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Art Imitating Life

Sigmund Freud¯s Beyond the Pleasure Principle introduces trauma as something that defines the individual rather than the common perception that the person who falls victim to the event shapes the trauma. Trauma is not something that can be easily defined. Thus, artists and writers in the twentieth century have been forced to elaborate a variety of new literary and artistic strategies and techniques to attempt a resolution to trauma. In order to examine the effectiveness of each artist and writer in trying to deal with trauma, several key elements of Freudian psychology must be introduced as groundwork for debate.

Freudian psychological reality begins with the world, full of objects. Among them is a very special object, the organism known as men. This organism is special in that it acts to survive and reproduce, and it is guided toward those ends by its needs. A very important part of the organism is the nervous system, which has as one its characteristics a sensitivity to the organism's needs. At birth, that nervous system is little more than that of any other animal, an id. The nervous system, as id, translates the organism's needs into motivational forces called instincts or drives, which Freud also called them wishes. This tra


The ego, unlike the id, functions according to the reality principle, which says °take care of a need as soon as an appropriate object is found.± It represents reality and, to a considerable extent, reason. The ego is guided in its activity by consideration of the tensions produced by stimuli, whether these tensions are present in it or introduced into it. The raising of these tensions is in general felt as unpleasure and their lowering as pleasure. The ego strives after pleasure and seeks to avoid unpleasure. An increase in unpleasure that is expected and foreseen is met by a signal of anxiety. The occurring of such an increase, whether it threatens from without or within, is known as a danger. In other words, the reality principle dictates the ego to carry into effect the postponement of satisfaction and the abandonment of a number of possibilities of gaining satisfaction momentarily but might lead to unpleasure in the future.

The trauma that has shaped the twentieth century undoubtedly produced many magnificent works in literature and arts. These pieces of work are what composed of the human curiosity to master the unknown. Ironically the missing encounter that Spielberg attempts to do through realism and techniques in his film, O¯Brien succeeded in accomplishing through fabricating original fiction. In the end there comes a realization that this missing encounter, which is sought after throughout the entire span of the course, can only be fabricated but never be duplicated.

Spielberg fails as an artist to master the horror and traumatic event but succeed as a director for a high grossing entertainment film. Schindler¯s List is no way to be taken as an analysis for traumatic neurosis. It is simply a product of Hollywood, hungering for box office record. The Holocaust cannot be mastered and filmed as easily as Spielberg¯s Schindler¯s List. To artificially reconstruct what is to occur is shameless and outrageous to some true survivors of this event.



Some common words found in the essay are:
Pleasure Principle, Georges Bataille, European War, Leon Wieseltier, Death Afternoon, Furthermore Septimus, Tanimoto Hiroshima, Carried O'Brien, Woolf¯s Dalloway, Schindler¯s List, schindler¯s list, protective shield, nervous system, sovereign sensitivity, traumatic neurosis, gas chamber, people hiroshima, traumatic experience, iceberg theory, pleasure principle, repression motivated forgetting, freudian definition trauma, physically mentally shut, stimuli outside world,
Approximate Word count = 4800
Approximate Pages = 19 (250 words per page double spaced)


  

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