I found this among my mom’s old books from her Marriage & Family Therapy graduate studies, and am so glad I picked it up. Freudianism died and, in its place, an even more conformist psychology took place. Americanisation of psychoanalysis destroyed its radical core, psychoanalysis became a 'how to guide' (see The Art of Loving), a boutique good, a one-stop shop fix-all therapy. Furthermore, they embraced the radical subjectivity inherent in psychoanalysis, without shoehorning their understanding of society into a reductionist sociology which attempted to reduce the world to economics (as in vulgar Marxism) or radical subjectivity (as in the psychology of Cooper and Laing). Rather than distorting and repressing the radical implications of psychoanalysis, by individualising its application and minimising the influence of society, the Frankfurt School thinkers embraced them, and fixed their gaze on the mass culture which their contemporaries refused to engage with. For Jacoby, the Frankfurt School thinkers György Lukács, Theodor Adorno, Walter Benjamin, and Herbert Marcuse represent the other side of psychoanalysis. Russell Jacoby explores the betrayal of psychological radicalism by Alfred Adler, which Jacoby argues has imbued major psychological currents following Freudianism. "If the history of psychology is the history of forgetting, Adler was the first, but by no means the last, to forget." (44) "What Georg Lukács did for Marxism in 'What is Orthodox Marxism?' has not been done for Freudianism." (12-13) Social Amnesia contains a forceful argument for "thinking against the grain - an endeavor that remains as urgent as ever." It is an important work for sociologists, psychologists, and psychoanalysts. He discusses how in the years since Social Amnesia was first published society has oscillated from extreme subjectivism to extreme objectivism, which feed off each other and constitute two forms of social amnesia: a forgetting of the past and a pseudo-historical consciousness. Jacoby's new self-evaluation has the same sharp edge as the book itself, offering special insights into the evolution of psychological theory during the past two decades.In his probing, self-critical new introduction, Jacoby maintains that any serious appraisal of psychology or sociology, or any discipline, must seek to separate the political from the theoretical. It is simultaneously a critique of present practices and theories in psychology. Social Amnesia is an effort to remember what is perpetually lost under the pressure of society. In this book, Jacoby excavates the critical and historical concepts that have fallen prey to the dynamic of a society that strips them both of their historical and critical content. Taupō Museum is open 7 days from 10am to 4:30pm and entry is free to Taupō District residents with proof of address.Russell Jacoby defines social amnesia as society's repression of remembrance - society's own past. Social Amnesia is showing in the Niven Room. To reclaim who we are is to speak our truth.” - Vanessa Wairata Edwards Instead, they act like the pou whakairo, tukutuku, or kowhaiwhai in our wharenui, collectively activating the space to encourage a response from the viewer’s individual knowing. “These works are by no means a resolution to the discussion, nor a map to resolution. Social Amnesia is part of this conversation of difficult questions. Urgent discussion is being had around the world right now about the memorialising of disputed historical events, and what ‘makes’ history. The artist implores us not to pretend that unpleasant parts of our country’s whakapapa never happened, but to own our collective truth. In this provocative exhibition, Wairata Edwards explores the painful recollections of our colonial past in drypoint print and sculpture. This collective forgetting often occurs after trying and difficult times there is a tendency for society to ignore painful parts of history when discussing the present and more importantly, informing the future. Social Amnesia is the concept of collective forgetting by a group of people.
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