{"id":3999,"date":"2026-01-15T12:22:11","date_gmt":"2026-01-15T15:22:11","guid":{"rendered":"https:\/\/aipcf.net\/revue\/?post_type=articulos_revista&#038;p=3999"},"modified":"2026-01-21T09:48:39","modified_gmt":"2026-01-21T12:48:39","slug":"danckwardt-joachim-f-2007-from-dream-story-schnitzler-to-eyes-wide-shut-kubrik-from-identity-through-meaning-formation-to-identity-through-excitation-int-j-psychoanal-2","status":"publish","type":"articulos_revista","link":"https:\/\/aipcf.net\/revue\/fr\/articulos_revista\/danckwardt-joachim-f-2007-from-dream-story-schnitzler-to-eyes-wide-shut-kubrik-from-identity-through-meaning-formation-to-identity-through-excitation-int-j-psychoanal-2\/","title":{"rendered":"Danckwardt joachim f. (2007). From dream story (schnitzler) to eyes wide shut (kubrik). From identity through meaning formation to identity through excitation, int. J.Psychoanal."},"content":{"rendered":"<?xml encoding=\"utf-8\" ?><p>\n<style type=\"text\/css\" data-created_by=\"avia_inline_auto\" id=\"style-css-av-x1m373-5f8dda7e43750e8954819e3b900ea645\">\n.avia-section.av-x1m373-5f8dda7e43750e8954819e3b900ea645{\nbackground-color:#f2f2f2;\nbackground:linear-gradient( to bottom, #f2f2f2, #ffffff, #f2f2f2 );\n}\n<\/style>\n<div id='av_section_1'  class='avia-section av-x1m373-5f8dda7e43750e8954819e3b900ea645 main_color avia-section-small avia-shadow  avia-builder-el-0  el_before_av_section  avia-builder-el-first  avia-bg-style-scroll container_wrap fullsize'  ><div class='container av-section-cont-open' ><main  role=\"main\" itemprop=\"mainContentOfPage\"  class='template-page content  av-content-full alpha units'><div class='post-entry post-entry-type-page post-entry-3999'><div class='entry-content-wrapper clearfix'>\n\n<style type=\"text\/css\" data-created_by=\"avia_inline_auto\" id=\"style-css-av-mkflm0st-947370ea5e61c8cd01ee10b7ddb79a2a\">\n#top .av-special-heading.av-mkflm0st-947370ea5e61c8cd01ee10b7ddb79a2a{\npadding-bottom:10px;\n}\nbody .av-special-heading.av-mkflm0st-947370ea5e61c8cd01ee10b7ddb79a2a .av-special-heading-tag .heading-char{\nfont-size:25px;\n}\n.av-special-heading.av-mkflm0st-947370ea5e61c8cd01ee10b7ddb79a2a .av-subheading{\nfont-size:15px;\n}\n<\/style>\n<div  class='av-special-heading av-mkflm0st-947370ea5e61c8cd01ee10b7ddb79a2a av-special-heading-h1 blockquote modern-quote modern-centered  avia-builder-el-1  avia-builder-el-no-sibling '><div class='av-subheading av-subheading_above'><p>REVUE N&deg; 04 | ANNE 2008 \/ 2<\/p>\n<\/div><h1 class='av-special-heading-tag '  itemprop=\"headline\"  >Danckwardt joachim f. (2007). From dream story (schnitzler) to eyes wide shut (kubrik). From identity through meaning formation to identity through excitation, int. J. Psychoanal.<\/h1><div class=\"special-heading-border\"><div class=\"special-heading-inner-border\"><\/div><\/div><\/div><br>\n\n<\/div><\/div><\/main><!-- close content main element --><\/div><\/div><div id='av_section_2'  class='avia-section av-upe3yn-dd6e94e8846cbe8e6cf599a0667bca25 main_color avia-section-small avia-no-border-styling  avia-builder-el-2  el_after_av_section  el_before_av_section  avia-bg-style-scroll container_wrap fullsize'  ><div class='container av-section-cont-open' ><div class='template-page content  av-content-full alpha units'><div class='post-entry post-entry-type-page post-entry-3999'><div class='entry-content-wrapper clearfix'>\n<div  class='flex_column av-tncxu7-b1ccb53b015de17132a60ebb3bff5582 av_one_fifth  avia-builder-el-3  el_before_av_one_half  avia-builder-el-first  first flex_column_div  '     ><div  class='avia-buttonrow-wrap av-rf5f7z-5dd015be813531e7a8b1e4b5aca18fc5 avia-buttonrow-left  avia-builder-el-4  avia-builder-el-no-sibling '>\n\n<style type=\"text\/css\" data-created_by=\"avia_inline_auto\" id=\"style-css-av-q215tb-53feedbc5f5cd7aa02c308c83f40a9e1\">\n#top #wrap_all .avia-button.av-q215tb-53feedbc5f5cd7aa02c308c83f40a9e1{\nborder-radius:50px 50px 50px 50px;\ntransition:all 0.4s ease-in-out;\nmargin-bottom:5px;\nmargin-right:5px;\n}\n#top #wrap_all .avia-button.av-q215tb-53feedbc5f5cd7aa02c308c83f40a9e1:hover .avia_button_background{\nborder-radius:50px 50px 50px 50px;\n}\n<\/style>\n<a href='https:\/\/aipcf.net\/revue\/fr\/revista\/revue-numero-4\/'  class='avia-button av-q215tb-53feedbc5f5cd7aa02c308c83f40a9e1 avia-icon_select-yes-left-icon avia-size-small av-button-notext avia-color-dark'   ><span class='avia_button_icon avia_button_icon_left avia-iconfont avia-font-entypo-fontello' data-av_icon='\ue830' data-av_iconfont='entypo-fontello' ><\/span><span class='avia_iconbox_title' ><\/span><\/a><\/div><\/div><div  class='flex_column av-nkon27-3bd9a9622f51bed771904264f63adf54 av_one_half  avia-builder-el-5  el_after_av_one_fifth  el_before_av_one_fourth  flex_column_div  '     ><section  class='av_textblock_section av-n56igv-0a24a9b5c3d0d51eea440b8e0bd76b70 '   itemscope=\"itemscope\" itemtype=\"https:\/\/schema.org\/CreativeWork\" ><div class='avia_textblock'  itemprop=\"text\" ><p><div class=\"escritores\">Author: <a href=\"https:\/\/aipcf.net\/revue\/fr\/escritor\/grassi-ludovica-fr\/\">GRASSI Ludovica<\/a><\/div><div class=\"escritores\">Language: <a href=\"https:\/\/aipcf.net\/revue\/fr\/idioma_articulo\/anglais\/\">Anglais<\/a><\/div><div class=\"palabras-clave\"><div class=\"secciones_revista\">Section: <span><a href=\"https:\/\/aipcf.net\/revue\/fr\/secciones_revista\/notes-de-lecture\/\">NOTES DE LECTURE<\/a><\/span> <\/div><\/p>\n<\/div><\/section><\/div><div  class='flex_column av-klvwkf-cf52cf5771695ceea007f683c2940531 av_one_fourth  avia-builder-el-7  el_after_av_one_half  avia-builder-el-last  flex_column_div  '     ><div  class='avia_search_element 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first flex_column_div  '     ><p>\n<style type=\"text\/css\" data-created_by=\"avia_inline_auto\" id=\"style-css-av-e9ivrz-a9bb518481a62d9ee132e6c1e9f64b60\">\n.avia-image-container.av-e9ivrz-a9bb518481a62d9ee132e6c1e9f64b60 img.avia_image{\nbox-shadow:none;\n}\n.avia-image-container.av-e9ivrz-a9bb518481a62d9ee132e6c1e9f64b60 .av-image-caption-overlay-center{\ncolor:#ffffff;\n}\n<\/style>\n<div  class='avia-image-container av-e9ivrz-a9bb518481a62d9ee132e6c1e9f64b60 av-styling- avia-align-center  avia-builder-el-11  el_before_av_hr  avia-builder-el-first '   itemprop=\"image\" itemscope=\"itemscope\" itemtype=\"https:\/\/schema.org\/ImageObject\" ><div class=\"avia-image-container-inner\"><div class=\"avia-image-overlay-wrap\"><img decoding=\"async\" fetchpriority=\"high\" class='wp-image-3949 avia-img-lazy-loading-not-3949 avia_image ' src=\"https:\/\/aipcf.net\/revue\/wp-content\/uploads\/2026\/01\/articulo04-fr-495x400.png\" alt='articulo04-fr' title='articulo04-fr'  height=\"400\" 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id=\"style-css-av-8ipysv-4173909dab67c2c255462d6ae67d0ce6\">\n#top #wrap_all .avia-button.av-8ipysv-4173909dab67c2c255462d6ae67d0ce6{\nborder-radius:50px 50px 50px 50px;\ntransition:all 0.4s ease-in-out;\nmargin-bottom:5px;\nmargin-right:3px;\nmargin-left:3px;\n}\n#top #wrap_all .avia-button.av-8ipysv-4173909dab67c2c255462d6ae67d0ce6:hover .avia_button_background{\nborder-radius:50px 50px 50px 50px;\n}\n<\/style>\n<a href='https:\/\/aipcf.net\/revue\/wp-content\/uploads\/2026\/01\/0411_Grassi.pdf'  class='avia-button av-8ipysv-4173909dab67c2c255462d6ae67d0ce6 avia-icon_select-yes-right-icon avia-size-large av-icon-on-hover avia-color-theme-color'  target=\"_blank\"  rel=\"noopener noreferrer\"  aria-label=\"T&eacute;l&eacute;charger PDF\"><span class='avia_iconbox_title' >T&eacute;l&eacute;charger PDF<\/span><span class='avia_button_icon avia_button_icon_right avia-iconfont avia-font-entypo-fontello' data-av_icon='\ue82d' data-av_iconfont='entypo-fontello' ><\/span><\/a><\/div><\/p><\/div><div  class='flex_column av-7rivvz-22ce4240bc75b14e4a83f8b11b83b5a5 av_four_fifth  avia-builder-el-14  el_after_av_one_fifth  avia-builder-el-last  flex_column_div  '     ><p>\n<style type=\"text\/css\" data-created_by=\"avia_inline_auto\" id=\"style-css-av-59zxnj-569124b468d114acb9487724291909b4\">\n#top .av-special-heading.av-59zxnj-569124b468d114acb9487724291909b4{\npadding-bottom:10px;\n}\nbody .av-special-heading.av-59zxnj-569124b468d114acb9487724291909b4 .av-special-heading-tag .heading-char{\nfont-size:25px;\n}\n.av-special-heading.av-59zxnj-569124b468d114acb9487724291909b4 .av-subheading{\nfont-size:15px;\n}\n<\/style>\n<div  class='av-special-heading av-59zxnj-569124b468d114acb9487724291909b4 av-special-heading-h3  avia-builder-el-15  el_before_av_hr  avia-builder-el-first '><h3 class='av-special-heading-tag '  itemprop=\"headline\"  >NOTES DE LECTURE<\/h3><div class=\"special-heading-border\"><div class=\"special-heading-inner-border\"><\/div><\/div><\/div><div  class='hr av-4qnrxb-eb333b4916bf655876a0fa15bd6c235d hr-default  avia-builder-el-16  el_after_av_heading  el_before_av_textblock '><span class='hr-inner '><span class=\"hr-inner-style\"><\/span><\/span><\/div><section  class='av_textblock_section av-244527-c27c9acd9e8c1019384edb75bfa113c8 '   itemscope=\"itemscope\" itemtype=\"https:\/\/schema.org\/CreativeWork\" ><div class='avia_textblock'  itemprop=\"text\" ><h3><strong>Danckwardt joachim f. (2007). From dream story (schnitzler) to eyes wide shut<em> (<\/em>kubrik). From identity through meaning formation to identity through excitation, int. J. Psychoanal<em>.<\/em><\/strong><\/h3>\n<p><strong><em>Ludovica Grassi<\/em><\/strong><\/p>\n<p>In order to compare a literary work with its screen version produced three quarters of a century later, Joachim Dankwardt, a German psychoanalyst, chooses a point of view which fits well the focus of this review: through a comparative study of the way Schnitzler described a crisis between husband and wife in <em>Dream Story<\/em>, and the interpretation and re-edition of the story in Kubrick&rsquo;s last film, <em>Eyes Wide Shut<\/em>, he proposes an articulated discussion on marriage and couple relationship in two different historical periods. Danckwardt&rsquo;s article aims therefore to analyze the cultural changes and inherent consequences on the internal world of individuals, which occurred during the time elapsed between the two artistic works, thus identifying what the Author names &ldquo;cultural relativism&rdquo;.<\/p>\n<p>Both Schnitzler and Kubrick agree that the main reason of the crisis in the couple relationship lies in the &ldquo;traumatic loss of certitude that one still loves&rdquo;, and that &ldquo;talking therapy&rdquo; is the best strategy to deal with it.&nbsp; Even though the premises are the same, Danckwardt points to the different cultural backgrounds of the two authors: Schnitzler was deeply impressed and consequently affected by the birth of psychoanalysis, whereas Kubrick grew up in a cultural climate where other pressures came to the fore instead of the psychoanalytic vision, by then taken for granted and radically transformed through different pathways.<\/p>\n<p><em>Dream Story<\/em> is thus to be considered both as Schnitzler&rsquo;s homage to Freud&rsquo;s <em>Interpretation of Dreams <\/em>and his opposition to the psychoanalytical method: about this, he once wrote to Reik that psychoanalysts <em>&ldquo;only too often turn away too soon from a still viable road through the midst of an illuminated internal world because they think they have to explore the world of shadows and darkness&rdquo;<\/em> (Schnitzler to Reik, cited in Worbs, 1983, pp. 217-8). Schnitlzer, in fact, often had contacts with several psychoanalysts, met Freud a few times, and was himself a doctor and a psychotherapist of actors affected by functional aphonia.<\/p>\n<p>Schnitzler&rsquo;s demasking of emblematic male characters, even more incisive in his 1901 novella <em>Leutnant Gustl<\/em>, brought about a scandal and &nbsp; disciplinary &nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; actions &nbsp;&nbsp;&nbsp;&nbsp;&nbsp; by &nbsp;&nbsp;&nbsp; the &nbsp;&nbsp; Austro-Hungarian &nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; military establishment. The reactions produced by that work and the reasons behind them can be compared to <em>Eyes Wide Shut<\/em>&rsquo;s box-office flop in U.S. In Danckward&rsquo;s opinion, people did not recognize themselves in the vision Kubrick offered of the American man &ndash; confused, impotent and psychologically complicated.<\/p>\n<p>The story, both in the novel and in the film, takes place in twenty-four hours: after a party, a doctor and his wife reveal to each other their hitherto hidden sexual desires and erotic fantasies. Both are hurt and humiliated by the revelations, but the husband&rsquo;s reactions bring about feelings of possessive rage and ideas of breaking up the relationship. The woman works through her feelings in a long dream where she annihilates her partner and satisfies her sexual and destructive wishes, while the man, during a venturesome night, complies with his erotic and revengeful fantasies by getting repeatedly near to put them into effect in the external reality.<\/p>\n<p>In conclusion, both Schnitzler and Kubrick believe that the main threat to a relationship, after the phase of infatuation, is the detachment of erotic desires from a personal bonding and from love. It is therefore particularly interesting to understand how it happens that both authors, more than seventy years apart, take us to the point when the couple optimistically decides to stay together, feeling they have got over, safe and sound, their parallel adventures.<\/p>\n<p>In the final scene of the novella, we read that for the wife the positive outcome will last &rdquo;for a long time&rdquo;, and not &ldquo;forever&rdquo;, as the husband proposes.&nbsp;&nbsp;&nbsp; Many things, however, have changed from the story to the film, which appears clearly in something Kubrick adds to the couple&rsquo;s last dialogue:<\/p>\n<p>&ldquo;Alice: Let&rsquo;s&hellip;let&rsquo;s not use that word, it frightens me. But I do love you and you know there is something very important we need to do as soon as possible?<\/p>\n<p>Bill: What&rsquo;s that?<\/p>\n<p>Alice: Fuck.&rdquo;<\/p>\n<p>Throughout the film, indeed, in all the scenes that describe the doctor&rsquo;s adventures following hard on each other, Kubrick shifts the accent onto the aspect of excitement and depersonalization. So, in the scene of the orgy, the generalized compulsion of the characters to excite each other can be seen as a representation of the loss and denial of love, as well as when gorgeous women wearing depersonalizing masks exchange kisses in a circle. Likewise, the words that in the story soberly describe the feelings of jealousy aroused in the husband become in the film black and white images of a primal scene where the woman gradually loses her similarity with the protagonist, dragging the spectator into a state of overwhelming and confusing excitement. In the last scene of the film, when the wife shows her husband the mask he &rdquo;forgot&rdquo; at home, she doesn&rsquo;t simply catches him at fault, but rather forces him to confront himself with a symbol of depersonalization and loss of his own self.<\/p>\n<p>In Kubrick&rsquo;s view, to let love go beyond infatuation, psychological working through and fulfillment are not enough; love cannot last if excitement is missing. From identity through meaning formation we move to an identity created through excited self-objectification. The film is therefore expression of consciousness of identity and its development in contemporary world &ndash; from idealistic conception of Descartes&rsquo; motto &ldquo;I think, therefore I am&rdquo;, through &ldquo;I feel, therefore I am&rdquo;, up to &ldquo;I am excited, therefore I am&rdquo;.<\/p>\n<p>These sharp conclusions seem to partially fade in the last statements in the paper, which stress how in fact Schnitzler and Kubrick use two profoundly different languages. Audiovisual media are by nature better equipped to represent an identification process based on excitement and self-objectification, whereas verbal media better express interpretation and meaning creation. While verbal language requires the receiver to transform what has listened in images and representations, in screen works the images &ldquo;act like missiles&rdquo;, which immediately hit the mind, meeting the spectators&rsquo; willingness to temporarily forget their identity.<\/p>\n<\/div><\/section><\/p><\/div>\n<\/p>\n","protected":false},"excerpt":{"rendered":"<p>Ludovica Grassi<\/p>\n","protected":false},"featured_media":3949,"template":"","categories":[],"secciones_revista":[247],"numero_publicado":[12597],"descriptores":[],"class_list":["post-3999","articulos_revista","type-articulos_revista","status-publish","has-post-thumbnail","hentry","escritor-grassi-ludovica-fr","idioma_articulo-anglais","secciones_revista-notes-de-lecture","numero_publicado-n4-2008-2-fr"],"_links":{"self":[{"href":"https:\/\/aipcf.net\/revue\/wp-json\/wp\/v2\/articulos_revista\/3999","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/aipcf.net\/revue\/wp-json\/wp\/v2\/articulos_revista"}],"about":[{"href":"https:\/\/aipcf.net\/revue\/wp-json\/wp\/v2\/types\/articulos_revista"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/aipcf.net\/revue\/wp-json\/wp\/v2\/media\/3949"}],"wp:attachment":[{"href":"https:\/\/aipcf.net\/revue\/wp-json\/wp\/v2\/media?parent=3999"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/aipcf.net\/revue\/wp-json\/wp\/v2\/categories?post=3999"},{"taxonomy":"secciones_revista","embeddable":true,"href":"https:\/\/aipcf.net\/revue\/wp-json\/wp\/v2\/secciones_revista?post=3999"},{"taxonomy":"numero_publicado","embeddable":true,"href":"https:\/\/aipcf.net\/revue\/wp-json\/wp\/v2\/numero_publicado?post=3999"},{"taxonomy":"descriptores","embeddable":true,"href":"https:\/\/aipcf.net\/revue\/wp-json\/wp\/v2\/descriptores?post=3999"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}