On The Pleasure Principle In Culture

For many illusions, it is easy to find owners – people who proudly declare that they believe in things such as life after death, human reason, and self-regulation of financial markets. Yet there are also different kinds of illusions at work, for example, in art: trompe l’oeil-painting pleases its observers with “anonymous illusions” – illusions where it is not entirely clear who exactly it is that should be deceived. Anonymous illusions offer a universal pleasure principle within culture: they are present in games, sport, design, eroticism, manners, charm, beauty, etc. However it seems that this pleasure principle is increasingly subjected to misrecognition: the proud proprietors of certain illusions are no longer capable of recognizing that they too follow anonymous illusions. As a consequence, they mistake happy, polite others for naïve idiots or “savages” – as owners of stupid illusions; and consider their happiness an obscene intrusion – as something in which they could never share. Pfaller explores the strange properties of these shared illusions, and finds that they have a central and crucial role in our culture—and we need to better understand them in order to protect the public sphere.

For many illusions it is easy to find owners—people who proudly declare their belief in things such as life after death, human reason, or the self-regulation of financial markets. Yet there are also different kinds of illusions, too, for example, in art: trompe l'oeil painting pleases its observers with "anonymous illusions"—illusions where it is not entirely clear who should be deceived. Anonymous illusions offer a universal pleasure principle within culture. They are present in games, sports, design, eroticism, manners, charm, beauty, and so on. However, it seems that this pleasure principle is increasingly misinterpreted. The proud proprietors of certain illusions are no longer capable of recognizing that they also follow anonymous illusions. As a consequence, they mistake happy, polite others for naïve idiots or "savages"—the possessors of stupid illusions whose happiness is an obscene intrusion into the lives of more rational creatures. The misrecognition of anonymous illusions thus becomes a crucial ideological bedrock for contemporary neoliberal policy. Hatred of the other's happiness leads to the destruction of the public sphere and to a state that, rather than fostering and stimulating its citizens' capacities, interpellates them as victims and limits itself to providing "protective" or repressive measures directed against them.

A brilliant and thought-provoking examination of the complicated relationship between gay and mainstream culture--and a finalist for the 1998 Lambda Literary Award and the Randy Shilts Award.

This important book unveils how the pleasure principle has taken humanity hostage to the powers of branding and consumerism, steering our most basic desires. Radically re-evaluating the notion of pleasure and arguing for a deep societal change, it shows the way to a new humanist culture.

A collection of some of Freud's most famous essays, including ON THE INTRODUCTION OF NARCISSISM; REMEMBERING, REPEATING AND WORKING THROUGH; BEYOND THE PLEASURE PRINCIPLE; THE EGO AND THE ID and INHIBITION, SYMPTOM AND FEAR.

England is a strange place-- funny, complex and sad. Distance yourself from it, experience other cultures-- then look again. That strangeness becomes almost overwhelming. This is a powerful and perceptive view of England in the eighties. Using ideas of 'pleasure, ' Chis Steele-Perkins explores a public, ritual face that cuts across class and location. What we see is not only familiar it is also frequently disturbing. Chris Steele-Perkins is a "Magnum photographer whose work has been seen in most major publications in the world. In 1988 he won both the World Press Photo Oskar Barnack Award and the Tom Hopkinson Award for Photojournalism; in 1989 he won the Robert Capa Gold Medal. He has published a number of books including "The Teds (1979, Travelling Light) and "Beirut Frontline Story (1982, Pluto Press).

(Dover thrift editions).

Beyond the Pleasure Principle is Freud’s most philosophical and speculative work, exploring profound questions of life and death, pleasure and pain. In it Freud introduces the fundamental concepts of the “repetition compulsion” and the “death drive,” according to which a perverse, repetitive, self-destructive impulse opposes and even trumps the creative drive, or Eros. The work is one of Freud’s most intensely debated, and raises important questions that have been discussed by philosophers and psychoanalysts since its first publication in 1920. The text is presented here in a contemporary new translation by Gregory C. Richter. Appendices trace the work’s antecedents and the many responses to it, including texts by Plato, Friedrich Nietzsche, Melanie Klein, Herbert Marcuse, Jacques Derrida, and Judith Butler, among many others.