Proposal Tabriz Guiltl

7/27/2019 Proposal Tabriz Guiltl

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Islamic Azad University of Tabriz English Department

Thesis Research Project Proposal for MA candidates in English

!ang"age # !iterat"re

$"ilt and Atonement% Revising the Instit"tion of family in

E"gene &'neills Three plays (The Iceman )ometh( (!ong Day's

jo"rney into night( (Mo"rning becomes Electra(

By:Majid Mohammadpour

2014

0


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Table of )ontents

1. Introduction...............................................................................................

a *tatement of the problem

b P"rpose of the st"dy

c *ignificance +,"stification- of the *t"dyd .ypothesis +Research /"estion-

e !imitation # Delimitation of the *t"dy

2. Review of The Related Literature............................................................

a Related Theoretical 0ie1s

b Related Empirical *t"dies

3. Methodology !""roach# $ata !naly%i% # &edagogical I'"lication%(

.......................................................................................................................13

23 Methodology32

24 Research Pathern35

22 *)&PE A6D !IMITATI&6*.................................................................22

5 &"tline # &rganization of the *t"dy

Incl"ding Disc"ssion # Proposed )hapters

$)*I+ITI,+ ,* T-) T)RM..................................................................22

4.1 &%ycho"atology:.....................................................................................22

Reference......................................................................................................24

1


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1.

A%*tatement of the problem

Eugene ONeill 789: 1as an important 1riter &;6eill;s mammoth literary 1or< prod"ced

variety of responses among the critics $enerally speaamined Moreover= this revie1 1ill not e>amine criticisms of specific plays e>cept

for the p"rposes of identifying trends in &'6eill criticism

Crom psychoanalytic perspectives these critics provide some interpretative angels that

stretch from the a"thor to the personas in his plays o1en 73: integrates his analysis

of &;6eill;s biography aro"nd the concept of Fc"rseG that o1en thin


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1inbeca"se of &;6eill;s innate pessimismG *he partic"larly 1rites abo"t &;6eill;s

dramatization of father and mother Cather= she 1rites is "s"ally in the image of stern=

hard $od= and mother as the loving $od of 6at"re oth represents antithesis bet1eenF)hristian ren"nciation and pagan loving acceptance *imilarly Manheim;s Eugene

ONeills New language of Kinship 79: offers insightf"l corelation bet1een &;6eill;s

creativity and the determining infl"ences on his creative "rges that in Manheim;s vie1s1ere Fhis mother;s dope addiction= death of his mother and his brother ,amie

Ale>ander;s Tempering of Eugene ONeill 78: is another important acco"nt of

correlation bet1een &;6eill;s personal and artistic life Ale>ander in her boo< foc"seson certain ander;s Eugene ONeills Creative truggle! the

De"isiveDe"ade# $%&'($%)) 7: and lactraordinary

nat"re and seK"ence *he sees this pattern in terms of Fopport"nity to confront and

solve a pressing life problemG .er acco"nt ass"mes moral aspect 1hen she arg"es that=Findeed the 1ay in 1hich &;6eill confronted in these nine play 71ritten d"ring 3@45

22: his intense problems in love and marriage sho1s the same c"rio"s combination of

plicitreasoningG .er blend of a"tobiographical and psychoanalytic becomes obvio"s as she

highlights strong oedipal nat"re of &;6eill;s relation 1ith the mother as a desired

object and is a reflection of the role of the tra"matized past on the present Cor instanceshe analyses trange +nterlude as a play abo"t &;6eill oedipal and se>"al conflicts

thro"gh the personas of )harlie Marsden and 6ina !eeds In her commentary on

*ourning ,e"omes Ele"tra she 1rites =F.e certainly


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.e f"rther elaborates the repairing and n"rt"ring role of creativity in these 1ords%

A freshet of activity so often follo1s that the act of maed 1ith envy and jealo"sy as 1ell as freK"ently accompanying depression 1ith

varying degrees of somatic disr"ptionsG+A*IM ARIM=4B33-

.isLong Days Journey 1rites lac< similarly demonstrate the play1right;s "rging tocome to term 1ith loss

y the time it is finished= he "al tension bet1een them in a

realistic= that is s"ppressed manner so s"btly e>ec"ted as to el"de detention by those

"naltered to their presence

This st"dy s"bstantiates the e>istence of depressive and destr"ctive oedipal dynamics inartist;s relation in the familial conte>t= b"t also highlights the comple>ity involved in

this matter and limitations inherent in the approach The st"dy therefore adds lenianperspective on personality development and child mother relation to e>plain the

comple>ity It also asserts that &;6eill str"ggled 1ith the problem thro"gho"t his life

'


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and his art meaningf"lly reflect the crises and the str"ggle that failed to settle do1n ormove to1ards the resol"tion or repair as Ale>ander and lac< contend This factor

imparts a characteristic dar< and depressive acco"nt to 1hole h"man effort on the stageIt also acco"nt largely for his personal psychopathological disintegration The st"dy also

asserts that artist;s preocc"pation 1ith the interior of his mind in his art from specific

perspectives is bo"nd to create intellect"al= imaginative and representational limitations

for his art

!o"is Tyson e>plains that (family is important to psychoanalytic theory= beca"se 1e are

each a prod"ct of the role 1e are given in the familycomple>( +P39- It is the family

press"re +that is reinforced by society- that dictates the action in the story of TyronefamilyLong Day/sJourney into Night foc"ses on a dysf"nctional family trying to cope

1ith the serio"s problems= incl"ding dr"g addiction= moral degradation= fear= g"ilt= and

having dream of the past and a happy life The Tyrone family is fragmented and each of

its members to some degree is alienated from the past+Ru/eh B!B!))= 4B33-,amie% 7gen"inely concerned: It's not j"st a cold he's got The horts This sense of g"ilt had its manifestation in her ref"sal

to procreate the other one= FI s1ore after E"gene died I 1o"ld never have another baby

+P38- .er agony is f"rther evident in her terrible e>pression% FIt 1as my fa"lt I sho"ldhave insisted on staying 1ith E"gene and not let yo" pers"ade me to join yo" 7 :

Above all I sho"ldn;t have let yo" insist I have another baby to taistence in the capitalistic Man In the 1ords of izeistence Fis the very opposite of dyingG It is a s"blime b"t Fhorrible fate of being

ca"ght in the endless repetitive cycle of 1andering aro"nd in g"ilt and pain( +P4@4-

Tyrone is s"bjectified by the capitalistic disco"rse to become the Feconomic ManGPettigre1;s 1ords offer a concise e>planation of this idea% FLQo"r money or yo"r life;

e>claims !acan +0+= 434- If yo" accept the signifier= yo" lose eing This is 1hy !acan

spea


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yo" ref"se the signifier= yo" fall into nonmeaningG +P3@5- Cor &;6eill= the lethal

signifier is indeed F)apitalG for it opens "p a ne1 1orld of +false- enjoyment for the

s"bject to recognize reality InLong Day/s Journey= Tyrone p"rs"es his c"lt"ral capitalto become a famo"s Actor= and he s"bseK"ently lin


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an image of behavioral decline and disintegration ca"sed differently either by loss=

depressiveness= g"ilt= or incest co"ld hardly be cathartic and therape"tic for the readers

It co"ld only prod"ce psychic strain= depressiveness and psychospirit"al stasis T1o

specific areas that 1ill be highlight for regressive effect 1ere ethical crises and "se of

monotono"s lang"age &;6eill;s dramatic representations of the self and the characters

do carry $"ilt and Atonement in Revising family system In the process= ho1ever= it

reveals lo1er depths of h"man character in the given sit"ation= and most importantly

this mode is "ality= ethical crises and destr"ctive familial pattern 6o do"bt in history

one can observe the "niversal validity and acceptance of literary 1or< belonging to

opposing state= b"t the reason 1as the corresponding?similar e>periences and

e>pressions of feelings and emotions generated by the literary 1or


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Days Journey= all the members of Tyrone family live o"t their pitif"l and "seless lives

in the Tyrone;s s"mmer home in 6e1 England The mother is a dope addict= the father

a destroyed parsimonio"s actor= one son a dr"n"ally pervert= jealo"s of his

yo"nger brother to the e>treme= and the other son a t"berc"lar= and hopelessly morbid

e>pressing sense of life;s "tter 1orthlessness time and again in the play They all s"ffer

from g"ilty conscience for betraying each other in the past They realize for the final

time in the play that they m"st live on in their slo1 death that creates the painf"l

impression of life;s contin"ity in pain and affliction

*imilarly in Mo"rning ecomes Electra the characters reveal their social detachment

thro"gh their split and g"ilt ridden personalities and preocc"pation in the realization of

their incest"o"s desires In !ong Day;s ,o"rney dr"n crises

In Mary Tyrone +!ong day;s ,o"rney- the reprod"ctive "rge is marred by ambivalence

It is marred first by denial and then desire to procreate another to blot the g"ilty of

child;s death *he had to bear the shoc< of E"gene death= b"t g"ilt for leading to his

death never leaves her for the entire life% FI blame only myselfG she e>horts This senseof g"ilt had its manifestation in her ref"sal to procreate the other one= FI s1ore after

E"gene died I 1o"ld never have another baby 742: .er agony is f"rther evident in her

terrible e>pression Treatment of se>"ality in literat"re has al1ays remained

challenging It has been treated imaginatively and associated strongly 1ith love and

friendship Modern development in psychoanalysis= the range of st"dying se>"ality

along psychoanalytic lines and terminologies has been stretched bac< to the primitive

society and ancient civilization and its literat"re Deats in the Politics of *e>= $ender=

and *e>"ality% An Early Modern Perspective 74B8: e>amines the concepts of

s"bjectivity= gender= se>= and se>"ality as presented in si>teenth cent"ry disco"rse= and

concl"des that those concepts 1ere as diffic"lt to pin do1n in the early modern period

as they are today Cor and dominated by

l"bricityG *tage= contin"es to 1rite Cor


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images of se>"al desire and aversion= providing a"diences 1ith a means of foc"sing=

defining= or (processing( +as deconstr"ctionist critics might say- the f"ndamentally

ambivalent nat"re of their o1n erotic attit"des and feelingsG

*ha"ality in the period

by ref"sing to isolate se> from a more f"ll vie1 of the h"man condition= from those

moral and spirit"al val"es in the light of 1hich he invites "s to assess all aspects of

h"man e>perience The blessing of the bride beds in for e>ample= A Mids"mmer

6ight's Dream= s"bstantiates the creativity o f se>"al enco"nter as an facet of

matrimony= and therefore of social str"ct"re and )hristian atonement iggins 74B@:

st"dies the relations bet1een se> and violence in Macbeth and the connection of both

1ith the Heird *isters in the play .amlet has also been analyzed as strictly Cre"dian

play 1ith mar


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d .ypothesis +Research /"estion-

The follo1ing areas in the st"dy 1ill be debated 1ith reference to &;6eill;s art and

creativity%

3 $"ilt in &;6eill;sthree plays is significant different

4 Atonement in &;6eill;sthree plays is significant different

2 Camily frame in &;6eill;sthree plays is significant different

5 $"ilt and Atonement in family frame has been reflected in &;6eill;sthree plays

The st"dy also emphasizes that preocc"pation 1ith the "nconscio"s and s"bjective

creates its o1n archeology of limitations and constraints on s"ch a type of art The

most significant limitation is related to that of representation as a concern of the

tragic art Therefore &;6eill;s dramatic art 1ith partic"lar mental states as it

"nfolds needs to be placed in the broader field of art and creativity to determine its

appeal in terms of its representation and appeal

9 The proponents of relation bet1een loss?affliction and creativity have ignored to

.ighlight the $"ilt and Atonement= loss and family instit"tion on the created

1or


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Definitions of shame and g"ilt in the psychological literat"re 1 g"ilt is differentiated

from shame in terms of an internal vers"s an e>ternal orientation +eg= A"s"bel= 3@N

Mead= 3@4N Triandis= 3@- $"ilt 1o"ld be characterized by the personal j"dgmentthat one has violated internalized standards of cond"ct follo1ed by pangs of

conscience= r"mination= and intrap"nitive reactions+,ohnny R , Et al 4BB9- the

e>perience of g"ilt can serve to mar< the morality of a c"lt"re $"ilt is th"s somethingone can feel if one has the e>perience of being the so"rce of some 1rongdoing= relative

to a local moral order

$"ilt need not ens"e in s"ch sit"ations +there is no direct= mechanical lin< involved-=b"t there is at least a normative reason to feel g"ilt &ther emotions can also accompany

the e>perience of having acted 1rongly &ne can be angry 1ith oneself=be embarrassed=

or shamef"l "t I believe that g"ilt is primary Cor if one becomes angry 1ith oneself

in s"ch a sit"ation= it is 2e"ause one did something that elicited g"ilt= and not the other1ay aro"nd +"nless= of co"rse= it 1as the very display of anger that constit"ted a breach

in the shared norms- In the Hestern c"lt"re +at least in 6orthern E"rope= 1here I am

located-= g"ilt is al1ays personal In the normative sense= only that person 1ho has

acted 1rongly is g"ilty= and others cannot Ltat of the broader iss"es concerning redemption=

salvation= reconciliation and the rene1al of h"man life

The logic of p"nishment= 1hich reK"ires the *on to bear the Cather's 1rath= has been

criticized not only for its moral?legalistic rigidity that engenders g"ilt as a condition for

forgiveness and that denies that $od is free to forgive= b"t as a form of (divine child

ab"se=( a projection of the 1orst h"man imp"lses Qet contemporary theology is

prepared to thin< abo"t $od's s"ffering or identifying 1ith s"fferers .ere the foc"sshifts from 1rath to reconciliation+and potentially to the redemption vie1 of

atonement-

In traditional christian tho"ght= the Atonement of )hrist has al1ays been related

directly to the Call of Adam Cor some= it has seemed a direct and relatively simple

ans1er= a sol"tion to the estrangement of $od from man 1hich 1as ca"sed by $od;s

rejection of Adam after Adam;s rebellion had spoiled $od;s plan "t most )hristians

+and ,e1s- have been able to see that it is inconsistent 1ith their "nderstanding of the

nat"re of $od to imagine him t"rning his bac< on man= to s"ppose that man m"st

propitiate $od and 1in bac< his favor in the process of atonement )learly any

rejection involved is the rejection of $od by man and any reconciliation m"st be thereconcilation of man to $od As pa"l said to the )orinthians= F7$od: has reconciled "s

to himself by ,es"s )hrist= and hath given to "s the ministry of reconcilationN to 1it=

$od 1as in )hrist= reconciling the 1orld "nto himself= not imp"ting their trespasses

"nto t h e m F +ii )or %33@- "t in too m"ch )hristian theology= as 1ell as fol


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spirit prison or strange metaphysical str"ct"res s"ch as absol"te j"sticeSsomething

cr"cial= no do"bt= and to be deeply gratef"l for= b"t having nothing very clear to do 1ith

redeeming the daily ro"nd of st"dying differential eK"ations and comm"ting to 1orican Americans= than it is among non.ispanic Hhites and lacican

Americans and lac


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opport"nities of individ"als in their teens and early 4Bs Camily *E* is related to

adolescents; s"ccess in school and their opport"nities for postsecondary ed"cation

eca"se children from advantaged bacpresses a (


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.allman +.allman= R , 3@9- terms it a biological motivation implying that creative

"rges occ"r as secondary forms of drives and are derived thro"gh reinforcements from

more f"ndamental biological "rgesG It also implies that the motivation of ad"lt

behavior= incl"ding the artist;s creative activities= is oriented to1ards the past and

determined by past conditioningG Cre"d;s follo1ers= 1rites .allman conc"r in this

e>planation rill +rill= AA Ktd in .allman 3@9 5- describes the poet as

obsessed by pregenital oral fi>ations and e>plains the poems as a secondary

elaboration of the infant;s e>perience at the mother breast Engelmann +Engelmann=

AA Ktd in .allman 3@9- believes that infantile phobias and perverse gratifications

combine to establish o"r aesthetic tastes C Deri claims that all creative energy flo1s

from pre genital imp"lses

0an der *terrn finds so"rce of creative imagination in oedipal fantasies +Deri= C Ktd in

.allman 3@9- .allman lists n"mero"s other motivations behind comple> creativity to

drive concl"sion that strong motives have more than mere energy thr"sts They f"lfill

aesthetic f"nction 1hich is transformational as it transforms his primary pragmatic

enco"nters to primary K"alitative ones that in t"rn lead and f"ses into aesthetic response

+.allman 3@9- Hright also s"pports idpsychology The term Idpsychology 1as not

"sed by Cre"d himself= b"t 1as adopted s"bseK"ently both by the critics and theorists to

e>plain the role of se> as a determining force in h"man conscio"sness Idpsychology

centers on the role of the se>"al instincts as the determining force of individ"al life *he

arg"es terms it Fv"lgar Cre"dianismG and 1rites= FThe aesthetics of idpsychology is

gro"nded on the notion that the 1or< of art is the secret embodiment of the creator;s

"nconscio"s desiresG 1hich is e>posed thro"gh the analysis of his earliest childhood

e>periences thro"gh F1hat is "al drives as the e>cl"sive

1'


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e>planatory concepts of literary creativity !iperience aboard ocean going

ships and in 1ater front area before beginning his career as a dramatistG .e incl"des

1(


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&;6eill;s,eyond 7orizon# Diffrent# -old# .nna Christie# the 7airy .pe# and .n"ient

mariner among his first act plays in this category that deal 1ith personally e>perienced

sea 1ays "shner 72B: also observes close 1orperiences at sea and

the early plays F.e 1as a 1ritere>plorer in the tradition of Melville= foremost of

American seafaring mythologists= for 1hom= as 1ith &;6eill= the ocean is a vast

inc"batory of metaphorG Eisen 723: follo1s the same thread .o1ever= contrary to

many critics 1ho maperimental plays and his

later 1ort"al analysis

acts as the main mobilizing force of his creative imp"lses and his "nconscio"s being in

tra"matized state for the reasons disc"ssed belo1= the art itself ass"mes an absol"te

depressive image

)ritics and interpretations of the fifties have looperienceG

as

1ell as an effort at self dramatization .o1ever= being a short article= it has not been

able to deal 1ith a"thor and his psychoanalyses of the characters at greater length

ogard;s Contour in Time! the 8lays of Eugene ONeill 72: is a 1or< of immense

importance on &;6eill It covers "p &;6eill;s entire dramatic carrier= and has been a

so"rce of citations in differentboo


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time from early efforts in 3@3235 to the last efforts in 3@5Bs 1hich res"lted in s"ch

master pieces as. Tou"h of 8oet# The +"eman Cometh# and Long Days Journey .e

divides &;6eill;s 1ortends by Fe>ploring areas of h"man e>perience 1hich contin"e to be

of pressing interest to "sG72: In the first part of the boot of contemporary

interest in American vernac"lar and its f"nction in drama= she foc"ses on the

1;


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e>amination of lang"age of selected plays &;6eill;s "se of lang"age in middle yearsis

disc"ssed 1ith respect to*ourning ,e"omes Ele"tra= and trange +nterlude= 1hich is

follo1ed by e>ha"stive disc"ssion on the "se of lang"age in search of form in+"eman

Cometh andLong Days Journey In her e>ploration of the distinctly dramatic elements

in his lang"age= )hotia asserts that &;6eill;s lang"age has the po1er to matremely

1


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predisposed to &;6eill and affirms his stat"re as a great tragedian esides= he believes

that after initial e>ercises of identifying himself emotionally 1ith one of his characters=

&;6eill in his latter tragedies transcends both the action and the passions= 1hich he

describes= so that his characters= he believes= seem to live o"t their tragedies 1itho"t the

help or hindrances of the a"thor The final dramas= )arpenter 1rites= ceased to

beromantic and become transcendental .is Long Days Journey is concerned=

)arpenter terms it Fthe clima> of &;6eill;s developmentG .is stress here is on bringing

o"t conflicts bet1een father and sons= b"t more importantly the destr"ctive conflict

bet1een Edm"nd and ,amie= 1hich he terms Fconflict bet1een t1o philosophies of life=

bet1een cynical negation preached by ,amie and the tragic transcendence of the

negative by Edm"ndG This analysis as s"ch imparts as )arpenter believes tr"e tragic

dimension and fate to Edm"nd and that the play is basically concerned 1ith Edm"nd

transcending the negation and moving to1ards spirit"al transcendence in the tr"e tragic

spirit erlin;sEugene ONeill 75B: marperiments 1hich he titles F eginningG 1hich then leads to the analysis of the

plays in FThe Early T1entiesG= FThe !ate T1entiesG= FThe ThirtiesG= and FEndingsG In

the last part he tatension of +"eman Cometh= beca"se both

1*


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plays= he vie1s= deal 1ith ill"sions that a person s"stains to end"re life "t despite

a"tobiographical nat"re of the play+s-= erlin strongly believes that the play liperimentation both in themes and styles= 1itho"t trying to

settle to any partic"lar method or mode= Fthe ch"rch of his drama 1as constantly being

reconstr"cted to different faiths= faiths 1hich he served 1ith total commitment= only to

abandon them for othersG !i


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of personal e>periences at sea and the early plays F.e 1as a 1riter e>plorer in the

tradition of .erman Melville= foremost of American seafaring mythologists= for 1hom=

as 1ith &;6eill= the ocean is a vast inc"batory of metaphorG Robinson 752: e>plaining

the grim past that shaped &;6eill;s vision of Fprimitive Masc"linityG refers to several

crises that are spirit"al and related directly to his mother;s dope addiction These

biographical st"dies refer to strong personal details that 1orperience the older self ret"rning in time to reenact and mediate "pon the discovery

of his yo"nger self of his life;s 1or


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acceptance *imilarly Manheim;s Eugene ONeills New language of Kinship 75@:

offers insightf"l corelation bet1een &;6eill;s creativity and the determining infl"ences

on his creative "rges that in Manheim;s vie1s 1ere Fhis mother;s dope addiction= death

of his mother and his brother ,amie Ale>ander;s Tempering of Eugene ONeill 7B: is

another important acco"nt of correlation bet1een &;6eill;s personal and artistic life

Ale>ander in her boo< foc"ses on certain


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her long nose;G lac< also s"ggests a close relation bet1een &;6eill; personal life and

1hat he created .e sees a pattern in the play1right;s career that hovers aro"nd

personal tragedy= especially the death of his father= mother= and brother that drove him

deep into his 1or< and to a greater "nderstanding of himself F&;6eill spent most of his

life in mo"rningG= says lacceptional even for &'6eill= m"st have

shielded him from the f"ll impact of the loss of his father= as 1ell as filling the void left

by the death .is Long Days Journey 1rites lac< similarly demonstrate the

play1right;s "rging to come to term 1ith loss

y the time it is finished= he


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specific psychic states and 1hat he created in s"ch important plays as Mo"rning

ecomes Electra and !ong Day;s ,o"rney Unliec"ted as to el"de detention by those "naltered to their

presence

3. M)T-,$,L,The methodological approach of this st"dy is /"alitative, comparative= and analytical

The te>t 1ill be the main so"rce of critical analytic and comparative inK"iry into the

psychoanalytical concepts

3.1. Data collection procedures

The choice of data collection approaches s"ggest vario"s methods s"ch as s"rvey

K"estionnaire= observation= intervie1= foc"s gro"p= and doc"mentation analysis )lar


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for the investigator to manip"late and 4- it is appropriate beca"se participants co"ld not

be simply assigned to cond"ct and control gro"ps on the previo"s basis as they are in

e>perimental researches This type of K"antity research is a 1ellploring h"man conscio"sness and even

"nconscio"sness= eval"ating his desires= fr"stration= tho"ghts etc !iterat"re in thisrespect is older than psychoanalysis itself *igm"nd Cre"d himself admits his

appreciation of literat"re and philosophy in laying open the h"man mind to the readers%

FThe poets and philosophers discovered the "nconscio"s before I didG 75: *a


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*aperiences and their effect

on developmental= evol"tionary and creative aspects of h"man behavior *he is of the

opinion that FThe primary connection bet1een Cre"d and the poets is a shared

mythology% a general insight into h"man nat"re= confrontation 1ith e>periences neither

the poets nor Cre"d 1ere afraid to see 78:6icholas Tingle= Alcorn= and Mar< racher

lits are basically a

comple> net1or< of meaning They are inherently and essentially m"lti layered=

composed of str"ct"ral net1or< of emotions and tho"ghts This comple>ity of

constit"ents of a te>t very m"ch resemble h"man mind itself= 1hich is composed of

ideas= and psychic and emotive patterns Psychoanalysis in foc"sing on the h"man mind

and matri> of its ideas and emotions at the same time provides a techniK"e for

interpretation of te>t also .ence literat"re and psychology have come to ass"me an

interrelationship of abiding creative= theoretical and interpretative interest Hilbern

taistence finding important place in theories of

Aristotle= *idney= )oleridge= Hords1orth= and *helley regarding catharsis and

imagination respectively79B:

The problem of any correlation?interaction bet1een creativity and psychoanalysis of the

artist has been debated eK"ally contentio"sly among the theorists and psychoanalysts

2+


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a"ffman and aer 793: for instance have p"t together tho"ghts that those 1ith mental

illness partic"larly female poets are more liisting researchF Hooster and "c state of mind 1ith different lengths of d"ration= and in

each individ"al sho1s different mi>es of other constit"ent affects= s"ch as anger= g"ilt=

and shame= mi>ed 1ith envy and jealo"sy as 1ell as freK"ently accompanying

depression 1ith varying degrees of somatic disr"ptionsG

Then they analyze the problem of corelation bet1een loss and creativity by probing

some psychoanalytic ideas abo"t creativity They begin by considering Rothenberg's

The Emerging -oddess +3@8@- as one of the most comprehensive descriptions of the

common factors in creativity They then consider the gro"p in 1hich grief= loss= and

creativity can be e>pressed in different 1ays !astly= they e>amine *haperiences and 1hosemiddle period plays.ll/s :ell That Ends :ell binds together grief= loss= and creativity

It 1as= ho1ever= Cre"d;s F)reative Hriters and DayDreamingG 792: that became

pioneering in relating psychology to literat"re It gives "s insight into 1hat Cre"d thintremely lively imagination= 1hich co"ld

sho1 itself not only in his dreams b"t often in his 1a


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1as one of those 1hose ample= points o"t

that to some e>tent 1e all lead (a life of fantasy=( and that o"r (civilized p"rs"its( on

some level of s"blimation serve to ass"age o"r repressed infantile desires It follo1s

therefore that:

Cre"d sa1 art as a normal psychic activity 71hose: f"nction is basically the

same as the psychic f"nction of teaching= politics or the practice of la1 This may be

defined 7in the artist's case: as ass"aging the pain of an "nconscio"s conflict by

providing a temporary s"bstit"te gratification thro"gh the agency of a creatively

elaborated fancy 71hich:can achieve its psychic res"lts beca"se of the s"rvival in

ad"lts of the childhood pleas"re in fantasymaplanation rill

798: describes the poet as obsessed by pregenital oral fi>ations and e>plains the poems

as a secondary elaboration of the infant;s e>perience at the mother breast Engelmann

79: believes that infantile phobias and perverse gratifications combine to establish o"r

aesthetic tastes C Deri claims that all creative energy flo1s from pregenital imp"lses

0an der *terrn finds so"rce of creative imagination in oedipal fantasies 79@: .allman

lists n"mero"s other motivations behind comple> creativity to drive concl"sion that

strong motives have more than mere energy thr"sts They f"lfill aesthetic f"nction

1hich is transformational as it transforms his primary pragmatic enco"nters to primary

K"alitative ones that in t"rn lead and f"ses into aesthetic response 78B: Hright also

2


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s"pports idpsychology The term Idpsychology 1as not "sed by Cre"d himself= b"t

1as adopted s"bseK"ently both by the critics and theorists to e>plain the role of se> as a

determining force in h"man conscio"sness Idpsychology centers on the role of the

se>"al instincts as the determining force of individ"al life *he arg"es terms it Fv"lgar

Cre"dianismG and 1rites= FThe aesthetics of idpsychology is gro"nded on the notion

that the 1or< of art is the secret embodiment of the creator;s "nconscio"s desiresG

1hich is e>posed thro"gh the analysis of his earliest childhood e>periences thro"gh

F1hat is "al drives as the e>cl"sive e>planatory concepts of literary creativity

!it

.e contin"es to say that F"nder the right conditions= the a"thor;s response to the

challenges of everyday life res"lt in artistic prod"ctions of great virt"osityG 785: .e

points partic"larly severe stress as one of the Fimportant ingredient in generating

creativityG

78: and that Fone has to read one page of any o"tstanding modern 1riter to

be str"c< by the intensity of the personal vision generated by the po1erf"l interpsychic

forces= neither mysterio"s nor rational b"t rooted in h"man e>perience= especially crises

2*


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and conflictsG789: Melanie lein and ,"lia risteva have f"rther developed these

tho"ghts on s"blimation and artistic creativity in the middle of crises and psychological

tra"mas lein in one of her most important papers FThe Importance of *ymbol

Cormation in the Development of EgoG refers to the tendency by the schizoidparanoids"bject to engage in creative process in order to displace his ambivalent interest in the

object +mother- and symbolizes them in the 1orld 1hich gives rise to interest in the

o"tside 1orld It is beca"se the e>ternal 1orld is endo1ed 1ith symbolic meaning that

it aro"ses o"r enormo"s interest= 1hich is imperative for the p"rpose of s"rvival *he

1rites= F*ymbolism is the fo"ndation of all s"blimation and every talent= since it is by

1ay of symbolic eK"ation that things= activities and interests become the s"bject of

libidinal phantaciesG 788: risteva liamine the 1ays in 1hich loss mobilizes the afflicted

to1ards signification .o1ever she differs from both Cre"d and lein in her stress on

s"blimation thro"gh signs and lang"age *igns she 1ritesare arbitrary beca"se lang"age

starts 1ith negation +;erneinung- of loss= along 1ith the depression occasioned by

mo"rning LI have lost an essential object that happens to be= in the final analysis= my

mother=; is 1hat the spea"ltationG 7B:These

d"al responses of 1hat she terms dejection and e>"ltation and alteration bet1een them

30


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Fconstit"tes the depressive temperament of ne"roticG73: This is follo1ed by her

detailed analysis of Dostoevsity and no single theoretical notion can adeK"ately address it = The st"dy

therefore 1ill add lein;s 72: stance on personality development to debate the

comple>ity of this relation and its impact on creativity lein;s stance highlights

different perspectives that have not been e>plored in interpreting &;6eill art In her

interpretation of child psycho se>"al development= lein refers to paranoid schizoid

conflict to1ards the mother and its impact on personality Th"s she resc"es the child

from Cre"dian oedipal love= b"t her stance is eK"ally pessimistic and creates "ltimate

negative impression of personality Importantly= she refers to factors other than se>"al

drives =1hich in her opinion are an>iety= ind"ced by fear partic"larly ofannihilation

.ere in &;6eill it 1ill be arg"ed that the vital conflict to1ards the mother fig"re

projects the paranoidschizoid position of the artist "t the preponderance of

affliction is so definite and absol"te that it goes a long 1ay to FmenaceG or "ndermine

Fimaginary actG The st"dy 1ill contend that the menacing act restrains imagination

from achieving transcendence from the loss and achieving "niversal representation It

also raises other problem relating to intellect"al appeal of tragedy= deno"ement of crises

to initiate repair and desirable tragic effect and achieve transference from the stage to

31


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the a"dience on the gro"nd of personal e>perience partic"larly in diverse c"lt"ral

scenario

The follo1ing areas in the st"dy 1ill be debated%

3 Art reflects artist;s $"ilt and Atonement in family frame Psychopathology here

in &;6eill;s case is conditioned by the "nconscio"s The st"dy 1ill elaborate in

the light of Cre"d and lein;s theoretical notions on personality development4 The st"dy also 1ill emphasize that preocc"pation 1ith the "nconscio"s and

s"bjective creates its o1n archeology of limitations and constraints on s"ch a

type of art The most significant limitation is related to that of representation as

a concern of the tragic art Therefore &;6eill;s dramatic art 1ith partic"lar

mental states as it "nfolds needs to be placed in the broader field of art and

creativity to determine its appeal in terms of its representation and appeal

2 The proponents of relation bet1een loss?affliction and creativity have ignored to

highlight the regressive effect of persistent pain= loss and depressiveness on the

created 1or


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individ"als Th"s= it 1ill not merely sho1 the connectivity bet1een art and

social c"stoms= traditions etc= or allo1 art to reveal 1hat lies at the heart of

society= b"t 1ill st"dy the role that social instit"tions and factors play in

generating specific behavioral problems of diverse nat"re and descriptions 6o1

society is composed of vario"s elements?instit"tions Depending "pon

preference accorded in each society= social determinants of behavioral deviance

and regression range from micro instit"tes litreme emotional and psychic dist"rbances and deviance

*ignificantly analysis of s"ch c"lt"ral factors as religion in prod"cing deviant

behavior acK"ires greater relevance in the bacplore direct

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and indirect c"stomer relationships factors on overall brand eK"ity in the oil ind"stry=

foc"sing on the oil;s s"ppliers segment To realize the essential research objectives= o"r

st"dy is cond"cted according to the t1o step research design and *trategy detailed in

the ne>t section that e>tract and comp"te from the significant pervio"s researches

+Anderson and $erbing= 3@N )h"rchill= 3@8@N )lar< # Hatson= 3@@N )ronbach and

Meehl= 3@N seisting

symboles and evidences that based on one of conventional scheme that 1as "nderta


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*ample size states to the n"mber of elements to be involved in the st"dy *everal

K"antitative and K"alitative considerations involve in determining the sample size The

K"antitative factors incl"de precision level= confidence level= means= proportions= and

standard deviation Important K"alitative parameters that m"st be considered in

determining the sample size comprise the nat"re of research= the importance of

decision= the nat"re of analysis= the n"mber of variables= incidence rates= reso"rce

constraints= completion rate= and sample sizes "sed in similar st"dies

'/3/ 6isscussion

Divergence and convergence are the


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In the second chapter= the st"dy 1ill present literat"re revie1e of Eugene&;6eill;s=

"Long Day's journey into night" "The Iceman cometh" " Mourning becomes

Electra"three plays A literat"re revie1 is an assessment report of pervio"s and related

literat"re to selected arena The revie1 m"st e>plain= s"mmarize= and eval"ate this

literat"re It m"st provide a theoretical so"rce for the st"dy and help researcher to

determine the nat"re of research Indeed= a literat"re revie1 shifts beyond the loo< for

information and contains the identification and artic"lation of lin


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David rasner &>ford% lac


39/43

38 Cambro"gh= P 3@9

3 Crenz= .orst and Martin M"eller 3@99*ore ha6espeare and less .es"hylus in

Eugene ONeills *ourning ,e"omes Ele"tra in American !iterat"re 2 pp 3BB

Rpt 4BBB Drama for st"dents Ed Ira Mar< Milne 0ol @= Detroit% $ale pp 3BB

3@ )ola


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UM)= httpN??gogale gro"pcompro>ybcresearchport"mded"?ps?startdo

22 )hapman= , 3@@ FThe &nly ea"tif"l Play@ in Eugene ONeill! Three 8lays

)ase oo< *eries !ondon% Macmillan pp35359

25 err= H 3@@ FA *t"nning Theatrical E>perienceG in E"gene &;6eill% Three

Plays= )ase oo< *eries !ondon% Macmillan 359358

2 ogard= T 3@

29 Cloyd= 0 3@ The Plays &f E"gene &;6eill% . new .ssessment 6e1 Qor


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and 1orld

3 Ale>ander= DM 3@@4 pp 42=3B@= 32

4 lac


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98 rill= AA Ktd in .allman 3@9 5

9 Engelmann= AA Ktd in .allman 3@9- 5

9@ Deri= C Ktd in .allman 3@9

8B .allman 3@9

83Hright= E 3@5 Psychoanalytic )riticism% Theory in Practice !ondon % Meth"en=p 28

84 ris= E Ktd in *chneiderman 3@=



8 *chneiderman P 4B

89 *chneiderman P 4B

88 lein= M 3@9 The ele"ted *elanie Klein Ed ,"liet Mitchell 6e1 Qor


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99 Hillerman= 3@8@= 39

98 Manheim= ! 3@99 FIncest pattern in Recent !iterat"reG in .idden Pattern%

*t"dies in

psychoanalytic !iterary )riticism= ed Manheim= != 6e1 Qor

Documents

Proposal Tabriz Guiltl