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Delusion and Dream in Jensen's Gradiva

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Delusion and Dream in Jensen's Gradiva (German: Der Wahn und die Träume in W. Jensens "Gradiva") is an essay written in 1907 by Sigmund Freud that subjects the novel Gradiva by Wilhelm Jensen, and especially its protagonist, to psychoanalysis.

Delusion and Dream in Jensen's Gradiva
The German edition
AuthorSigmund Freud
Original titleDer Wahn und die Träume in W. Jensens "Gradiva"
LanguageGerman

The novel is about a young archaeologist, Norbert Hanold, who comes to realize his love for his childhood friend through a long and complex process, mainly by associating her with an idealized woman in the form of the Gradiva bas-relief.

Freud considered the novel as providing a prime example of 'something which might be called "cure by seduction" or "cure by love"', as well as evidence 'that the Oedipus complex is still active in normal adults, too'.[1]

Analysis

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An isolated, unworldly individual, Hanold has 'repressed the memory of a girl, Zoë Bertgang, with whom he has grown up and to whom he had been affectionately attached'; but is unconsciously reminded of her by 'a bas-relief depicting a young, lovely woman with a distinctive gait. He calls her "Gradiva", which means "the woman who steps along"'.[2]

After a dream about "Gradiva" and the destruction of Pompeii, Hanold 'leaves for Pompeii, where he meets a young woman, very much alive, whom he takes for Gradiva. In the course of the meetings that follow, he organizes his mania, stalking and interpreting signs (Gradiva appears at noon, the ghost hour, and the like). "Gradiva" seeks to cure him by gradually revealing her identity to him'.[3]

 
Gradiva, Freud Museum – London

The woman is of course Hanold's childhood sweetheart, Zoë; and 'fortunately his "Gradiva" is as shrewd as she is beautiful. Zoë, the "source" of his malaise, also becomes the agent of its resolution; recognizing Hanold's delusions for what they are, she restores him to sanity, disentangling his fantasies from reality'[4] – it 'is only Zoë who can tell him that his archeological interest is sublimated desire for her'.[5]

With respect to 'the final paragraph, in which Jensen has Hanold asking Zoë to walk ahead of him and she complies with a smile,' Freud put, "Erotic...foot interest"...By walking ahead of him in imitation of "Gradiva" on the plaque, she finds the key to his therapy'.[4]

Later criticism

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Post-Freudians vary widely on whether Hanold suffers from neurosis or psychosis, some emphasizing 'the way Freud offers psychoanalysts a model which shows "how to address the 'mad' part of our patients without neglecting the rest of their person"'.[6]

Poststructuralism

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Poststructuralist philosopher Jacques Derrida references Freud's use of Jensen's Gradiva in his own book-length essay Archive Fever: A Freudian Impression (1995).

Hélène Cixous emphasises the way 'Zoe is the one who brings to life Norbert's repressed love in a kind of feminine transfer'.[7]

Gradiva Awards

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The "Gradiva Awards",[8] given by the National Association for the Advancement of Psychoanalysis, are named after Freud's essay. They go to the best works that advance psychoanalysis.[9]


Influences on Art

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Sigmund Freud’s essay Delusion and Dream in Jensen's Gradiva (German: Der Wahn und die Träume in W. Jensens "Gradiva") (1907) provides a psychoanalytic interpretation of Wilhelm Jensen’s novel Gradiva, focusing on the protagonist Norbert Hanold and his experiences of psychosis. Freud’s analysis has notably influenced contemporary artists who explore themes of psychosis, memory, and the revival of historical figures. This section examines the impact of Freud's theories on various artists:

Salvador Dalí

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Salvador Dalí’s work reflects Freud’s exploration of the unconscious. His paintings such as Gradiva (1931) and Gradiva Finds the Ruins of Antropomorphos (1931) engage with themes of desire and psychosis, echoing Freud’s interpretation of Jensen’s novel ([Salvador Dalí, *Gradiva* (1931)]).

André Masson

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André Masson’s painting Gradiva (1939) engages with the sexual and symbolic aspects of the character Gradiva. Masson’s work illustrates the influence of Freudian theory on surrealism and its representation of unconscious desires ([André Masson, Gradiva (1939)]).

Hélène Cixous

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Hélène Cixous’s feminist writings, particularly in The Laugh of the Medusa (1976), analyze feminine figures as embodiments of repressed desires, aligning with Freud’s theories on the resurgence of unconscious material ([Hélène Cixous, The Laugh of the Medusa (1976)]).

Jacques Derrida

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Jacques Derrida’s Archive Fever: A Freudian Impression (1995) discusses Freud’s use of Jensen’s Gradiva and its impact on poststructuralist thought. Derrida’s exploration underscores the influence of Freudian concepts on contemporary philosophy and art ([Jacques Derrida, Archive Fever: A Freudian Impression (1995)]).

Oliver Aoun

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Oliver Aoun’s 2012 project Lisa Rediviva engages with Freud’s analysis of Jensen’s Gradiva, reinterpreting historical and symbolic figures through contemporary art practices. The title Lisa Rediviva references the notion of revival and repressed memory, drawing a parallel with Freud’s concept of the resurgence of unconscious imagery ([Oliver Aoun, Lisa Rediviva (2012)]).

Max Ernst

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Max Ernst’s surrealist works, such as The Elephant Celebes (1921), utilize fragmented and dream-like imagery to explore themes of the unconscious, reflecting Freud’s influence on the depiction of psychosis and repressed desires ([Max Ernst, The Elephant Celebes (1921)]).

Georges Bataille

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Georges Bataille’s exploration of taboo and the unconscious, particularly in The Story of the Eye (1928), aligns with Freudian theories on repressed desires and irrational aspects of the psyche ([Georges Bataille, The Story of the Eye (1928)]).

Luis Buñuel

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Luis Buñuel’s surrealist film Un Chien Andalou(1929) uses dream-like sequences to explore themes of the unconscious and desire, reflecting Freud’s impact on cinematic representations of psychosis ([Luis Buñuel, Un Chien Andalou (1929)])

Jean-Paul Sartre

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Jean-Paul Sartre’s existentialist work, particularly *Nausea* (1938), engages with themes of absurdity and unconscious distress, resonating with Freud’s exploration of existential angst and psychological conflict ([Jean-Paul Sartre, *Nausea* (1938)])

References

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  • Dalí, Salvador. *Gradiva* (1931). Retrieved from Salvador Dalí Gallery
  • Masson, André. *Gradiva* (1939). Retrieved from André Masson
  • Cixous, Hélène. *The Laugh of the Medusa* (1976). Retrieved from JSTOR
  • Derrida, Jacques. *Archive Fever: A Freudian Impression* (1995). Retrieved from Harvard University Press
  • Aoun, Oliver. *Lisa Rediviva* (2012). Retrieved from PHmuseum
  • Ernst, Max. *The Elephant Celebes* (1921). Retrieved from Max Ernst
  • Bataille, Georges. *The Story of the Eye* (1928). Retrieved from Georges Bataille
  • Buñuel, Luis. *Un Chien Andalou* (1929). Retrieved from Luis Buñuel
  • Sartre, Jean-Paul. *Nausea* (1938). Retrieved from Jean-Paul Sartre

See also

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References

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  1. ^ Otto Fenichel, The Psychoanalytic Theory of Neurosis (London 1946) p. 548 and p. 108
  2. ^ Peter Gay, Freud: A Life for Our Time (London 1989) p. 320-1
  3. ^ Roger Perron, "Delusions and Dreams in Jensen's 'Gradiva'"
  4. ^ a b Gay, p. 321
  5. ^ Ranjana Khanna, Dark Continents (2003) p. 54
  6. ^ Jean-Michel Quinodoz, Reading Freud (2003) p. 77
  7. ^ V. A. Conley, Hélène Cixous (1991) p. 29
  8. ^ "Behind the Founding of NAAP's Gradiva and Vision Awards". National Association for the Advancement of Psychoanalysis. 2009. Archived from the original on November 25, 2009. Retrieved December 8, 2009.
  9. ^ a b "Gradiva® Awards". National Association for the Advancement of Psychoanalysis (NAAP). Retrieved 2023-06-12.
  10. ^ "Obituary: Carol Jeffrey". The Independent. 1998-12-10. Retrieved 2023-06-12.
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