| School/Faculty/Institute |
Faculty of Econ., Admin. and Social Sciences |
| Course Code |
HUM 313 |
| Course Title in English |
Psychoanalysis and Literature I |
| Course Title in Turkish |
Psikanaliz ve Edebiyat I |
| Language of Instruction |
EN |
| Type of Course |
Flipped Classroom |
| Level of Course |
Introductory |
| Semester |
Fall |
| Contact Hours per Week |
| Lecture: 3 |
Recitation: |
Lab: |
Other: |
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| Estimated Student Workload |
136 hours per semester |
| Number of Credits |
5 ECTS |
| Grading Mode |
Standard Letter Grade
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| Pre-requisites |
PSYC 101 - Introduction to Psychology
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| Expected Prior Knowledge |
None |
| Co-requisites |
None |
| Registration Restrictions |
Only Undergraduate Students |
| Overall Educational Objective |
To become familiar with basic psychoanalytic concepts and how these concepts may be applied to literature and other forms of art; to gain a better understanding of the link between psychology and literature; to ask better questions about dynamics of creativity, about aesthetic theory, about what art is, about hindrances against our own creativity. |
| Course Description |
This course aims to study texts from literature such as short-stories and plays from a psychoanalytic perspective interactively. Films and novels may also be subject to the analysis of the class, as the instructor is open to make shifts along with the direction the majority of the class seems eager to take. Theory of creativity is an important element of this course; and students’ own journey towards making better contact with their inner creativity will be strongly encouraged throughout the course. |
| Course Description in Turkish |
Bu ders, öykü, oyun gibi edebiyat metinlerini psikanalitik bir perspektifle incelemeyi amaçlamaktadır. Öğrencilerin istemesi halinde film ve romanlar da dersin analiz listesine dahil edilebilir; eğitmen, dersin okuma listesinde öğrencilerin istekleri doğrultusunda değişiklik yapmaya açık olacaktır. Yaratıcılık teorisi bu dersin önemli bir unsuru olup öğrencilerin kendi yaratıcı benlikleriyle daha sıkı irtibat kuracakları kendilerine özel yolculuk, ders süresince teşvik edilecektir. |
Course Learning Outcomes and Competences
Upon successful completion of the course, the learner is expected to be able to:
1) make distinction between having an idea and creating an idea; treat each work of art as an embodiment of an idea;
2) creatively play with various psychoanalytic ideas and improve skills to see through works of art and texts of literature with their help;
3) regard a literary text or any object of art as an independent subject with an independent psychology and develop various methods to relate to them;
4) question basic motives behind actions, attitudes and behind works of art; see the physical body of a work of literature (meaning: the horizontal text) as a medium for a latent vertical text;
5) ask better questions regarding the use of literature and art and about how psychology may help us to become creative readers of literature and how literature can be helpful to understand psychoanalytic ideas and add to our own understanding of the self, about why each artist is supposed to be an existentialist philosopher;
6) create ideas about what it may mean to psycho-analyze a literary text.
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| Program Learning Outcomes/Course Learning Outcomes |
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6 |
| 1) Has a broad foundation and intellectual awareness with exposure to mathematics, history, economics, and social sciences |
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| 2) Demonstrates knowledge and skills in different functional areas of business (accounting, finance, operations, marketing, strategy, and organization) and an understanding of their interactions within various industry sectors |
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| 3) Applies theoretical knowledge as well as creative, analytical, and critical thinking to manage complex technical or professional activities or projects
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| 4) Exhibits an understanding of global, environmental, economic, legal, and regulatory contexts for business sustainability |
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| 5) Demonstrates individual and professional ethical behavior and social responsibility |
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| 6) Demonstrates responsiveness to ethnic, cultural, and gender diversity values and issues |
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| 7) Uses written and spoken English effectively (at least CEFR B2 level) to communicate information, ideas, problems, and solutions |
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| 8) Demonstrates skills in data and information acquisition, analysis, interpretation, and reporting |
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| 9) Displays computer proficiency to support problem solving and decision-making |
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| 10) Demonstrates teamwork, leadership, and entrepreneurial skills |
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| 11) Displays learning skills necessary for further study with a high degree of autonomy
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Relation to Program Outcomes and Competences
| N None |
S Supportive |
H Highly Related |
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Program Outcomes and Competences |
Level |
Assessed by |
| 1) |
Has a broad foundation and intellectual awareness with exposure to mathematics, history, economics, and social sciences |
N |
|
| 2) |
Demonstrates knowledge and skills in different functional areas of business (accounting, finance, operations, marketing, strategy, and organization) and an understanding of their interactions within various industry sectors |
N |
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| 3) |
Applies theoretical knowledge as well as creative, analytical, and critical thinking to manage complex technical or professional activities or projects
|
N |
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| 4) |
Exhibits an understanding of global, environmental, economic, legal, and regulatory contexts for business sustainability |
N |
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| 5) |
Demonstrates individual and professional ethical behavior and social responsibility |
N |
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| 6) |
Demonstrates responsiveness to ethnic, cultural, and gender diversity values and issues |
N |
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| 7) |
Uses written and spoken English effectively (at least CEFR B2 level) to communicate information, ideas, problems, and solutions |
S |
Participation,Project
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| 8) |
Demonstrates skills in data and information acquisition, analysis, interpretation, and reporting |
S |
Participation,Project
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| 9) |
Displays computer proficiency to support problem solving and decision-making |
N |
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| 10) |
Demonstrates teamwork, leadership, and entrepreneurial skills |
N |
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| 11) |
Displays learning skills necessary for further study with a high degree of autonomy
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S |
Participation,Project
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| Prepared by and Date |
NİHAN KAYA , April 2022 |
| Course Coordinator |
SENA CÜRE ACER |
| Semester |
Fall |
| Name of Instructor |
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Course Contents
| Week |
Subject |
| 1) |
Introduction to the course; a discussion on what the instructor expects from the students and what the students expect to gain from the course; students’ inner relation to literature, creativity and literary creativity and their thoughts on the meaning of art and literature; why they think the title of the course is “Psychoanalysis and Literature”; how literature and psychology/psychoanalysis may possibly relate |
| 2) |
What, indeed, makes literature a form of art? The difference between a plot and a story; objective reality, inner reality and fictional truth; the difference between a story and a story that is a piece of literature; what is created when a story as a work of art is created; why a work of fiction is not its plot or its story; so-called escapist fiction and truth-seeking fiction; notion of sublimation; art as fort-da game; why every word is a story itself |
| 3) |
Questions regarding the source of creativity; links between pleasure and aesthetic pleasure; differences between a text and a created text |
| 4) |
Being a creative writer, being a creative reader, being a creative person, and how they relate; relationship between the arts and literature; relationship between artistic creativity in general and literary creativity; writing as a form of reading and reading as a form of writing; why discipline matters as much as inspiration in artistic creation; why art is nothing but its form which cannot be expressed in any way other than itself |
| 5) |
Being and the arts; true self and false self; false existence and true existence; differences between integration, disintegration, unintegration and creativity; art as an intersection of protest and compromise; conformity, unconformity and non-conformity; reasons for inertia and initiation within the Self and the society; inner and external hindrances to the creative process; existential psychology and the arts |
| 6) |
Life, death and creativity: how do they relate; why it is only the true self that can be creative; false existence and symbolic death; links between energy and creativity; femininity and creativity; desire to return to the womb; difference between creating-and-dying and dying-and-creating; symbol; how the creative action helps one to be one’s own self and a part of the society at one and the same time, whilst nothing else does |
| 7) |
Psychological dynamics of creative writing and psychological dynamics of the text itself; psychology of the author, psychology of the reader and psychology of the text; Eco; literature and suffering |
| 8) |
Isolation and literature; object of art and the notion of the “pre-object” before the work is completed; object of art as a bridge between the artist and the society; object of art as shared reality; creativity and the creative act; progression and regression in the service of the art; why some regressive states result in the creative act while some do not; nature of prolonged futile regressions; organic and abstract forms of art; Bergson’s perspective of time and artistic creation |
| 9) |
Creative energy; movements between physical energy and psychic energy; energy as the potential and energy as actualized creatively / the creative action; if the amount of the energy preserved is constant, why some people are more creative than others; energy and agency of the creative act; why the creative act is not conformist or unconformist but non-conformist; Freudian and Jungian approaches to energy, thinking art as manifestations of vital energy; why conceiving a form of art is perceived as a stimulation both by the artist and by the audience; why society wants to repress art and literature and why art and literature still resists despite challenges and does not cease to exist; function of literature; questions regarding contemporary works, including those by Marcel Duchamp and Andy Warhol |
| 10) |
Why art is not self-expression or the expression of anything other than itself; why art may stand for nothing but itself; why form and content cannot be separated from one another even if they can be distinguished; why form and content are two different aspects of one and the same thing; each form of art as a new idea and a new suggestion of reality; why what the artist creates is always more than the sum of its parts; why the artist is always consciously or unconsciously an existentialist philosopher; aesthetic philosophy; why it is only by its form that we can distinguish art from other methods of expression |
| 11) |
Creating a world through art; why the artist is concerned with a world, while the philosopher and the scientist with the world; why life requires art; art and literature; why every form is an idea; the link between form and idea; how the work of art is both unique and universal |
| 12) |
The writer and the text
“Art must be discovered, not received. It must be created, not conferred. It must arise spontaneously in persons and among groups, as an expression of their vitality.” Herbert Read
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| 13) |
“The universe is made of stories, not of atoms.” Muriel Rukeyser |
| 14) |
“Truth is not what we discover, but what we create.” Saint-Exupery |
| 15) |
Final Examination Period |
| 16) |
Final Examination Period |
| Required/Recommended Readings | Two important suggested readings for this course are:
May, Rollo (1975) The Courage to Create, New York: Bantam Books, 1978. (128 pages)
Storr, Anthony (1972) The Dynamics of Creation, New York: Atheneum, especially “The Conscious Motives of the Artist” (p. 29-39), “New Models of the Universe” (p. 61-74), “The Creative Ego and its Opposites” (p. 188-202), “Genius and Madness” (p. 203-216), “The Quest for Identity” (p. 217-228).
For the introductory week, there is a short reading on the history of modern education, because “there is no doubt that most systems of education might have been designed deliberately to stultify the aesthetic sensibility of a child.” (Herbert Read, 1963, p. 102), and the course intends to boost the creativity and the aesthetic sensibility of the instructor and the students rather than to stultify it.
Imposed Reading:
Hartmann, Thom (2003) “How Modern Education Came About” in The Edison Gene, Rochester, Vermont: Park Street Press, p. 181-188.
Required Readings:
Short Story: “The Doll’s House” by Katherine Mansfield
Melzter, Donald (1968) “Tyranny” in Sexual States of Mind, Strath Tay: Clunie, 1973, p. 143-150
Grunberger, Bela (1989) “On Purity” in New Essays on Narcissism, London: Free Association Books, p. 89-103
Short Story: Melville, Herman. (1853) Bartleby the Scrivener: A Story of Wall Street, The Pennsylvania State University: A Penn State Electronic Classics Series Publication, 2002, http://www2.hn.psu.edu/faculty/jmanis/Melville/Bartleby-Scrivener.pdf, accessed on 2 July 2009
Winnicott, D. W. (1964) “The Concept of the False Self” in Home is Where we Start from: Essays by a Psychoanalyst, Harmondsworth: Penguin, 1986, p. 65-70
Tillich, Paul “Courage and Participation: The Courage to Be as a Part”, Chapter 4 in The Courage to Be, p. 86-112
Short Story: Lessing, Doris (1958) “To Room Nineteen” in A Man and Two Women, Granada, p. 253-288.
Play: Rabe, David (1971) “Sticks and Bones” in Basic Training of Pavlo Hummel and Sticks and Bones, New York: Viking Press, 1978
Poem: “Bluebeard” by Edna St. Vincent Millay
Short Story: “Bliss” by Katherine Mansfield
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| Teaching Methods | There are no “wrong” comments in this classroom; and all sorts of contributions from students with all sorts of backgrounds are welcome. This is a course about self-enhancement in your own unique way; the students will be expected to develop according to their standards, not the instructor’s or other students’. I -as the instructor- will not take attendance, but your attendance and the way you attend and contribute (although, again, in your own way) will be my primary concern. I appreciate that you may be time-strained due to work-load from other courses, you may have ups and downs related to various issues in life; but anything that is related to life is also related to the content of this course, so I ask you to show up with whatever it is that is burdening you, and let’s try to figure out together how this matter you are bringing to the class with you may be transformed. In my intention, the classroom the course sessions will take place in is a living, interactively creative -and also a creating- area, so I need your presence above all. If you are miserable, bring your misery to the classroom to see how your misery will affect our discussion and what we may make of it together.
I am not good with videos, but I will put at least one quotation, maybe a paragraph to Blackboard each week, and will expect you to think it through over the week before our class hour. Besides the short-stories/plays/poems, and sometimes essays/chapters I will put on the Board, I will also give terms related to psychoanalysis and will expect you to search the definition of the term yourself using any means available to you (videos, internet search, written materials; anything you like) and come up with a definition of your own, as well as with some concrete examples to the term/concept, and to think through the term/s in relation to the work of literature that will be studied and try to draw some ideas about how they may go together. Sometimes, I will put a poem with a short-story and will ask you to think them in their relation with each other, along with some psychoanalytic concepts.
This is not a creative writing course; but it is organized to be of benefit to those who may be interested in becoming creative writers, or those who may not be interested in becoming creative writers, but those who are interested in becoming better readers of literature; those who would like to probe more into the dynamics of artistic creation or those who are inspired by ideas regarding the creative process, individuality, authenticity, or, what I call vertical life. |
| Homework and Projects | There will be two written projects for this course. I will discuss the details with students on a one-to-one basis.” |
| Laboratory Work | |
| Computer Use | |
| Other Activities | |
| Assessment Methods |
| Assessment Tools |
Count |
Weight |
| Attendance |
1 |
% 15 |
| Project |
2 |
% 85 |
| TOTAL |
% 100 |
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| Course Administration |
nihanka@gmail.com or kayan@mef.edu.tr
Literature, like psychology, is about learning to question, rather than to find answers. In line with the nature of this course’s objectives, each student will be expected to come to the class with at least one burning question related to the required reading. We will hope to discuss, multiply and deepen these questions during the class meetings. The students will hopefully complete the course with brighter questions than the ones they started with.
Nietzsche has once said that “One should try to create a work of art before s/he speaks about it”. The students will not be expected to create a work of art for this course, but, even if they are not going to be assessed for their creativity, they will be encouraged to think as creatively as possible about the texts we will read. According to Jung, the creative instinct is in everyone; and exploring our own creative instinct will be a part of our discussions whilst various approaches to the creative process is studied.
On the other hand, although it might be suggested that “Every human being is potentially an artist” (Herbert Read, To Hell with Culture, 1963, p. 122), it is also true that “No good artist exists who is not, at every point at his career, firstly a good critic. The world of art emerges within a field of critical perceptions” (Herbert Read, Collected Essays in Literary Criticism, 1938, p. 127) and that every work of art is an embodiment of an idea; so students will be responsible for having read the reading list and finding something interesting to say about them.
The commitment of acts of cheating, lying, and deceit in any of their diverse forms such as plagiarism, and copying during examinations is dishonest and will not be tolerated.
Academic dishonesty and plagiarism: YÖK Disciplinary Regulation
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Information Package / Course Catalogue