1 00:00:00,640 --> 00:00:05,640 OK. One announcement I have to make. 2 00:00:05,640 --> 00:00:16,170 It's off to the lecture next week. The Ashmolean is very generously hosting a reception to which you are invited. 3 00:00:16,170 --> 00:00:22,450 That is off the lecture at the Ashmolean next week. OK. 4 00:00:22,450 --> 00:00:32,280 Well, this week I'm talking about Salvador Dali's book, The Tragic Myth of Malaise and Goodness. 5 00:00:32,280 --> 00:00:40,740 And the selection really began in some research when I was doing all the manuscripts for this book. 6 00:00:40,740 --> 00:00:48,040 And those will make a short appearance halfway through the lecture. 7 00:00:48,040 --> 00:01:02,110 Now, I shall come back to to the book just to say that it was written in 1933, I believe, but it wasn't published until 1963. 8 00:01:02,110 --> 00:01:19,120 So I rather fell out of the oath of the great sort of period of surrealist writings about madness when Daddy visited Freud in London in 1938. 9 00:01:19,120 --> 00:01:27,230 He took with him his latest masterpiece, The Metamorphosis of Narcissus, which is this painting he had done. 10 00:01:27,230 --> 00:01:33,040 He was very eager to discuss his treatment of Narcissus with the founder of psychoanalysis, 11 00:01:33,040 --> 00:01:39,730 who published a paper on Moses's narcissism in 1914 and who often returned to the subject 12 00:01:39,730 --> 00:01:46,210 daily and probably also wanted to see what Freud thought of his notion of critical paranoia, 13 00:01:46,210 --> 00:01:54,010 which Dali had been developing in the context of surrealism. His interest in Matisse in the painting Metamorphosis of Narcissus, 14 00:01:54,010 --> 00:01:59,830 Dali was testing a new development of what he called his paranoiac critical method. 15 00:01:59,830 --> 00:02:10,660 And you can see here Narcissus himself. This is this golden boy who's wrapped in contemplation of his own image in the water, 16 00:02:10,660 --> 00:02:17,600 admired by the little circle of the heterosexual group because of it. 17 00:02:17,600 --> 00:02:22,210 Called it in the background he loves and he himself falls in love with his 18 00:02:22,210 --> 00:02:28,930 image and inwardly shows in dissolving into the water and into the background, 19 00:02:28,930 --> 00:02:41,950 but simultaneously becoming this bony, calcified hand holding an egg from which sprouts and narcissus. 20 00:02:41,950 --> 00:02:46,330 Freud was ill and had difficulty hearing. Does he have? 21 00:02:46,330 --> 00:02:52,120 He became more and more excited and trying to get across his ideas and failing. 22 00:02:52,120 --> 00:02:59,110 Afterwards, Freud wrote to stiffen spine that while he had little time for the surrealists, 23 00:02:59,110 --> 00:03:05,380 who, he said have apparently adopted me as their patron saint. He had found daily fascinating. 24 00:03:05,380 --> 00:03:10,740 But as a typical fanatical type of Spaniard is an artist. 25 00:03:10,740 --> 00:03:18,790 Dali, on his side made the best of his disappointment and reported that Freud told him that while he Freud was interested 26 00:03:18,790 --> 00:03:25,930 in the paintings of the old Masters because of that innocent testimony to unconscious fears and desires, 27 00:03:25,930 --> 00:03:38,680 Daly's mystery was manifested. OUTFRONT, he did the work of interpretation himself, which he also says was precisely what he intended to do. 28 00:03:38,680 --> 00:03:46,140 Freud was not a fan of modern art and was suspicious of the degree of self-knowledge that Dulli showed. 29 00:03:46,140 --> 00:03:49,060 Freud was not a fan either of asylum art. 30 00:03:49,060 --> 00:03:58,060 That is the work of the inhabitants of the asylums whose strange, untutored pas had begun to interest the surrealists, amongst others. 31 00:03:58,060 --> 00:04:04,840 He would have thought these pathological documents, not art. And I just put up here for the moment. 32 00:04:04,840 --> 00:04:13,000 On the left, a very curious little watercolour collage by Max M's Cause Schizophrenia, 33 00:04:13,000 --> 00:04:18,640 and on the right, untitled painting by an a resident of an asylum inside the United States. 34 00:04:18,640 --> 00:04:24,350 He's actually Mexican called Ramutis. I'll come back to that moment. 35 00:04:24,350 --> 00:04:34,570 Madness. Its definition, diagnosis, terminology and treatment have changed almost beyond recognition since the surrealists launched 36 00:04:34,570 --> 00:04:39,850 their attack on the French psychiatric establishment and on the institution of a lunatic asylum. 37 00:04:39,850 --> 00:04:45,520 In the early 1920s, I just one example I read yesterday, hysteria, 38 00:04:45,520 --> 00:04:54,550 which was one of the service favourite sort of conditions, is now called conversion disorder. 39 00:04:54,550 --> 00:05:04,300 So I'm not an expert in this. In 1968, Dr guest on Fabia, who was a psychologist with close connexions to the surrealists, 40 00:05:04,300 --> 00:05:12,430 argued that it was the surrealists who led us, the psychologists, to rethink deeply the problem of madness. 41 00:05:12,430 --> 00:05:18,520 Its value, the problem, its meaning, its limits and its dangers. 42 00:05:18,520 --> 00:05:26,920 Fedya also said that nowadays that is 1968, he would only class schizophrenia as madness. 43 00:05:26,920 --> 00:05:33,070 Thirty years was an unusual voice of support from within the medical profession for the surrealists. 44 00:05:33,070 --> 00:05:43,580 He made the case that three dozen forced psychologists and psychiatrists to question assumptions about the unreason of insanity. 45 00:05:43,580 --> 00:05:48,730 Cuckoo in his 1961 study, Maddis Matters and Civilisation. 46 00:05:48,730 --> 00:05:57,850 A History of Insanity in the Age of Reason takes a similarly critical view of assumptions about sanity and insanity, rationalism and reason. 47 00:05:57,850 --> 00:06:01,600 But he never mentions surrealism, serialism. 48 00:06:01,600 --> 00:06:10,060 Other listeners attitudes are also open to criticism, romanticising conditions that could be deeply painful. 49 00:06:10,060 --> 00:06:11,740 Taking the wild was of delirium, 50 00:06:11,740 --> 00:06:21,760 of psychosis as models for a new literary genre and a hopeless disregard for the actual fate of the mentally disordered who crossed their paths. 51 00:06:21,760 --> 00:06:28,900 I put up here on the screen some someone was actually the centre really of surrealism in the mid 1920s. 52 00:06:28,900 --> 00:06:38,250 Antima to on the left and on the right is one of the letters that was published in the issue of Larbi. 53 00:06:38,250 --> 00:06:51,730 So Surveils that he edited in 1925 and the first manifesto of surrealism all opened with a poetic defence of two conditions of mind that he sees, 54 00:06:51,730 --> 00:06:57,340 as opposed to the narrow, utilitarian pragmatism and rationales the adult. 55 00:06:57,340 --> 00:07:02,110 These two conditions, that of the child and the madmen, 56 00:07:02,110 --> 00:07:10,000 it is their freedom to imagine or better to fail to see the difference between imagination and reality that he values. 57 00:07:10,000 --> 00:07:21,830 And I quote from the first manifested by Portal. We all know that the insane over incarceration to a tiny number of legally reprehensible acts. 58 00:07:21,830 --> 00:07:26,500 I am willing to admit that they are to some degree victims of their imagination. 59 00:07:26,500 --> 00:07:31,840 But their profound indifference to the way we judge them allows us to suppose 60 00:07:31,840 --> 00:07:36,640 that they derive a great deal of comfort and consolation from their imagination, 61 00:07:36,640 --> 00:07:45,870 but they enjoy their madness sufficiently to. Do the thought that its validity does not extend beyond themselves? 62 00:07:45,870 --> 00:07:56,130 And the third is to have other results released, which I referred to, edited by up to contained a whole series of incendiary tracts through a by opto. 63 00:07:56,130 --> 00:08:02,400 He wrote the address to the Pope, addressed the Dalai Lama and addressed the Buddhist schools. 64 00:08:02,400 --> 00:08:08,850 He wrote the letter to the Rectors European Universities, together with Michel Livy's, which recommends Sismondo. 65 00:08:08,850 --> 00:08:16,440 And the letter to the Head Doctors of Lunatic Asylums was written by a Nobel Desnos and said or Falko. 66 00:08:16,440 --> 00:08:26,850 And that is why I put up here. And this letter attacks the pause granted to the psychiatrist to lock up those suffering from mental illnesses, 67 00:08:26,850 --> 00:08:31,450 which are Ilda ill-Defined and misunderstood. I quote. 68 00:08:31,450 --> 00:08:36,710 And what an incarceration. We know that the asylums are far from being a Zeder. 69 00:08:36,710 --> 00:08:40,410 I mean that the pun is the same French asylum and refuge. 70 00:08:40,410 --> 00:08:52,080 Far from being refugees but a terrible j.s, the asylums under the names of science of justice are comparable to a barracks, a prison penal servitude. 71 00:08:52,080 --> 00:09:01,500 We are far from. A large number of your boarders, thoroughly mad, according to the official definition, are arbitrarily interned. 72 00:09:01,500 --> 00:09:07,020 We refuse to accept that the free development of a delirium as it is, as legitimate, 73 00:09:07,020 --> 00:09:13,830 as logical as any other succession of human acts and ideas should be curbed. 74 00:09:13,830 --> 00:09:26,010 The mad are the individual victims, like salaams of the social dictatorship of the Sunnis were amongst the first to register 75 00:09:26,010 --> 00:09:32,130 changes in the attitudes to madness and its relationship to creativity and business. 76 00:09:32,130 --> 00:09:38,170 And Arnst, as in this schizophrenia here, both made rudimentary marks, 77 00:09:38,170 --> 00:09:44,520 the sign of their attempt to circumvent skill and consciousness and simulate a condition of madness. 78 00:09:44,520 --> 00:09:50,100 It's quite interesting that the actual production of many of the LNA or the the those 79 00:09:50,100 --> 00:09:56,940 who are incarcerated in asylums or outsider artists are actually quite unlike this. 80 00:09:56,940 --> 00:10:01,080 I think this is of the Ramires one. Here is is a case in point. 81 00:10:01,080 --> 00:10:08,910 They bear witness really took on parole Vakili to a pressing need to fill the spaces of the page or paper, 82 00:10:08,910 --> 00:10:18,180 which is closer to the Misket embroils of all the initial in 1929, 83 00:10:18,180 --> 00:10:27,060 Dulli joined the service movement and introduced his notion of paranoia, which he explicitly opposed to automatism. 84 00:10:27,060 --> 00:10:34,340 His paintings could hardly be more different from the spontaneous and rudimentary that had hitherto held sway amongst the surrealists. 85 00:10:34,340 --> 00:10:39,780 And I put up here one of the earliest of his paintings of 1929 at the moment, 86 00:10:39,780 --> 00:10:49,680 that he decided to adopt this extraordinarily detailed and very meticulous, old fashioned method of painting. 87 00:10:49,680 --> 00:11:01,170 This is this this painting actually seems to include little episodes from Freudian case histories, not breaks, basically, 88 00:11:01,170 --> 00:11:10,920 and that a very explicit image of of sex in the bottom left hand corner, which apparently was a response to a challenge from Buñuel as had by day. 89 00:11:10,920 --> 00:11:21,720 I dare you to go as far as you can. Don first explained what he meant by the mechanism of paranoia in his text called The 90 00:11:21,720 --> 00:11:29,190 Rotting Donkey in the first issue of the city's Journal of the nineteen early thirties. 91 00:11:29,190 --> 00:11:38,770 Survivors also discovered Rousseau in 1930. It was, he says, paranoia, a delirium of interpretation. 92 00:11:38,770 --> 00:11:43,800 No, it was not. It's not the paranoia that we're familiar with. It's not them not of persecution complex. 93 00:11:43,800 --> 00:11:50,540 It's a very different notion at the time. But psychologists and psychiatrists had a paranoia. 94 00:11:50,540 --> 00:11:59,610 It's a delirium of interpretation in which the paranoiac uses the things of the external world to express their obsessional idea. 95 00:11:59,610 --> 00:12:09,240 And in the third issue of this journal, the very one that introduced us through this object done reproduced his paranoiac faces for communication, 96 00:12:09,240 --> 00:12:18,180 Paronella face and what the story is that he was looking for. 97 00:12:18,180 --> 00:12:24,480 He was he was looking for a reproduction of a cubist painting by Picasso. 98 00:12:24,480 --> 00:12:30,270 And he thought he saw him. And then he realised that, in fact, it was a postcard, an African hut. 99 00:12:30,270 --> 00:12:36,960 You can see the African hump on the bottom here. And on top left is what he thought he saw. 100 00:12:36,960 --> 00:12:48,430 Other was this this hut. Which the tunnel side looks like a face when you shoot this postcard with the of the house top to bottom. 101 00:12:48,430 --> 00:13:01,420 Watson saw it as the head of the marquee disarmed and added so that the clouds here become the book that the good grip of the market aside. 102 00:13:01,420 --> 00:13:11,680 So in a way, the misinterpreted, the interpretation, the delivered interpretation depends upon the individual obsession of the person who sees it. 103 00:13:11,680 --> 00:13:16,000 That is a painting based on this. I think you can see that he you know, 104 00:13:16,000 --> 00:13:24,920 he he flips things so that you can say definitely this this African heart with people sitting in front of it as a face. 105 00:13:24,920 --> 00:13:34,450 And interesting, the kind of cubist head by Picasso that he I think he was looking for when he when he found this postcard. 106 00:13:34,450 --> 00:13:39,580 Could be this something like this. This is the nine head of a woman's house. 107 00:13:39,580 --> 00:13:49,480 And there's there's a very I think very he's slightly awkward, but nonetheless, I think very important aspect of this painting, 108 00:13:49,480 --> 00:13:57,720 which which is related to does idea if you look at the top of the book above the eyes, 109 00:13:57,720 --> 00:14:02,290 he will see that there's there was a switch between convex and concave. 110 00:14:02,290 --> 00:14:10,750 You can see the it's it's always difficult to do. 111 00:14:10,750 --> 00:14:22,630 You could either see it like two roofs that go over the eyes, like blocks of gabled roofs, or you can switch it and see those as CM cavities. 112 00:14:22,630 --> 00:14:28,260 I don't know if you can, but I assure you it does work. There's a real backfill. 113 00:14:28,260 --> 00:14:35,520 There's a real switch there, which I think was extremely important for the development of cubism. 114 00:14:35,520 --> 00:14:46,820 And I think it's something that is sort of in the background of dunnies development of this notion of of of paranoia, which he which he goes on to. 115 00:14:46,820 --> 00:15:01,540 I'm sorry to refine through the 1930s until it reaches the the debris of the sort of complexity and and care of a painting like this. 116 00:15:01,540 --> 00:15:07,240 This is called apparition of a face and a fruit bowl on a beach. 117 00:15:07,240 --> 00:15:12,020 And as you can see, it is a landscape and a dog. 118 00:15:12,020 --> 00:15:18,550 As the head of the dog up there with the colour of the dog is also a bridge. 119 00:15:18,550 --> 00:15:23,890 And I think I've got a detail. Yes. On the left hand side is the detail of it. 120 00:15:23,890 --> 00:15:27,150 I mean, these are you have to actually get you know, it's a big painting. 121 00:15:27,150 --> 00:15:35,950 You have to get very close to see to see the detail through the eye of the dog, which takes you into a landscape behind it. 122 00:15:35,950 --> 00:15:40,640 I think Dolly was also very aware of the ideas of people interested in psychology, 123 00:15:40,640 --> 00:15:47,760 of perception, gestalt psychologists at the time and at the bottom of the painting. 124 00:15:47,760 --> 00:15:57,370 I'm sorry. There he painted in the dark rabbit. 125 00:15:57,370 --> 00:16:07,020 That is the the very famous demonstration that was used by psychologists perception to show that you can see this. 126 00:16:07,020 --> 00:16:16,570 Oh, so this configuration trying to find that point where they're either, 127 00:16:16,570 --> 00:16:27,730 as a duck said with beak or as a rabbit with tasers as it is, but not both simultaneously the keeping it has to be one or the other. 128 00:16:27,730 --> 00:16:36,400 It's not something that you can you can hold on to at the same time, not just just to come back metal's analysis in this context, 129 00:16:36,400 --> 00:16:46,030 in the context of the notion of the interpretation of one configuration as another completely different one, 130 00:16:46,030 --> 00:16:59,410 which Dalí began to develop in such a way that he could make a single configuration into six different actual images. 131 00:16:59,410 --> 00:17:12,400 We were wondering the other day whether he is introducing another complexity here and that the idea that if you stare at this long enough, 132 00:17:12,400 --> 00:17:16,930 those two separated forms, which normally O'Donnell would try to show you together, 133 00:17:16,930 --> 00:17:25,570 he would try to show you a single configuration which you read either as narcissist or as the hand that he's that he's actually thinking. 134 00:17:25,570 --> 00:17:29,820 If you stare long enough, the things will merge. 135 00:17:29,820 --> 00:17:35,680 It will become that also is sort of a delivery of a stereoscopic theorem. 136 00:17:35,680 --> 00:17:39,420 Anyway, it's only it's a test. Next time you going to look at this. 137 00:17:39,420 --> 00:17:44,820 The tape got to try and get the right distance away from it instead. And you just might find it works. 138 00:17:44,820 --> 00:17:48,650 I haven't yet, but, you know, I've tried it. 139 00:17:48,650 --> 00:17:55,970 It's a it's a fantastic painting. 140 00:17:55,970 --> 00:18:07,390 Does does description of paranoia is very precisely expressed in terms derived from recent French psychiatry, as David Limus has shown, 141 00:18:07,390 --> 00:18:12,880 the notion of a delirium of interpretation as the core feature of the condition 142 00:18:12,880 --> 00:18:18,370 was discussed by the psychiatrist Sevier and Cup car in nineteen hundred nine. 143 00:18:18,370 --> 00:18:32,700 And those ideas ran parallel. There was a lack of very famous French psychoanalyst actually inform the side of the French suffering school. 144 00:18:32,700 --> 00:18:42,850 Little's thesis that his his his doctoral thesis was called on paranoia, psychosis and its relationship with the personality. 145 00:18:42,850 --> 00:18:53,220 It wasn't published until 1932. And I think there's a very good argument for Dallion backlash, exchanging ideas as early as 1930. 146 00:18:53,220 --> 00:19:03,400 A little later, in his 1933 technical text on the Panopto critical interpretation of the obsessional image of Milos Angeles, 147 00:19:03,400 --> 00:19:07,690 Darney, enthusiastic, expressed his unbounded admiration for Larkhall, 148 00:19:07,690 --> 00:19:16,900 whose thesis game for the first time and I quote, a homogeneous idea of the phenomenon paranoia outside, 149 00:19:16,900 --> 00:19:22,990 away from a mechanistic miseries in which current psychiatry is mild. 150 00:19:22,990 --> 00:19:28,090 Wildcoast like half is the content of the paranoid delusions was of no importance. 151 00:19:28,090 --> 00:19:34,440 Lacco argued that they were the direct expression of the unconscious. He diagnosed his patient, who was called. 152 00:19:34,440 --> 00:19:43,360 Amy was suffering from paranoia, psychosis presented as a systematise delirium of interpretation consistent with an overriding idea, 153 00:19:43,360 --> 00:19:49,740 however irrational, so paranoid itself was interpreted of activity. 154 00:19:49,740 --> 00:19:55,510 And as such, it bears a curious resemblance to psychoanalysis itself. 155 00:19:55,510 --> 00:19:58,310 It was it totally effective, but could be transmitted to others. 156 00:19:58,310 --> 00:20:05,950 And this is a point that Dulli absolutely insists on that those very precise scientific terminology, 157 00:20:05,950 --> 00:20:13,130 but also his own unmistakeable language in his theoretical texts on paranoia. 158 00:20:13,130 --> 00:20:22,570 He use it, he added the term critical to indicate that it was, as it were, conscious that it was something that he knew he was doing. 159 00:20:22,570 --> 00:20:35,150 I quote from 1933, text these new menacing, seemingly Barcroft act easily and corrosively with the clarity of physical daily appearances. 160 00:20:35,150 --> 00:20:41,140 And it is, he says, but clearly paranoiac process that it's possible to obtain these double images. 161 00:20:41,140 --> 00:20:53,320 That is the representation of an object that is simultaneously representation and other completely different object. 162 00:20:53,320 --> 00:20:58,240 Dreams, though, work for Dolly, quite distinct from paranoia. 163 00:20:58,240 --> 00:21:01,030 They remain enclosed within the individual psyche. 164 00:21:01,030 --> 00:21:09,040 The dream image evaporates on waking and condense the thought of condensation in dreams as a disincentive mechanism. 165 00:21:09,040 --> 00:21:10,150 Paranoia, by contrast, 166 00:21:10,150 --> 00:21:21,720 operates on the external world in the form the systematised delirious but communicable misreading based on chains of associations. 167 00:21:21,720 --> 00:21:29,250 But the dance Panopto it interpretation of Vili's Angeles, this this book on the right. 168 00:21:29,250 --> 00:21:38,160 Belong to a wave of socialist writings in the early 1930s, inspired by psychoanalysis and of a clearly experimental character. 169 00:21:38,160 --> 00:21:45,300 The surrealists began to think about the kinds of models they might follow or invent that would be appropriate to the demonstration, 170 00:21:45,300 --> 00:21:53,940 documentation or simulation of mental illness obsessions, dreams and fantasies. 171 00:21:53,940 --> 00:22:00,750 In 1930, Retcon Elsewhere published the Immaculate Conception of Immaculate Conception, 172 00:22:00,750 --> 00:22:08,550 which included five essays which simulate that simulate disturbed mental states such as delirium of interpretation. 173 00:22:08,550 --> 00:22:14,760 That is one of the state's sake. They simulate in their texts a senile dementia. 174 00:22:14,760 --> 00:22:21,450 And the text on delirium of interpretation, which is what Dulli would have called paranoia, lack clinical paranoia. 175 00:22:21,450 --> 00:22:27,420 It simulates, apparently, who sees the world through an obsession with birds. 176 00:22:27,420 --> 00:22:31,080 And I quote A translation appearance by Samuel Beckett is fantastic. 177 00:22:31,080 --> 00:22:33,840 Translation quote, 178 00:22:33,840 --> 00:22:41,510 Who is man continues to believe himself on the face of the earth as the blackbird and the buffaloes back on the face of the sea as the Guardian, 179 00:22:41,510 --> 00:22:48,260 the pest of the waves. And it goes on. I'm seeing a B birds throughout the whole the whole of this. 180 00:22:48,260 --> 00:22:58,350 The short text. Now, these short essays in simulation will not therefore stress indebted in any way to clinical texts, 181 00:22:58,350 --> 00:23:02,360 even as pastiches their potential late in the purge. 182 00:23:02,360 --> 00:23:08,190 It was sources of these outlawed regions of the mind, and I quote, 183 00:23:08,190 --> 00:23:14,120 We would even go so far as to declare that in our opinion, the simulation is say it of the maladies. 184 00:23:14,120 --> 00:23:22,380 But sure, in each one of us could replacement's advantageously the ballad, the summit, the epic and other decrepit moods. 185 00:23:22,380 --> 00:23:25,650 In other words, the D. S isn't simulation. 186 00:23:25,650 --> 00:23:39,000 Like most of literature about poetic brettler thought of the possessions as akin to three automatic writings and blessed of death, 187 00:23:39,000 --> 00:23:45,240 they would produce the state of perfect tension, which could be understood as a variation on automatism. 188 00:23:45,240 --> 00:23:58,380 On the other hand, writings such as Orton's, Nadia or Lemel feel mad laugh with stories based on the spookies reporting of facts. 189 00:23:58,380 --> 00:24:03,570 So while the possessions are not clinical texts, Nadia No Fool, for example, 190 00:24:03,570 --> 00:24:11,370 are in a sense ambivalent prefaced or one of the sections of Lemel for his 191 00:24:11,370 --> 00:24:16,450 account of a regulatory encounter with a woman with a note about his method. 192 00:24:16,450 --> 00:24:24,120 I quote, Surrealism was always proposed that a story should take as its model medical observation. 193 00:24:24,120 --> 00:24:28,040 Not a single incident should be admitted, not a name modified. 194 00:24:28,040 --> 00:24:34,820 That's the arbitrary into the foreground with the immediate, devastating irrationality of certain events, 195 00:24:34,820 --> 00:24:45,420 demands the strict authenticity of the human document that registers them both document and simulation, a part of the straightest experiment. 196 00:24:45,420 --> 00:24:53,910 And Dulli. Who is this new recruit? 1929 was regarded by the time as a key mover. 197 00:24:53,910 --> 00:24:59,970 Just to remind you what he looks like. This is a sort of double image. 198 00:24:59,970 --> 00:25:10,020 SuperPower's portrait of himself and. And the gala. His his muse and mistress and amanuensis. 199 00:25:10,020 --> 00:25:15,560 And eventually wife. This is quoting Brett on on daily. 200 00:25:15,560 --> 00:25:22,880 It seems to me as though serious experimenting were about to be unreservedly resumed and with an extension of scope. 201 00:25:22,880 --> 00:25:32,630 This experiment and by the way, has done the last two years. Regain momentum under the master impulse given to it by Salvador Dali. 202 00:25:32,630 --> 00:25:38,600 So this is the end. This is the atmosphere in which Dali conceived and executed his extraordinary text. 203 00:25:38,600 --> 00:25:46,790 The Tragic Misdemeanours Engineers, which he described as a paranoiac political interpretation of the Andrius in June 1932, 204 00:25:46,790 --> 00:25:53,900 the image of the Angelas, which you see here, very popular devotional, 205 00:25:53,900 --> 00:26:03,860 quite banal painting of two peasants posing as the Angelas spell as the evening bell rings out over the fields and they pause to pray. 206 00:26:03,860 --> 00:26:12,380 It is a problem as widely dispersed image in the southern Catholic world and you 1932. 207 00:26:12,380 --> 00:26:23,880 The imagery Angelas appeared suddenly in his imagination in full colour without any related memory or conscious association hit. 208 00:26:23,880 --> 00:26:31,430 Well, as a child. But he hadn't thought about it recently. So this painting became the most troubling, the most enigmatic, the densest, 209 00:26:31,430 --> 00:26:38,600 the richest in assists in unconscious thoughts, which is an unconscious force that has ever been. 210 00:26:38,600 --> 00:26:45,920 And this painting begins to haunt his own paintings of the early 1930s. 211 00:26:45,920 --> 00:26:54,450 This is the archaeological reminiscence of Menez, Angeles. You'll notice they will focus on the two figures confronting each other. 212 00:26:54,450 --> 00:27:06,380 The female gradually starts to overshadow and over sort of over bear the male they displace his previous favourite myth, 213 00:27:06,380 --> 00:27:14,630 which was that a William Tell, William Tell. He interpreted strictly as a kind of castration, a he thought. 214 00:27:14,630 --> 00:27:21,040 So you see the father and the son here, the father threatening the son who's hiding his face in shame. 215 00:27:21,040 --> 00:27:24,410 But it's the painting called William Tell. That is the point. 216 00:27:24,410 --> 00:27:39,890 And it is one of Dali's treatments of myths that he saw as to do with paternal aggression and rage against the sun. 217 00:27:39,890 --> 00:27:43,400 So the sometimes the emphasis appears as itself. 218 00:27:43,400 --> 00:27:51,180 Sometimes it appears that transformed or turned into a different painting by M.A the school, the Angelas of Gala. 219 00:27:51,180 --> 00:28:01,730 And here it appears above the doorway. Very strange painting with Gala facing the back view of linen closet table. 220 00:28:01,730 --> 00:28:11,900 And this one is called Gullah and the Angelas of Millais preceding the imminent arrival of the Chemical and MorphoSys 1933. 221 00:28:11,900 --> 00:28:18,530 And this one, these are all from the early thirties called The Architectonic Angeles of Miller. 222 00:28:18,530 --> 00:28:24,770 And I'm going to come back to the paintings having I hope, by looking at the text of the book, 223 00:28:24,770 --> 00:28:33,200 given given an insight into what it was that so obsessed Thuli about that painting. 224 00:28:33,200 --> 00:28:41,390 The book that he was writing about the Angelus was was already famous in in the sort of circles by 1933. 225 00:28:41,390 --> 00:28:50,550 But it wasn't published, as I said, until 1963. And the only published text related at the time to appear was the illustrated article. 226 00:28:50,550 --> 00:28:59,360 Paranoic put his interpretation of the obsessional image of Los Angeles in the first issue of Minotaur in 1933. 227 00:28:59,360 --> 00:29:04,460 This was evidently the title of that Tony originally intended for the book itself, 228 00:29:04,460 --> 00:29:10,280 the minute or text as it is announced as a prologue to the book with the subtitle New 229 00:29:10,280 --> 00:29:17,390 General Considerations on the mechanism of paranoia from a certain point of view. 230 00:29:17,390 --> 00:29:23,630 These are the the illustrations to the to the text. 231 00:29:23,630 --> 00:29:31,370 So it has two different parts. It had a theoretical prologue which prompted the merits of psychoanalysis and the work of Blackhall. 232 00:29:31,370 --> 00:29:37,280 And this is page of illustrations. What the the Angelus is. 233 00:29:37,280 --> 00:29:41,960 This scene there together with the Louvre. 234 00:29:41,960 --> 00:29:46,340 Leonardo the Louvre. Nado Virgin Child. Jesus, Vincent. 235 00:29:46,340 --> 00:29:53,930 And which is how he Tuttle's it with commentaries under the heading preliminary presentation of some documents towards the 236 00:29:53,930 --> 00:30:02,720 interpretation of the crime of the crepuscular Similac Milley's Angelus of the same illustrations eventually appeared in the book, 237 00:30:02,720 --> 00:30:12,110 and he mentions in the caption the flagrant and unconscious erotic Furo of the Angelas that the text doesn't develop this this idea. 238 00:30:12,110 --> 00:30:15,740 This point, he reproduces that. Yes. 239 00:30:15,740 --> 00:30:25,850 Sorry. All right. The Leonarda, some diversion child in reference to Freud's essay on in order to ensure the memory of 240 00:30:25,850 --> 00:30:32,810 his childhood in which Freud explored in others sexuality and relations with his mother, 241 00:30:32,810 --> 00:30:41,660 Freud took out his memory of a vulture that came. I'm quoting from the Leonardo's memory about what it came down to in my cradle and 242 00:30:41,660 --> 00:30:47,740 opened my mouth with its tail and struck me many times with its tail against my lips. 243 00:30:47,740 --> 00:30:58,810 A foot took this to be a phantasmagoric elision of memories of sucklings with an aggressive sexual act, and it refers to toits double region. 244 00:30:58,810 --> 00:31:07,250 It's this is from the Penguin edition of the Foyt essay with a very useful 245 00:31:07,250 --> 00:31:17,990 diagram showing the vulture which he saw Freud saw in the role of the Virgin. 246 00:31:17,990 --> 00:31:26,540 And then if you can see it, too. But it's that that is a fascinating Dulli, the notion of this particular double image. 247 00:31:26,540 --> 00:31:31,730 And he added the caption, The whole figure constituted by the child's mouth and the tail of the famous invisible 248 00:31:31,730 --> 00:31:37,750 vulture coincides intentionally with the head of the child in millions harvester's. 249 00:31:37,750 --> 00:31:43,370 Freud's notion of the maternal vulture that based on a mistranslation and then with no basis. 250 00:31:43,370 --> 00:31:45,080 And in fact, 251 00:31:45,080 --> 00:31:54,390 apparently it was a chimp perfectly with dallies interpretation of the Angelus as the maternal variant of the myth of the vengeful father. 252 00:31:54,390 --> 00:32:04,880 The. I was interested in the difference between the handwritten texts for the Minotaur article 1933 and those for the book itself. 253 00:32:04,880 --> 00:32:13,460 And it's very interesting. The medical text was he gave a great deal of trouble and there's a whole sequence of these pages very carefully written. 254 00:32:13,460 --> 00:32:18,320 Well, the rather sort of rather spectacular title. 255 00:32:18,320 --> 00:32:21,890 And then the text starts and it just fizzles out. 256 00:32:21,890 --> 00:32:30,590 And this happens again and again. And he clearly became funder's very, very difficult to write a whoopee, you know, begins with the title. 257 00:32:30,590 --> 00:32:36,300 And then then he degenerates and come was eligible. 258 00:32:36,300 --> 00:32:47,410 He abandons it and then he starts again. But the text for the for the book, the tragic myth is very different. 259 00:32:47,410 --> 00:32:51,020 The manuscript is actually very confident. 260 00:32:51,020 --> 00:32:58,730 It was written by Dali with virtually no revisions, and it was done his practise to revise even when making a fair copy. 261 00:32:58,730 --> 00:33:08,270 But this one is a very even if not years of easy dislikeable hand throughout the text flows that interruption. 262 00:33:08,270 --> 00:33:15,500 Now his southern abberation familiars Angelus was it was greeted with scepticism by his surrealist colleagues who 263 00:33:15,500 --> 00:33:25,160 were repelled by its Christian devotional character and unconvinced by his halting attempts to justify himself. 264 00:33:25,160 --> 00:33:29,430 But he doesn't contrasted his public awkwardness. 265 00:33:29,430 --> 00:33:36,650 VCP his friends with it in the confidence to the entire vom behind the sudden appearance of this painting. 266 00:33:36,650 --> 00:33:44,390 And the whole idea for the book was already clear to him. I can say that I already knew almost everything about the transformation of the picture. 267 00:33:44,390 --> 00:33:52,610 I understood. I saw very clearly what it was about my future attempts at interpretation, what was already a target. 268 00:33:52,610 --> 00:33:57,230 Well, it entirely present an obvious in my mind. 269 00:33:57,230 --> 00:34:05,470 He claimed that the meaning of the Angelus was revealed in simultaneously with its appearance that he needed a method to recounted. 270 00:34:05,470 --> 00:34:10,730 And later he described the tragic myth as a psycho analytical essay. 271 00:34:10,730 --> 00:34:16,160 And he found the solution in psychoanalysis. It's not just sourced in psychoanalysis. 272 00:34:16,160 --> 00:34:21,470 The very structure of the book is modelled on Freud's case histories. 273 00:34:21,470 --> 00:34:24,770 It's rigorously ordered in three parts. 274 00:34:24,770 --> 00:34:33,380 This is the sum of the first part with its subtitle initial delirious phenomenon secondary phenomena produced around the 275 00:34:33,380 --> 00:34:41,780 obsessional image and critical consideration of the initial delirious phenomenon that was the appearance of this painting to him. 276 00:34:41,780 --> 00:34:49,160 The second part covers the phenomenology of the Angeles and the Paraná political activity operative on the secondary phenomena. 277 00:34:49,160 --> 00:34:57,520 In other words, these the secondary associations that built up around the painting, which are put back in second, are interpretive. 278 00:34:57,520 --> 00:35:05,570 And the second part of the third and final part is the tragic myth of Menez Andrews itself with the conclusion 279 00:35:05,570 --> 00:35:12,500 hypothetical possibilities of new methods of scientific investigation based on Paronella critical activity. 280 00:35:12,500 --> 00:35:17,480 I think the organisational model very closely follows that of Freud's. 281 00:35:17,480 --> 00:35:24,950 I want to Freud's case histories, the psychoanalytical notes on an autobiographical account of the case of paranoia, 282 00:35:24,950 --> 00:35:27,830 which is commonly known as the Schwager case. 283 00:35:27,830 --> 00:35:33,830 This was originally published in 1911, and it's simply organised in three parts of taste history attempts, 284 00:35:33,830 --> 00:35:42,620 interpretation of the mechanism of paranoia. And I think the subject of the Faber case, as we'll see, would specially attracted them. 285 00:35:42,620 --> 00:35:46,130 Although the outcome turns in a different direction. 286 00:35:46,130 --> 00:35:55,430 So from his first two handwritten pages, a typewritten copy was made, of which this is one example, 287 00:35:55,430 --> 00:36:02,540 not Golla herself, because there are no subsequent corrections in her hand and missing words are filled in. 288 00:36:02,540 --> 00:36:11,840 And then another of the another typescript, another version of the Papeete thing was sent to look on. 289 00:36:11,840 --> 00:36:20,540 The gap had been left at one point with the indication here is place the communication or on reference. 290 00:36:20,540 --> 00:36:29,540 And I'm showing you the key types except for Hall with Breton's addition handwritten down at the bottom. 291 00:36:29,540 --> 00:36:34,900 There's no other indication of it's his handwriting that is actually being put on. 292 00:36:34,900 --> 00:36:46,370 But in fact, Breughel makes extensive corrections and revisions, not changing the sense, but improving the French and questioning some of the science. 293 00:36:46,370 --> 00:36:56,960 So. The initial delirious phenomenon that is the Southern Vision DeAngelis was quickly followed by a series of chance incidents, 294 00:36:56,960 --> 00:36:59,720 encounters, fantasies and rivalries. 295 00:36:59,720 --> 00:37:08,090 These this is the secondary phenomenon in which the Angeles intervened quickly with remarkable exclusive insistence. 296 00:37:08,090 --> 00:37:16,490 These events systematically narrates and then interprets mobilising some of the classic psychology tools, 297 00:37:16,490 --> 00:37:21,290 childhood memories and associations, but not harbour dreams. 298 00:37:21,290 --> 00:37:26,870 I never dream about the Angelas, he said. Amongst the secondary phenomena, 299 00:37:26,870 --> 00:37:34,060 associations with stones and megaliths and the only despites place stones on the beach until suddenly he 300 00:37:34,060 --> 00:37:41,430 is struck by the resemblance of two pebbles he placed upright to the two figures in Miller's Andrius. 301 00:37:41,430 --> 00:37:46,230 An involuntary association between these miniature monuments and the men has in 302 00:37:46,230 --> 00:37:51,220 Dorman's of prehistoric Europe is supplemented by goodtimes own recollection. 303 00:37:51,220 --> 00:37:59,290 That is where the profound text comes in recollection to megaliths on the eldest son Phineas there, 304 00:37:59,290 --> 00:38:07,040 who's deeply worn outcomes, have given them the appearance of a sexually differentiated couple. 305 00:38:07,040 --> 00:38:11,900 And although the the the passage is written in the third person, 306 00:38:11,900 --> 00:38:21,220 it's in fact entirely with names in Greening by Britain and the postcard of the infinite still standing stones known as Lake Hoso or the Gossipers. 307 00:38:21,220 --> 00:38:26,230 It was amongst the original illustrations. 308 00:38:26,230 --> 00:38:34,090 So does kind of like put interpretation of the Angelus reads into it a dramatic scenario of eroticism and death, 309 00:38:34,090 --> 00:38:38,040 which becomes an original variant of the Oedipal myth, 310 00:38:38,040 --> 00:38:48,070 the innocent figures of the Prain couple through a process of association become highly sexualised and the subject to an identity identity shift, 311 00:38:48,070 --> 00:38:58,510 wife and husband mutate into mother and son. The paintings associated with the András obsession like this one here are dominated by 312 00:38:58,510 --> 00:39:04,510 the ruins or calcification of the two figures and by a timeout that casts long shadows. 313 00:39:04,510 --> 00:39:13,150 They all have this this evening, light and long shadows stretching across the foreground of the Dali. 314 00:39:13,150 --> 00:39:23,200 This was associated when he was a child with Walk's evening walks in the fields with a Assad of insects and fossil with fossils. 315 00:39:23,200 --> 00:39:32,440 And he recalls in the traffic myth useful poems that he'd written, which he used to recite outloud at Dusk in the Fields poems, 316 00:39:32,440 --> 00:39:42,280 the elegiac and Pantheistic, which mourned the previous eras of the Earth and what he called the atavism of dusk. 317 00:39:42,280 --> 00:39:48,100 The process by which the dawn of the world appears to us as its cloud, 318 00:39:48,100 --> 00:39:52,750 the atmosphere of Menifee and the paintings is as much part of the sensation of extinction 319 00:39:52,750 --> 00:40:01,690 of the flora and fauna of past ages as if the extinction of the sun in the myth. 320 00:40:01,690 --> 00:40:06,070 So to the book, he described three successive stages of this myth. 321 00:40:06,070 --> 00:40:13,720 He talks about the sinister immobility of the couple. The twilight connected the ancient areas of the world. 322 00:40:13,720 --> 00:40:21,220 The woman having an expectant attitude announcing imminent sexual aggression, the instruments of rural labour, 323 00:40:21,220 --> 00:40:26,580 and particularly a wheelbarrow like this little set of postcards here that he included. 324 00:40:26,580 --> 00:40:37,690 I interpret as a sexually charged, not just through a Freudian symbolism, but from the evidence of peasant lore and sayings in the final phase. 325 00:40:37,690 --> 00:40:45,490 The woman, the mother is identified with the praying mantis, which famously devar the male during copulation. 326 00:40:45,490 --> 00:40:53,410 But a footnote to this book there to expand that was occurred when the mantis was in the unnatural state of captivity. 327 00:40:53,410 --> 00:40:58,480 The idea of the female consuming the male was threaded through a whole series of delirious, 328 00:40:58,480 --> 00:41:02,950 erotic and cannibalistic associations with milk, teacups and cherries. 329 00:41:02,950 --> 00:41:04,210 I can't go into any detail now, 330 00:41:04,210 --> 00:41:14,290 but he was fascinated by this tea service on which the image of the Angelus is seen by a lithograph of coloured cherries by popular puss. 331 00:41:14,290 --> 00:41:18,880 All these include his illustrations in the book. 332 00:41:18,880 --> 00:41:30,130 This site is suggestive of image of a of a of a child with baskets of cherries and over above the erotic connotations of juicy consumption. 333 00:41:30,130 --> 00:41:37,420 Paired cherries linked by their stalks took on the silhouette of the immobile expecting figures of the Angelas couple, 334 00:41:37,420 --> 00:41:51,700 one slightly inclined towards the other. Syrett, 60, locked by the same vital and incestuous link which which links paired cherries. 335 00:41:51,700 --> 00:42:03,110 A particular favourite. And then he included this this little devotional communion card. 336 00:42:03,110 --> 00:42:06,990 This is a young girl. I'll see Katherine as Prince. That's Katherine. 337 00:42:06,990 --> 00:42:21,880 Please give me a little husband. And he puts it the the praying mantis, which actually does look extraordinarily like really. 338 00:42:21,880 --> 00:42:33,370 And so then he concludes with his impression that the frozen posture of the male with whom he identifies himself reveals him as already dead. 339 00:42:33,370 --> 00:42:43,440 And that the myth itself is, and I quote, the maternal variant of the immense, atrocious myth of Satan, Abraham eternal father of Jesus Christ. 340 00:42:43,440 --> 00:42:49,830 And William tell himself divine songs. But this is Moton version of it. 341 00:42:49,830 --> 00:42:58,110 And we revisit these these paintings. So this year they become enormous white students or stalagmites. 342 00:42:58,110 --> 00:43:06,720 And you can see the tiny little figure of Delhi and his father looking at these immense creatures in the desert. 343 00:43:06,720 --> 00:43:13,370 And again, this is this version of it's called Atavism of Twilight. 344 00:43:13,370 --> 00:43:22,830 The male has turned into a skeleton. There's one painting, which is all the beautiful from this period for meditation on a horse. 345 00:43:22,830 --> 00:43:29,870 And it depicts a love song that the feet of an embracing but already ghostly couple of couples. 346 00:43:29,870 --> 00:43:42,780 OK. And when he published the book in 1963, he included a few choice bits and pieces from American folklore such as this one and the same song. 347 00:43:42,780 --> 00:43:45,870 You can see it's been rising over the hills this time. 348 00:43:45,870 --> 00:44:04,110 And I'm going to link that with with the discovery of this text by Dolly in the early 1960s and the publication now. 349 00:44:04,110 --> 00:44:12,270 He published it in 1963 unchanged. 350 00:44:12,270 --> 00:44:22,020 But whereas he was insistent in the original text that what he was talking about was nothing to do with himself. 351 00:44:22,020 --> 00:44:26,790 He wasn't interpreting that painting. It wasn't psychoanalysing relay. 352 00:44:26,790 --> 00:44:35,710 It was to do with himself and his own obsessional reading. But the picture. 353 00:44:35,710 --> 00:44:48,300 In the original texts, he says that the document was extreme authenticity, but only clarified a part of the of the Angelus. 354 00:44:48,300 --> 00:44:56,250 He compared it. He said that the paranoias has analogies with the great Paronella River is a philosophy 355 00:44:56,250 --> 00:45:01,040 with history and also scientific investigations were experimental activity, 356 00:45:01,040 --> 00:45:11,420 which reaches the most ambitious degree of objectivity. The tragic myth is a demonstration of paranoia whose curious resemblance to psychoanalysis 357 00:45:11,420 --> 00:45:17,420 itself does actually reflect upon by Freud at the end of his study and the Shriver case, 358 00:45:17,420 --> 00:45:23,690 Freud wrote. It remains the future to decide whether there is more delusion in my theory than I should 359 00:45:23,690 --> 00:45:28,550 like to admit or whether there is more truth and Schrader's delusion than other people. 360 00:45:28,550 --> 00:45:44,420 I was yet prepared to believe Schrieber Shedders delusion was that he he felt that he he he kind of believed that God was in love with him. 361 00:45:44,420 --> 00:45:50,950 And in order to satisfy this, he had to take on a female body. 362 00:45:50,950 --> 00:46:00,290 It's quite a story there's a shred of himself actually wrote about in his biography. 363 00:46:00,290 --> 00:46:05,120 One of the things that Thony Incorporated in the publication of the book in 1963 364 00:46:05,120 --> 00:46:09,830 was an x ray photograph of the Angelas made by the move on daddy's request, 365 00:46:09,830 --> 00:46:17,720 which reveals a dark shape in the ground at the feet of the peasants. Daddy claims that this represented a coffin, that of a dead son, 366 00:46:17,720 --> 00:46:29,060 which Miller was persuaded to paint over because subtle taste had shifted away from the overtly sentimental and melodramatic and Dudi presents. 367 00:46:29,060 --> 00:46:39,770 This is confirmation that the painting's grand mythological theme was that of the death of the son. 368 00:46:39,770 --> 00:46:45,320 Now, the recovery of this forgotten book sent Dundee back, Mythili, Angeles, 369 00:46:45,320 --> 00:46:53,060 in the early 60s was found to have his greatest late paintings Portrait of My Dead Brother, which is this one here. 370 00:46:53,060 --> 00:46:55,400 And Pepino station. 371 00:46:55,400 --> 00:47:03,340 And the theme of the death of a son now takes on eventually religious as well as sexual connotations in Portrait of My Dead Brother. 372 00:47:03,340 --> 00:47:11,810 That is explicit allusions to the Andrews itself, a budget of visually quite marginal, with a small, almost Gwisai scene in the distant landscape, 373 00:47:11,810 --> 00:47:20,450 representing not the peasant couple themselves, but to many like figures holding a sack, loading a second to a wheelbarrow. 374 00:47:20,450 --> 00:47:25,970 The new subject is different. Son, a figure entirely absent from the tragedy. 375 00:47:25,970 --> 00:47:35,810 An elder brother who died nine months before Dolly was form encouraged by the psychiatrist doctor when Jab dunnart began to think of himself. 376 00:47:35,810 --> 00:47:42,830 And this brother, who's lost, haunted him as the mythological diaspora and the cherries in the portrait. 377 00:47:42,830 --> 00:47:49,100 So the cherries. You can see them in this in this portrait of my dead brother. 378 00:47:49,100 --> 00:47:54,590 Take a quite different meaning from the sexual one they held in the tragic myth here. 379 00:47:54,590 --> 00:48:00,520 I quote, Bunny, the cherries represent the molecules. The dark cherries create the visage of my dead brother. 380 00:48:00,520 --> 00:48:04,510 The sunlight of cherries create the image of Salvador living. 381 00:48:04,510 --> 00:48:11,990 And there's another leaf, the tragic myth embedded as a double image across the brow of the boy. 382 00:48:11,990 --> 00:48:28,650 Yeah. Is the dark shape of a vulture an unmistakeable reference to the famous vulture, 40 percent in the skirts of Leonardo's Sainte-Anne the Virgin? 383 00:48:28,650 --> 00:48:32,000 In Pepino station, this is a gigantic picture. 384 00:48:32,000 --> 00:48:41,870 I should I should add, Dulli orchestrates his entire composition around the idea of the dead some Christ. 385 00:48:41,870 --> 00:48:49,770 You could see his return to an almost always sort of fair copy of the two figures of the Angelas. 386 00:48:49,770 --> 00:48:55,970 They never were distorted, gave away, and they appear framing the canvas on each side. 387 00:48:55,970 --> 00:49:08,030 And then at the bottom, seated on a wheelbarrow is the garment seen from the back, and the top is daddy himself seen from below. 388 00:49:08,030 --> 00:49:13,220 And then he reappears right at the heart of the painting, 389 00:49:13,220 --> 00:49:18,830 which is this kind of Maltese cross beams of light and the beams of light are spreading, as it were, 390 00:49:18,830 --> 00:49:24,860 both from the descending valley but also from the figure of Christ on the cross, 391 00:49:24,860 --> 00:49:33,470 which you can see faintly the outspread arms of the back and the head of the platforms there. 392 00:49:33,470 --> 00:49:46,730 And this is quite an extraordinary example of the aggrandised ego, I think, which really was propelling Dali at this point. 393 00:49:46,730 --> 00:49:55,970 And I think that is one of the ways that Freud talks about narcissism and narcissism. 394 00:49:55,970 --> 00:50:03,910 He interprets as basically a stage of a. 395 00:50:03,910 --> 00:50:09,160 A risk restricted development of the ego in which ego, as it were, 396 00:50:09,160 --> 00:50:17,740 becomes its own object of desire and narcissism is related to the development of homosexuality. 397 00:50:17,740 --> 00:50:25,690 Now, this is not something that Dulli talks about explicitly, but I think that in a sense, 398 00:50:25,690 --> 00:50:34,450 his treatment of a narcissist myth and his development of the image of himself here as this will repeat itself here, 399 00:50:34,450 --> 00:50:47,490 as this is the object of of devotion and to men could probably all are, as it were, possibly unconscious signs of of dollars. 400 00:50:47,490 --> 00:50:52,000 And so the real involvement in this issue. 401 00:50:52,000 --> 00:51:12,678 So I'm ending with that painting, the Pepino station, as is the sort of final expression of Doug's interest in these innocent devotion.