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The essay, marking Freud's major revision of his drive theory, elaborates on the struggle between two opposing drives. In the first few sections, Freud describes these as Eros, which produces creativity, harmony, sexual connection, reproduction, and self-preservation; and the "death drives" (what some call "Thanatos" [4]), which brings destruction, repetition, aggression, compulsion, and self ...
In Greek mythology, Thanatos (UK: / ˈ θ æ n ə t ɒ s /; [2] Ancient Greek: Θᾰ́νᾰτος, Thánatos, pronounced in Ancient Greek: "Death", [3] from θνῄσκω thnēskō "(I) die, am dying" [4] [5]) was the personification of death. He was a minor figure in Greek mythology, often referred to but rarely appearing in person.
The death drive is sometimes referred to as Thanatos in post-Freudian thought (in reference to the Greek personification of death), complementing "Eros", although this term was not used in Freud's own work, being rather introduced by Wilhelm Stekel in 1909 and then by Paul Federn in the present context.
The ranges of instincts are in great numbers. Freud expressed them in two categories. One is Eros the self-preserving life instinct containing all erotic pleasures. While Eros is used for basic survival, the living instinct alone cannot explain all behavior according to Freud. [8] In contrast, Thanatos is the death instinct.
In the sixth chapter, Freud reviews the development of his concept of libido to explain why it must now be separated into two distinct instincts: the object-instinct of eros and the ego-instinct of thanatos. This 'new' concept of the death drive actually has a long developmental history in Freud's writings, including his investigations into ...
A 2012 study involving Christian and Muslim college-students from the US, Turkey, and Malaysia found that their religiosity correlated positively with an increased fear of death. [55] In 2017, a literature review found that in the United States, both the very religious and the not-at-all religious enjoy a lower level of death anxiety and that a ...
On the latter front, see “Mothers’ Instinct,” a 1960s-set suburban psychodrama too silly to secure our belief and too reserved to pass muster as go-for-broke camp — but still compulsive ...
The Ego and the Id develops a line of reasoning as a groundwork for explaining various (or perhaps all) psychological conditions, pathological and non-pathological alike. . These conditions result from powerful internal tensions—for example: 1) between the ego and the id, 2) between the ego and the super ego, and 3) between the love-instinct and the death-insti