Heart Of Darkness In The Light Of Psychoanalytic Theories.

Psychoanalytic Criticism

Psychoanalytic criticism originated in the work of Austrian psychoanalyst Sigmund Freud, who pioneered the technique of psychoanalysis. Freud developed a language that described, a model that explained, and a theory that encompassed human psychology. His theories are directly and indirectly concerned with the nature of the unconscious mind. Through his multiple case studies, Freud managed to find convincing evidence that most of our actions are motivated by psychological forces over which we have very limited control (Guerin 127). One of Freud's most important contributions to the study of the psyche is his theory of repression: the unconscious mind is a repository of repressed desires, feelings, memories, wishes and instinctual drives; many of which have to do with sexuality and violence. These unconscious wishes, according to Freud, can find expression in dreams because dreams distort the unconscious material and make it appear different from itself and more acceptable to consciousness. They may also appear in other disguised forms, like in language (sometimes called the Freudian slips), in creative art and in neurotic behavior. One of the unconscious desires Freud believed that all human beings supposedly suppress is the childhood desire to displace the parent of the same sex and to take his or her place in the affections of the parent of the opposite sex. This so-called "Oedipus Complex," which all children experience as a rite of passage to adult gender identity, lies at the core of Freud's sexual theory (Murfin 114-5).

A principal element in Freud's theory is his assignment of the mental processes to three psychic zones: the id, the ego and the superego. The id is the passional, irrational, and unconscious part of the psyche. It is the site of the energy of the mind, energy that Freud characterized as a combination of sexual libido and other instincts, such as aggression, that propel the human organism through life, moving it to grow, develop and eventually to die. That primary process of life is completely irrational, and it cannot distinguish reasonable objects and unreasonable or socially unacceptable ones. Here comes the secondary processes of the mind, lodged in the ego and the superego. The ego, or "I," was Freud's term for the predominantly rational, logical, orderly and conscious part of the psyche; it works on repressing and inhibiting the drives of the id so that they may be released in sane behavioral patterns. And though a large part of the ego is unconscious, it nevertheless includes what we think of as the conscious mind.

The superego is a projection of the ego. It is the moral censoring agency; the part that makes moral judgments and the repository of conscience and pride. It brings reason, order and social acceptability to the otherwise uncontrolled and potentially harmful realm of biological impulses (Guerin 128-31).

Freud's theories have launched what is now known as the psychoanalytic approach to literature. Freud was interested in writers, especially those who depended largely on symbols. Such writers tend to tinge their ideas and figures with mystery or ambiguity that only make sense once interpreted, just as the analyst tries to figure out the dreams and bizarre actions that the unconscious mind of a neurotic releases out of repression. A work of literature is thus treated as a fantasy or a dream that Freudian analysis comes to explain the nature of the mind that produced it. The purpose of a work of art is what psychoanalysis has found to be the purpose of the dream: the secret gratification of an infantile and forbidden wish that has been repressed into the unconscious (Wright 765).

The literal surface of a work of literature is sometimes called the "manifest content" and treated as "manifest dream" or "dream story." The psychoanalytic literary critic tries to analyze the latent, underlying content of the work, or the "dream thought" hidden in the dream story. Freud used the terms "condensation" and "displacement" to explain the mental processes that result in the disguise of the wishes and fears in dream stories. In condensation, several wishes, anxieties or persons may be condensed into a single manifestation or image in dream story; in displacement, a thought or a person may be displaced onto the image of another with which or whom there is an extremely loose and arbitrary association that only an analyst can decode. Psychoanalytic critics treat metaphors as if they were dream condensations; they treat metonyms- figures of speech based on weak connections- as if they were dream displacements. Thus, figures of speech in general are treated as aspects that see the light when the writer's conscious mind resists what the unconscious asks it to depict or describe. Psychoanalytic criticism written before 1950 tended to study the psyche of the individual author. Poems, novels

and plays were treated as fantasies that allowed authors to release curbed desires, or to protect themselves from deep- rooted fears, or both. Later, psychoanalytic critics stopped assuming that artists are borderline neurotics or that the characters they fabricate and the figurative language they use can be analyzed to figure out the dark, hidden fancies in the authors' minds. So they moved their focus toward the psychology of the reader, and came to understand that artists are skilled creators of works that appeal to the readers' repressed wishes.

As such, psychoanalytic criticism typically attempts to do at least one of the following tasks: study the psychological traits of a writer; provide an analysis of the creative process; or explore the psychological impacts of literature on its readers (Murfin 115-20).

Not all psychoanalytic critics, however, are Freudian. Many of them are persuaded by the writings of Carl Gustav Jung whose "analytical psychology" is different from Freud's psychoanalysis. Jung had broken with Freud's emphasis on libidinal drives and had developed a theory of the collective unconscious; although, like Freud, he believed in a personal unconscious as a repository of repressed feelings (Wright 767).

The processes of the unconscious psyche, according to Jung, produce images, symbols and myths that belong to the large human culture. He refers to the manifestations of the "myth-forming" elements as "motifs," "primordial images," or "archetypes." Jung indicated further that the dreams, myths and art all serve as media through which archetypes become accessible to the consciousness.

One major contribution is Jung's theory of individuation

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