Of Revisions and Caricatures

        Freud argued in Totem and Taboo that the efects of secondary revision are not exclusive to the dream-work; they are in fact evidenced in any realm of thought that requires unity and intelligibility as markers of its systematic aspirations. Freud writes:

The secondary revision of the product of the dream-work is an admirable example of the nature and pretensions of a system. There is an intellectual function in us which demands unity, connection and intelligibility from any material, whether of perception or thought, that comes within its grasp; and if, as a result of special circumstances, it is unable to establish a true connection, it does not hesitate to fabricate a false one… [A] system is best characterized by the fact that at least two reasons can be discovered for each of its products: a reason based upon the premises of the system (a reason, then, which may be delusional) and a concealed reason, which we must judge to be the truly operative and the real one (Freud, 1953, 95).

        Unwittingly, Freud may very well have been predicting and facilitating the course of the criticism the intellectual function of his own apparatus was soon to suffer. Indeed, his appraisal of a system’s need for unity and intelligibility applies equally to metapsychology as it does to the structures of which it speaks. The psychoanalyst’s view stands here in stark opposition to Ockham’s razor as the principle of theoretical parsimony that has dominated much of the West’s scientific inquiry and the aesthetic standards of its formulations from the early Renaissance onwards. Interestingly enough, psychoanalysis too has often found itself loath to resist such a principle. No matter its internal struggles and divisions, the discipline has invariably sought to extract from the richness of its subject matter as basic and as universal a set of dynamics and categories as it possibly could. For Freud, it was the unconscious as a process that negotiates the pleasures and pressures of the libido; for Klein, envy and gratitude provided the major keys to the psyche’s workings and possible transformations; for Lacan, registers and mathemes were the code words by which the practice of the cure may be assessed and validated; and the list goes on.

        Whether axiomatic or real, explicit or concealed, I would like to suggest that one of the main motivating factors, or “reasons” as Freud wishes them to be, behind such a pursuit of systematic unity and simplicity is the discipline’s long-standing thirst for recognition as a member in our modern day version of the Greek Pantheon: Science. The price for such recognition cannot be overestimated. Much like the dramatic storm around which it has organized its practice and much like the blind hero around whom it has mounted its own clinical and intellectual storm, psychoanalysis has remained largely blind to the material and psychological paucity of its understanding of the psyche and, by extension, of sexuality, as tragically Oedipal and nothing but.

        For the most part, the psychoanalytic profession persists in its refusal to acknowledge that for it to do justice to the panoply of human passions it must recognize itself, as both a method and a community, as subject to them. Instead, it often discourses on sexuality in the most un-seductive of styles and on desire in the most un-desirous. Humour it virtually ignores; humility it has yet to discover; auto-irony it finds intolerable. Sadly, it stands alone as did Antigone, tragic in her certitude but no less comedic in her zeal.

        This, fortunately, is not the fate to which psychoanalysis must be doomed. While the abundance of its caricatures in the popular mind is a symptom of hostility and defensiveness, it is also a sign of the discipline’s own intensely disavowed and split off comedic power. As I see it, the collective and clinical task at this point is to reintegrate that power, not as aim but as tool.

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