Search results
Results from the WOW.Com Content Network
The imaginary audience refers to a psychological state where an individual imagines and believes that multitudes of people are listening to or watching them. It is one of the mental constructs in David Elkind 's idea of adolescent egocentrism (along with the personal fable ).
According to Alberts, Elkind, and Ginsberg the personal fable "is the corollary to the imaginary audience.Thinking of themselves as the center of attention, the adolescent comes to believe that it is because they are special and unique.” [1] It is found during the formal operational stage in Piagetian theory, along with the imaginary audience.
The imaginary audience, Elkind said, could be regarded as "a series of hypotheses" that an adolescent "tests against reality". Because the imaginary audience is usually constructed based on an adolescent's attention on his own perception, it will be gradually modified through communicating and reacting with real audiences.
An egocentric adolescent experiencing an imaginary audience believes there is an audience captivated and constantly present to an extent of being overly interested about the egocentric individual. Personal fable refers to many teenagers' belief that their thoughts, feelings, and experiences are unique and more extreme than others'. [20]
In psychology, fantasy is a broad range of mental experiences, mediated by the faculty of imagination in the human brain, and marked by an expression of certain desires through vivid mental imagery. Fantasies are generally associated with scenarios that are impossible or unlikely to happen.
Psychoanalytic literary criticism is a method of reading and analysing texts through the lens of psychoanalytic principles. [3] It is largely informed by Freudian psychoanalysis, but has since grown into its own field in literary theory, influenced by the work of psychoanalysts such as Carl Jung, Melanie Klein, and Jacques Lacan.
The basis of the Imaginary order is the formation of the ego in the "mirror stage."By articulating the ego in this way, "the category of the imaginary provides the theoretical basis for a long-standing polemic against ego-psychology" [3]: xxi on Lacan's part.
The Tale of Genji by Lady Murasaki, written in 11th-century Japan, was considered by Jorge Luis Borges to be a psychological novel. [4] French theorists Gilles Deleuze and Félix Guattari, in A Thousand Plateaus, evaluated the 12th-century Arthurian author Chrétien de Troyes' Lancelot, the Knight of the Cart and Perceval, the Story of the Grail as early examples of the style of the ...