History
The Freudian slip is named after Sigmund Freud, who, in his 1901 book The Psychopathology of Everyday Life, described and analyzed a large number of seemingly trivial, bizarre, or nonsensical errors and slips.
Freud never named an idea, discovery, or concept after himself, instead calling his therapies psychoanalysis. (Today, after countless revisions by those in the field, it is now called psychodynamic.) It is unknown who first coined the term "Freudian slip," but it has since come to be used around the world and has been found in various pop-culture references and even found its way into everyday speech.
The process of analysis is often quite lengthy and complex, as was the case with many of the dreams in his book The Interpretation of Dreams (1899). An obstacle that faces the non-German reader is that Freud's emphasis on 'slips of the tongue' leads to the inclusion of a great deal of material that is extremely resistant to translation.
As in the study of dreams, Freud submits his discussion with the intention of demonstrating the existence of unconscious mental processes in the healthy:
| “ | In the same way that psycho-analysis makes use of dream interpretation, it also profits by the study of the numerous little slips and mistakes which people make -- symptomatic actions, as they are called I have pointed out that these phenomena are not accidental, that they require more than physiological explanations, that they have a meaning and can be interpreted, and that one is justified in inferring from them the presence of restrained or repressed intentions and intentions. | ” |
Freud, himself, referred to these slips as Fehlleistungen (meaning "faulty actions", "faulty functions" or "misperformances" in German); the Greek term parapraxes (plural of "parapraxis", from the Greek παρά and πρᾶξις, meaning "another action" in English) was the creation of his English translator, as is the form "symptomatic action".
Read more about this topic: Freudian Slip
Famous quotes containing the word history:
“There is one great fact, characteristic of this our nineteenth century, a fact which no party dares deny. On the one hand, there have started into life industrial and scientific forces which no epoch of former human history had ever suspected. On the other hand, there exist symptoms of decay, far surpassing the horrors recorded of the latter times of the Roman empire. In our days everything seems pregnant with its contrary.”
—Karl Marx (1818–1883)
“The history of modern art is also the history of the progressive loss of art’s audience. Art has increasingly become the concern of the artist and the bafflement of the public.”
—Henry Geldzahler (1935–1994)