PubMed · 11942225
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M A Barbey. 2000. [Atlas].. https://pubmed.ncbi.nlm.nih.gov/11942225/
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Maupassant excelled as a realist writer of the nineteenth century, with fantastical short stories being an outstanding example of his literary genius. We have analysed four of his fantastical stories from a neurological point of view. In "Le Horla," his masterpiece, we have found nightmares, sleep paralysis, a hemianopic pattern of loss and recovery of vision, and palinopsia. In "Qui sait" and in "La main" there is also an illusory movement of the objects in the visual field, although in a dreamlike complex pattern. In "Lui," autoscopy and hypnagogic hallucinations emerge as fantastical key elements. The writer suffered from severe migraine and neurosyphilis involving the optic nerve, which led to his death by general paralysis of the insane (GPI). Visual loss and visual hallucinations affected the author in his last years, before a delirant state confined him to a nursing home. Our original hypothesis, which stated that he could have translated his sensorial experiences coming from this source to his works, had to be revised by analyzing some of his earliest works, notably "Le Docteur Héraclius Gloss" and "La main d'écorché" (1875). We found hallucinatory symptoms, adopting the form of autoscopy and other elaborated visual misperceptions, in stories written at age 25, when Maupassant was allegedly healthy. Therefore, we hypothesize that they may be related to his hypersensitive disposition, assuming that no pathology is necessary to experience such vivid experiences. In addition, Maupassant's abuse of drugs, as illustrated in "Rêves," could have provided an additional element to outline his painstaking visual depictions. All these factors, in addition to his up-to-date neurological knowledge and attendance at Charcot's lectures at "La Salpêtrière," armed the author for repetitive and enriched hallucinatory experiences, which were transferred relentlessly into his works from the beginning of his career.
This paper investigates the attempt to find a 'bedrock' for psychic life in the idea of unconscious phantasy. Through a detailed examination of the development of the concept of unconscious phantasy, especially in Kleinian discourse, it is argued that unconscious phantasies are inherently metaphorical and have no 'concrete' existence in the unconscious. The use of unconscious phantasy as metaphor enables a 'two-way' form of interpretation that describes sexual behaviour and fantasy in terms of object relations (interpreting 'away from sex', while simultaneously describing object relations in terms of the sexual body (interpreting 'towards sex').
The concept of the objet petit a is central to Lacan's theory of desire, which arguably represents his major contribution to psychoanalysis. It is an expression of the lack inherent in human beings, whose incompleteness and early helplessness produce a quest for fulfillment beyond the satisfaction of biological needs. The objet petit a is a fantasy that functions as the cause of desire; as such, it determines whether desire will be expressed within the limits of the pleasure principle or "beyond," in pursuit of an unlimited jouissance, an impossible and even deadly enjoyment. Parallels between the objet petit a and Winnicott's transitional object are explored and its functions illustrated through analysis of Pedro Almodovar's film Talk to Her. A clinical case is presented in which the question of desire seemed crucial.