driven bythe unconscious partthe unconscious part

Behavior is largely driven byBehavior is largely driven bythe conscious partthe conscious part


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Basic Assumption ofBasic Assumption of

Individual PsychologyIndividual Psychology1.1. The one dynamic force behind people’s behaviorThe one dynamic force behind people’s behavior

is theis the striving for success or superiority striving for success or superiority ..

2.2. People’sPeople’s subjective perceptionssubjective perceptions shape theirshape their. .

3.3. Personality isPersonality is unified and self unified and self--consistent consistent ..

4.4. The value of all human activity must be seenThe value of all human activity must be seenrom e v ewpo n orom e v ewpo n o soc a n eressoc a n eres ..

5.5. The self The self--consistent personality structureconsistent personality structuredevelops into a person’sdevelops into a person’s style of lifestyle of life..

6.6. Style of life is molded by people’sStyle of life is molded by people’s creativecreative power power ..


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1.1. The one dynamic force behind people’s behavior isThe one dynamic force behind people’s behavior is

–– People strive toward a final goal of either personalPeople strive toward a final goal of either personalsuperiority or the goal of success for all humankind.superiority or the goal of success for all humankind.

–– The final oal is fictional and has no ob ectiveThe final oal is fictional and has no ob ectiveexistence.existence.

–– However, the final goal has great significance becauseHowever, the final goal has great significance because

it unifies personality and renders all behaviorit unifies personality and renders all behaviorcompre ens e.compre ens e.

–– Final goal is the product of creative power (people’sFinal goal is the product of creative power (people’sability to freely shape their behavior and create theirability to freely shape their behavior and create their

..

–– Striving for success or superiority is a means ofStriving for success or superiority is a means ofcompensation for feelings of inferiority or weakness.compensation for feelings of inferiority or weakness.


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2.2. People’sPeople’s s u b j e c t i v e p e r c e p t i o n s s u b j e c t i v e p e r c e p t i o n s shape theirshape their. .

Striving for success or superiority toStriving for success or superiority tocompensate for feelings of inferiority but thecompensate for feelings of inferiority but the

reality but by their subjective perceptions ofreality but by their subjective perceptions ofreality, that is, by their fictions, orreality, that is, by their fictions, or

ex ectations of the future.ex ectations of the future. The most important fiction is the goal ofThe most important fiction is the goal of

superiority or success, a goal that peoplesuperiority or success, a goal that peoplecreated early in life and may not clearlycreated early in life and may not clearly

understand. This subjective, fictional finalunderstand. This subjective, fictional finalgoal guides the style of life, gives unity togoal guides the style of life, gives unity tothe personality.the personality.


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3. Personality is3. Personality is u n i f i e d a n d s e l f u n i f i e d a n d s e l f - - c o n s i s t e n t c o n s i s t e n t

A person is unique and indivisible.A person is unique and indivisible.

Thoughts, feelings, and actins are all directed toward aThoughts, feelings, and actins are all directed toward asingle goal and serve a single purpose.single goal and serve a single purpose.

Although behavior may appear inconsistent, when they areAlthough behavior may appear inconsistent, when they areviewed from the perspective of the final goal, they appearviewed from the perspective of the final goal, they appearas clever but probably unconscious attempts to confuse andas clever but probably unconscious attempts to confuse and

. .

This confusing and seemingly inconsistent behavior givesThis confusing and seemingly inconsistent behavior giveserratic person the upper hand in an interpersonalerratic person the upper hand in an interpersonalrelationship.relationship.

Although erratic people are often successful in their attemptAlthough erratic people are often successful in their attemptto gain superiority, they usually remain unaware of theirto gain superiority, they usually remain unaware of theirunderlying motive, and may stubbornly reject anyunderlying motive, and may stubbornly reject anysugges on a ey es re super or y over o er peop e.sugges on a ey es re super or y over o er peop e.


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4.4. The value of all human activity must be seen fromThe value of all human activity must be seen froms o c a n e r e s so c a n e r e s

(gemeinschaftgefühl)(gemeinschaftgefühl) Social interest refers to a feeling of oneness with allSocial interest refers to a feeling of oneness with all

humanity; it implies membership in the social communityhumanity; it implies membership in the social communityo a peop e.o a peop e.

A person with wellA person with well--developeddeveloped gemeinschaftgefühlgemeinschaftgefühlstrives not for personal superiority but for perfection forstrives not for personal superiority but for perfection forall eo le in an ideal communit .all eo le in an ideal communit .

Social interest can be defined as an attitude ofSocial interest can be defined as an attitude ofrelatedness with humanity in general as well as anrelatedness with humanity in general as well as anempathy for each member of human community.empathy for each member of human community.

for social advancement rather than for personal gain.for social advancement rather than for personal gain.

Social interest is the natural condition of the humanSocial interest is the natural condition of the humanspecies and the adhesive that binds society together.species and the adhesive that binds society together.


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5. The self 5. The self--consistent personality structure develops into aconsistent personality structure develops into a’’ ..

Style of life refers to the flavor of a person’s life,Style of life refers to the flavor of a person’s life,including the goal, self including the goal, self--concept, feelings for others, andconcept, feelings for others, andattitude toward the world.attitude toward the world.

Style of life is the product of the interaction of heredity,Style of life is the product of the interaction of heredity,environment, and a person’s creative power.environment, and a person’s creative power.

A person’s life style is fairly well established by age 4 orA person’s life style is fairly well established by age 4 or,,unified style of life.unified style of life.

Although the final goal is singular, style of life need notAlthough the final goal is singular, style of life need notbe narrow or rigid.be narrow or rigid.

ea y peop e see many ways o s r v ng or success anea y peop e see many ways o s r v ng or success ancontinually seek to create new options for themselves.continually seek to create new options for themselves.

People with a healthy, socially useful style of life,People with a healthy, socially useful style of life,ex ress their social interest throu h action.ex ress their social interest throu h action.


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6. Style of life is molded by people’s6. Style of life is molded by people’s creativecreative power power ..

Each person is empowered with the freedom toEach person is empowered with the freedom to. .

Their creative power places then in control ofTheir creative power places then in control of

their own lives, is responsible for their finaltheir own lives, is responsible for their final,,that goal, and contributes to the developmentthat goal, and contributes to the developmentof social interest.of social interest.

rea ve power s a ynam c concep mp y ngrea ve power s a ynam c concep mp y ngmovement, and this movement is the mostmovement, and this movement is the mostsalient characteristic of life.salient characteristic of life.


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Behavior is determined by theBehavior is determined by themotives for meetin different needsmotives for meetin different needs

Human’s needs are hierarchical, fromHuman’s needs are hierarchical, from

the lowest h siolo ical throu hthe lowest h siolo ical throu hsafety, love and belongingness, andsafety, love and belongingness, andself self--esteem to the highest (self esteem to the highest (self--

actua ization .actua ization .MaslowMaslow


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Humanistic Psychology

1. To correct Freud’s pessimistic view of human nature by.

2. To show that each of us has an innate tendency todevelop our healthy potentials (actualization), and an

is not.3. To show that psychopathology occurs when pathogenic

arentin causes the child to abandon the health uest

for actualization in order to keep the parents’ love andrespect (positive regard), resulting in such symptoms as

“I wonder who I really am” and “I don’t know what Iwant.”

•


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Individual PsychologicalIndividual Psychological


drive.drive.

––motivating force for the perfection ofmotivating force for the perfection of

––desire to fulfill the potentials, to comedesire to fulfill the potentials, to come..

–– thethe striving for perfectionstriving for perfection


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Behavior is influenced by environmentBehavior is influenced by environment

processesprocesses

(imitating)(imitating)

response)response)

SkinnerSkinner


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Behavior is human’s attempt for coping withBehavior is human’s attempt for coping with

- Adler

Social Interest

Fictional

Finalism

Inferiority

FeelingStriving for

SuperiorityCreative Self

Style of Life


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the author’s fantasies and dreamsthe author’s fantasies and dreamsad usted to the societ .ad usted to the societ .

Literature is a projection of theLiterature is a projection of the

author’s subauthor’s sub--conscious wishesconscious wishesunfulfilled in real lifeunfulfilled in real life

Literature is a reLiterature is a re--presentation of thepresentation of the

author’s experience.author’s experience.An author is a dayAn author is a day--dreamer.dreamer.


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The poet is the “possessed”: he is unlike otherThe poet is the “possessed”: he is unlike othermen, at once ess an more,; an t emen, at once ess an more,; an t e

unconscious out of which he speaks is felt to beunconscious out of which he speaks is felt to beat once subat once sub-- and superrational (Wellek, 1956:and superrational (Wellek, 1956:..

The poet’s “gift” is compensatory:The poet’s “gift” is compensatory:

Tiresias was blind but he was given propheticTiresias was blind but he was given prophetic

Pope was hunchback and a dwarf Pope was hunchback and a dwarf Proust was athmatic neuroticProust was athmatic neurotic

Keats was shorter than other menKeats was shorter than other men Thomas Wolfe was much taller than other menThomas Wolfe was much taller than other men


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Thus b a certain ath he actuall becomes thehero, king, creator, favorite he desired to be,without the circuitous path of creating real

,

The poet is a day-dreamer who is socially

validated. Instead of altering his character, heperpetuates and publishes his phantasies.

— , --

synaesthesia, or the linking together of sensoryperceptions out of two or more senses, mostcommonly, hearing and sight.



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The “creative process” should cover the entiresequence rom e su consc ous or g ns o a

literary work to those last revisions which, withsome writers, are the most enuinel creativepart of the whole.

his poems is the whole of his percipient life. Withthe artist, in any medium, every impression iss ape y s art; e accumu ates no nc oateexperience.


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“ ”nsp ra on , e ra ona name or e unconsc ous ac or ncreation, is closely associated with the Muses, the Daughters ofmemory, and in Christian thought with the Holy Spirit. Bydefinition the ins ired state of a shaman ro het or oet differsfrom his ordinary state. In primitive societies the shaman may

voluntarily be able to put himself into a trance, or he mayinvoluntarily be “possessed” by some ancestral or totemic spirit-

. ,marks of suddenness (like conversion) and impersonality: the workseems written through one.

Creative habits there assuredly are, as well as stimulants andrituals. Alcohol, opium, and other drugs dull the conscious mind,the overcritical “censor” and release the activit of the

subconscious.


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,varying degrees, inherited literary types, persons observed,

and the self. The realist, we might say, chiefly observesbehavior or “emphatizes,” while the Romantic writer

“projects”; yet it is to be doubted that mere observation cansuffice for life-like characterization.

Characters in plays and novels are judged by us to be “psychologically” true. Situations are praised and plotsaccepted because of this same quality.

[Characters] would be “matter” or “content” like any othertype of information to be found in literature, e.g., facts fromnav gat on, astronomy, or story.


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Characters in plays and novels are judged by uso e psyc o og ca y rue. ua ons are

praised and plots accepted because of this sameualit . For instance: Hamlet fits the t e of

“sanguine man’s suffering from melancholyadust” known to the Elizabethans from their

.

In art, psychological truth is an artistic value.


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‘

meaning.’ It means that the reader’

the messages.



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PSYCHOLOGYPSYCHOLOGY

psychical elements (psyche)psychical elements (psyche)

Psychology is a study of human’s psychePsychology is a study of human’s psyche Human’s psyche could be explainedHuman’s psyche could be explained

through human’s observable patterns ofthrough human’s observable patterns of

Psychological Perspectives onPsychological Perspectives on


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Psychological Perspectives onPsychological Perspectives on

Human’s Behavior Human’s Behavior

Behaviorist PerspectiveBehaviorist Perspective

Humanistic ers ectiveHumanistic ers ectivePsychoanalytic perspectivePsychoanalytic perspective



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Behavior is influenced by environmentBehavior is influenced by environment

processesprocesses

(imitating)(imitating)

response)response) SkinnerSkinner


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Behavior is determined by theBehavior is determined by themotives for meetin different needsmotives for meetin different needs

Human’s needs are hierarchical, fromHuman’s needs are hierarchical, from

the lowest h siolo ical throu hthe lowest h siolo ical throu hsafety, love and belongingness, andsafety, love and belongingness, andself self--esteem to the highest (self esteem to the highest (self--

actua ization .actua ization .MaslowMaslow


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SELF-ACTUALIZATION

LOVE AND BELONGINGNESS

SELF-ESTEEM

SAFETY

PHYSIOLOGICAL


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Self-actualization

Self-esteem

Physiological


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dynamics between id, ego, and superdynamics between id, ego, and super

The inadequate dynamics result inThe inadequate dynamics result in

Conflicts lead to different anxietiesConflicts lead to different anxieties

mechanismmechanism


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IDPLEASURE

(REALITY)

SUPEREGO

Id “represents the biological substation of humans,”


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” .which the ego and the superego becomedifferentiated (Hall and Lindzey, 1981: 33). “

personality the Id is close touch with bodilyprocesses and it’s derives from them the psycheenergy powers the operation of the three systems(Hall and Lindzey, 1981: 33).

instincts. Freud called the Id as “true psychicreality” because it represents the inner world of

objective reality (Hall and Lindzey, 1981: 36).


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The Id is Freud’s structural concept for thesource of the instinct of all of the drive energy in

people; he believes that the sexual impulse is

of inhibitions and cannot tolerate frustration butfor reality it shows no regard because it only

, .


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go s t e secon part o t e persona ty system.Freud states that Ego is “the result of the creationof s iritual inner s stems as a result of reci rocalrelationship between an individual and his world

(Hall and Lindzey, 1981: 34). As the sole region of,

Ego becomes the decision-making or executivebranch of personality. Not all its choices, however,ma e on a consc ous eve reu n e s , :25).

According to Freud (in Asimov, 1983:145) “the


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g ( , )

primary job of the Ego is to satisfy the Id impulsebut to do so manner that takes into consideration

”though the Ego lacks the strong vitality of the Id . It

regulated the instinctual drives of the Id so that

patterns, and though a large portion of the Ego isunconscious, the Ego never the less comprises whatwe ordinarily think of as the conscious mind(Burger, 1986:58).


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According to Pervin (1984:75) reality principlemeans “the gratification of the instinct that isdelayed until an optimum time when most pleasure

can be obtained with the least pain or negative

satisfy the desires of the Id in accordance withreality and the demands of the Superego. Hall and

process is “a realistic thinking, it delays action untilit finds a need satisfying objects”. It involves realitytesting in which the Ego makes a plan for satisfyinga need and then tests it in order to see whether itworks or not.


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The Su ere o contains two thin s “conscience”


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and “ego ideal ”. The conscience gives punishmentto people with feeling guilty, whether ego ideal

(Koesworo, 1986:46).The function of Superego is to establish whether itis rig t or wrong, mora or immora in or er t atthe personality can measure according to moral

societ . So Su ere o is o osin the E o or Idand makes a world become an ideal conception.The main function of Superego are; to control the

condemned by society, to persuade the Ego tosubstitute moralistic goals for realistic, to striveor per ect on a an n zey, : .

Anxiety has significant role in the development of.


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.

involves dealing with the external world. Theworlds of reality provide us with or deprive us of

threaten our very lives. It can disturb as well ascomfort and satisfy, and when we are not preparedto cope with threats, we may becomeafraid of anxious (Hall an Lindzey, 1981: 41).

unpleasant emotional experience similar but notincidental to feelings of nervousness, worry,

, .

unacceptable materials creates anxiety. Freudconsiders three kinds of anxiety : they are realityanxiety, neurotic anxiety , and moral anxiety .

Realistic anxiety is an experience of fear or real


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anxiety. It has a function to warn the personof impending danger as signal to the Ego thatunless appropriate measures are taken the danger

may increase until it is overthrown. Realistic anxiety derives neurotic anxiet and moral anxiet H elleand Zieglar, 1992:103).Realistic anxiety is also known as objective anxiety

.unpleasant feeling about a known danger. A personmay experience realistic anxiety while driving ineavy, ast-moving tra ic. T e angerous situation

is real and originates in the external world (Feist,1985: 31 .

Neurotic anxiety is an anxiety that occurs when Ego


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cannot control the instinct coming from Id . It alsocan be defined anxiety that caused by experiences of

something will get punishment (Hall Lindzey, 1981:

44). Hjelle and Zieglar (1992: 103) state that

anxiety because punishment originally derived fromexternal source.The process responsible for neurotic anxiety, on theother hand, originates in the Id . Since Id iscom letel unconscious neurotic anxiet is defined

as apprehension about an unknown danger. Thefeeling itself exists in Ego, but it originates from Id,

Moral anxiet has its ori in in the conflict between E o


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and the Superego. After the establishment of thesuperego, usually by the age of four of five, a person

between realistic needs and the dictates of thesuperego (Feist, 1985: 31).

Mora anxiety occurs ecause t e in ivi ua rea y as amoral consciousness. It has a function to warn the

human bein to the dan er condition as a si nal to e oand ego should take a good action to avoid the dangerin order Ego has not been defeated (Feist, 1985: 31).

-

guilty when he does something or everything or doingsomething that is contrary to the moral code by whichas een ra se a an n zey, : .


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Behavior is resulted from human’s attempt for copingBehavior is resulted from human’s attempt for coping

- Adler

Superiority

Fictional

FinalismInferiority

Feeling

Creative Self

Social Interest

Style of Life

BASIC ASSUMPTIONS OFBASIC ASSUMPTIONS OF


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PSYCHOLOGY OF LITERATUREPSYCHOLOGY OF LITERATURE

psychology and literature.psychology and literature.

observable patterns of human’sobservable patterns of human’s

..Literature exhibits how humanLiterature exhibits how human

e ngs e ave n ea ng w e re ngs e ave n ea ng w e rproblems and environment.problems and environment.


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the author’s fantasies and dreamsthe author’s fantasies and dreamsad usted to the societ .ad usted to the societ .

Literature is a projection of theLiterature is a projection of the

author’s subauthor’s sub--conscious wishesconscious wishesunfulfilled in real lifeunfulfilled in real life

Literature is a reLiterature is a re--presentation of thepresentation of the

author’s experience.author’s experience.An author is a dayAn author is a day--dreamer.dreamer.

The artist sa s Freud is ori inall a man who


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turns from reality because he cannot come toterms with the demand for the renunciation of

,who then in fantasy-life allows full play to hiserotic and ambitious wishes. But he finds a wayof return from this world of fantasy back toreality; with his special gifts, he moulds his

fantasies into a new kind of realit and menconcede them a justification as valuablereflections of actual life. Thus by a certain path

, , ,

favorite he desired to be, without the circuitouspath of creating real alterations in the outer

wor . We e , 1 :


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The poet is a make of poems; but the matter of his poems is thewhole of his percipient life. With the artist, in any medium, every

experience.

The literary man is a specialist in association (“wit”), dissociation(“judgment”), recombination (making a new whole out ofelements separately experienced). He uses words as his medium


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[…] the young are more directly and powerfully influenced by theirreadin that the old that inex erienced readers take literature morenaively as transcript rather than interpretation of life, that thosewhose books are few take them more utter seriousness than do wideand professional readers.

PSYCHOLOGY OF THEPSYCHOLOGY OF THE


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CHARACTERSCHARACTERS

The creation of characters may be supposed to blend, in varying

degrees, inherited literary types, persons observed, and the self.The realist, we might say, chiefly observes behavior oremp atizes, w i e t e Romantic writer projects ; yet it is to e

doubted that mere observation can suffice for life-likecharacterization.

Characters in plays and novels are judged by us to be “psychologically” true. Situations are praised and plotsaccepted because of this same quality.

[Characters] would be “matter” or “content” like any othertype of information to be found in literature, e.g., facts from

nav gat on, astronomy, or story.

Documents

Literary Theories Session 6 Psychology of Literature Compatibility Mode