By Sarah Kofman
This paintings is an exam of 4 fictional texts on which Freud himself wrote; a fragmentary poem through Empedocles, Hebbel's "Judith and Holofernes", Jensen's "Gradiva" and E.T.A.Hoffmann's "The Sandman". In her research, Kofman is worried to re-evaluate those texts within the mild of Freud's examining of them and to spotlight what he misses out. She argues that Freud's declare to offer trustworthy summaries of those works conceals his personal modifying and distortion of the texts. through interweaving her personal remark with Freud's and with the unique texts, Kofman attracts consciousness to the production of delusion and literature, to Freud's use of the literary textual content as facts of the analyst's thought, and to the method of literary interpretation as a revelation of the interpreter.
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Extra info for Freud and Fiction
R ify this point by assuring us that her show of finery IS Inspl � ed . not by sensuality but by courage. Finally, even In the bIb lical version, it is possible to uncover a link between Holofernes' decapitation and the taboo of virginity. When the Hebrews recite the various crimes committed by the Assyrians, they list, without making any particular distinc tion between them, the abduction of women, the massacre of children, the destruction of towns and fields, the theft of fl ocks . Judith, in the two prayers she addresses to G?
300) . To be enigma tic, to close oneself to all others, is a way also of being impenetrable, of preventing others from coming to steal one' thoughts: 'Here they skulk around me and peep into the cracks and crevices of my soul and out of every word from my mouth seek to forge a picklock for the inner chamber of my heart' (Act I, p. 259) . Conversely, to eaves drop oneself on the words of others is to admit that one's own thoughts are not omnipotent. To steal is a sign of dependency and slavery.
Judith, like Achior, seems over- 77 79 Judith Judith whelmed by such a man: 'Man, monster, you force yourself between me and my God! I must pray at this moment and cannot' (Act V, p. 307) . Nevertheless, Holofernes could never be as strong as the God of the Jews because he belongs to the world of mortals: he may have 'a countenance that is one single eye, an impe rious eye, and . . a foot from which the world he treads upon seems to shrink. But there was a time when he was not; therefore one can come when he will be no more' (Act II, p .
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