Hugur - 01.06.2010, Side 183

Freud og dulvitundin (oglistin)
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Stefán Snævarr (2004): Astarspekt. Greinar um heimspeki. Reykjavík: HlB.
Stefán Snævarr (2010): Metaphors, Narratives, Emotions. Their Interplay and Impact.
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Abstract
Freud and the Sub-Conscious (and Art)
I start by giving a rough and tough sketch of the Freudian idea of the sub-cons-
cious, and then I discuss his critics and defenders. Alasdair Maclntyre is on the
right track when he criticizes the idea of a sub-conscious as being a sort of entity
without rejecting the idea of there being sub-conscious processes. He is also on
the right track when he points out that psycho-analysis can do a similar job as
imaginative literature, help us redescribe our emotions.
John Searle correctly points out that if an emotion can be sub-conscious then
it can also be conscious. But he has a much too simpUstic notion of what “cons-
cious” means; he seems to ignore the possibility that there can various degrees of
being conscious.
Mark Solms and Karen Kaplan-Solms maintain that they have found neuro-
psychological evidence for Freud’s theory of the sub-consicous; they say that they
have found its site in the brain. Their reasearch cannot be ignored; we cannot
exclude the possibility of there being sub-conscious processes.
I discuss the possibility that there are thoughts and emotions that are somehow
not entirely conscious but not exactly sub-conscious and that our knowledge of
them is a kind of tacit knowledge. I then argue in favour of imaginative literature
and poetic metaphors being instruments that help us become more clearly cons-
cious of these half-submerged emotions and thoughts.