By Lewis A. Lawson
The thesis of A Gorgon’s masks: the mummy in Thomas Mann’s Fiction relies on 3 psychoanalytic thoughts: Freud’s early paintings at the dating among the child and its mom and at the psychology of inventive production, Annie Reich’s research of the grotesque-comic sublimation, and Edmund Bergler’s research of writer’s block. Mann’s problem of sexual anxiousness in overdue formative years is gifted because the defining second for his complete inventive lifestyles. within the throes of that predicament he integrated a caricature of a feminine as Gorgon in a e-book that may now not get away his mother’s realize. yet to guard himself from being conquer through the Gorgon-mother’s stare he hired the grotesque-comic sublimation, hiding the mummy determine in the back of fictional characters bodily appealing yet psychologically repellent, the entire whereas couching his fiction in an ironic tone that evoked humor, even though missing in humor the subtext may be. during this demeanour he may well deny to himself that the mum determine continuously lurked in his paintings, and by means of that denial deny that he used to be a sufferer of oral regression. For, as Edmund Bergler argues, the inventive author who recognizes his oral dependency will unavoidably succumb to writer’s block. Mann’s past due paintings unearths that his security opposed to the Gorgon is crumbling. In healthcare professional Faustus Mann portrays Adrian Leverk?hn as, finally, the sufferer of oral regression; however the incontrovertible fact that Mann used to be in a position to compete the radical, regardless of critical actual affliction and mental misery, demonstrates that he himself was once nonetheless retaining writer’s block at bay. In Confessions of Felix Krull: self belief guy, a story that he had deserted 40 years earlier than, Mann was once eventually compelled to recognize that he used to be depleted of artistic power, yet no longer of his capability for irony, brilliantly couching the successful go back of the repressed in ambiguity. This examine might be of curiosity to normal readers who take pleasure in Mann’s narrative artwork, to scholars of Mann’s paintings, particularly its mental and mythological features, and to scholars of the psychology of creative creativity.
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The thesis of A Gorgon’s masks: the mummy in Thomas Mann’s Fiction is dependent upon 3 psychoanalytic suggestions: Freud’s early paintings at the courting among the newborn and its mom and at the psychology of inventive construction, Annie Reich’s research of the grotesque-comic sublimation, and Edmund Bergler’s research of writer’s block.
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Additional resources for A Gorgon's Mask: The Mother in Thomas Mann's Fiction (Psychoanalysis and Culture, 12)
Murray 1892: 26) But Mann’s professed jauntiness is suspect. He may have thought himself distant from the cause of his ancient problem, mother, but the cause of his present problem, his genital, was undeniably near, and his long letter to Grautoff, on 8 November, slowly approaches that problem. In the second paragraph Mann thanks Grautoff for sending one of his poems, commenting, “Es ist dieselbe Stimmung, die den Grundton meiner Novelle ‘Der kleine Herr Friedemann’ ausmacht, die Sehnsucht nach neutralem Nirwana, Frieden und der Untergang im Geschlechtlichen” (qtd.
My dear, I’m not good at expressing myself, but I do know what I mean. Our gentlemen are still dumbstruck for now. But you’ll see, within a few weeks they’ll turn away from her in disgust. 50 Early Works There is more: You ought to see it! You will see it! I am the first to insist that a married woman should have a certain degree of aloofness toward the opposite sex. But how does she behave toward her own husband? She has a way of giving him an icy look and saying “Dear friend” to him with a pitying stress that I find outrageous!
It is appropriate that she first mentions Gerda’s horseback riding, for “the earliest stratum [of the Medusa myth] connects her with the horse” (Baring 1993: 342). Of course, her horseback riding and smoking reveal her rejection of the gute Hausfrau conventions of the time. She is “tomboyish” and without a baby after four years of marriage! She puts the notorious Medusa stare even on her husband, has struck the men of the town dumb, even as she affects Friedemann, who is all eyes, when he first sees her on the street.