De Berg, Henk. Freud's Theory and Its Use in Literary and Cultural Studies: An Introduction. Rochester, NY: Camden House, 2003. 155pp. $60.00 hardcover. This short book is intended to introduce advanced undergraduates and graduates to Freud's theories and their application to literature and culture. One can imagine a series of classroom lectures, in which teacher presents, with verve, Freud's main ideas, interspersing Freud's own examples with made-up ones. The presentations on Freud are followed by expositions of ways in which critics and thinkers have applied Freud to literature and culture. The writing is clear, lively, unpedantic, and rhetorical. It serves its purpose well. In Part I, De Berg sets forth Freud's key ideas: repression; conscious versus unconscious mental processes; sexuality; dreams, free associations, Freudian slips, resistance, and transference; ego, superego, and id. The chapters are organized by topic rather than pursuing Freud's development as a thinker. Even book titles, like Three Essays on Theory of Sexuality or The Ego and Id, are dropped from text, although sexuality theory and second topography are topics. This topic-based organization gives slightly skewed impression that Freud's ideas were synchronous, but De Berg does point out that second topography came later, and in any case, book is not written for scholars, but rather for beginners. Simplicity and brevity take precedence over scholarly usability. Is summary accurate? For most part, yes, except in one area, discussion of unconscious. De Berg does not say that it was in The Interpretation of Dreams that Freud discovered unconscious. Instead, discussion of unconscious is displaced backward onto Studies on Hysteria. Several problems result. Breuer is made coresponsible for dualistic model of mind (consciousness/unconsciousness), whereas Breuer never signed off on Freud's final essay, in which Freud begins to construe psyche as site of permanent, as opposed to pathological and curable, conflict. Moreover, book creates impression that unconscious may be equated with drives, probably because sexual repression is at bottom of most of Freud's cases of hysteria. The Interpretation of Dreams is then treated as if it were centrally about interpretation of dreams, instead of equally about interpretation of dreams as the royal road to a knowledge of unconscious activities of mind. Thus, De Berg takes Freud to task for not taking consciousness into account as a source of dreams-a reasonable complaint, but one that overlooks fact that Freud instrumentalized dreams, insisting that every dream had unconscious roots precisely so as to be able to posit existence of unconscious. The student who pursues Dramatisierung (dramatization) as a form of dream work in The Interpretation of Dreams will not find it; Freud himself calls it die Rucksicht auf Darstellbarkeit (considerations of representability). It is still not possible today to write about Freud and escape controversy. The reader picks up a book on Freud wondering: How will author approach topic? Will he or she be pro- or anti-Freud? Will Freud be represented as a monument of intellectual history? …
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