Sigmund Freud-along with Karl Marx, Charles Darwin, and Albert Einstein is among that small handful of supreme makers of the twen-tieth-century mind whose works should be our prized possession. Yet, voluminous, diverse, and at times technical, Freud's writings have not been as widely read as they deserve to be; most of those who may claim direct acquaintance with them have limited their acquaintance to his late essay Civilization and Its Discontents. Others have contented them-selves with compendia, popularizations, even comic books attempting to make Freud and his ideas palatable, even easy. That is a pity, for he was a great stylist and equally great scientist. Hence it can be pleasurable, and it is certainly essential, to know Freud, not merely to know about hirn. The Freud Reader is designed to repair such unmerited and unfor-tunate neglect. It is the first truly comprehensive survey of Freud's writings, using not some dated and discredited translations but the au-thoritative versions in the twenty-four-volume Standard Edition of Freud's Psychological Writings. It is the Standard Edition, the Bible for psychoanalysts in the English-speaking world, to which students of Freud, whether psychiatrists or social workers, philosophers or aesthe-ticians, literary critics or cultural anthropologists, historians or political scientists, inescapably turn. lts notes have proved so copious and so dependable that arecent twelve-volume German edition of Freud, the Studienausgabe, has simply copied them; in this Freud Reader, I have supplemented them only wherever it seemed necessary to offer an even fuHer explanation. To make Freud all the more accessible, I have furnished this Reader with a substantial general introduction designed to place the man and his work in his time and culture and with a no less substantial chronology recording not merely all the significant dates in Freud's life but equally significant dates in European culture and politics. In addition, I have supplied each selection with introductory paragraphs and conclude the Reader with a selected bibliography that contains all the titIes I mention in my introductions, and more. All this explanatory material should help to pierce the barriers that have hitherto kept a wider public from xii PREFACE appreciating Freud's originality, savoring his wit, and recognizing his versatility . That versatility is positively awe-inspiring: though, of course, prin-cipally known as the founder of psychoanalysis, Freud did not confine his thinking, and writing, to the suffering men and women he saw before hirn on the couch day after day. It is true that his case histories, his papers on psychoanalytic technique, and his theoretical papers are at the heart of his thought. But he developed a theory of mind that he thought explained all of mental activity, normal and neurotic alike, and he applied that theory to virtually every aspect of culture: to the arts, to literature, to biography, to mythology, to religion, to politics, to edu-cation, to the law, to prehistory. The Freud Reader, in addition to covering Freud's psychoanalytic evolution, also faithfully reflects these wider concems. It does so not with anemic snippets but with lengthy excerpts, at times with complete papers. Each of the more than fifty selections in this Reader is a facet of a complex whole-Freud's thought. All together they should give a fair, far from fragmentary sense of that whole. Since Freud's thought developed, matured, and changed, the only responsible way into that thought, it seems to me, is chronological. Hence I have chosen to present Freud's writings in striet sequence-with one exception: I have enlisted substantial excerpts from his "Au-tobiographical Study," published in 1925 when Freud was sixty-nine, to serve as a lively and trustworthy overture to the rest of his work from the l880s ~o the 1930s. I owe particular thanks to two friends for helping me shape this Reader: Richard Kuhns, my former colleague at Columbia University, and Oon-ald Lamm, my publisher and editor. 

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A QUESTION which seems natural and almost unavoidable arises: What can one say about A book, and a little one at that, which is forty years old, and which is supposedly not one of the most impressive or "spectacular" Bits of Freud's Many writings? The Question presupposes the implied answer that forty years even in our swift-moving world is a long time, that the book in question is therefore more or less superannuated and deserves but a respectful historical glance before we put it back on the shelf to gather more dust. It Is obvious that the above is a rhetorical way of saying that forty years after its appearance and twenty years after Freud's death, Beyond The Pleasure Principle Still deserves considerable attention, and that the reader would do well if he reads it with studious curiosity. Of Recent years we have become so accustomed to the atmosphere of controversy which surrounds psychoanalysis and Freud That we have al- most lost our capacity to pick up a book on psychoanalysis without wanting to know in advance whether the book is for or against it, or, if it is for it, whether it is for Freud Or for Jung, or, if it is Freudian, Whether it is orthodox or neo-Freudian. If We dared to be frank with ourselves, we would have no difficulty in admitting that our judgment of psycho- analysis is actually fragmentary and not too profound. We Could also admit that some sort of partisanship possesses us, and that therefore we are preoccupied with "taking sides" long before we get acquainted with the very first elements of psychoanalysis and the many-sidedness of the subject. It Is because of the various prejudices which have incul- cated themselves into psychoanalytical and nonpsychoanalyti- cal circles that it is pertinent to invite

both the initiated and the uninitiated

reader to suspend his fragmentary judgment

BEYOND THE PLEASURE PRINCIPLE For a short while and re-read afresh the little ,book, that is here, offered, and acquaint or re-acquaint, himself ,with ,the ,sound ,of ,Freud's Written voice, with ,his way of saying ,things, ,and then ,with, the substance, of ,what he ,has, to ,say. ,An Introduction ,is, not ,supposed ,to explain ,in advance, what is said in the book; still less is it meant to interpret it. Rather, It is intended to clarify some shadows and point to certain lights which will possibly set the book in a proper perspective. Bearing This in mind, let us first recall that Freud Wrote Beyond The Pleasure Principle When he was sixty-four years old a mature age indeed and at a time when psychoanalysis had already achieved considerable popularity, even though it was still possible to assess the degree of its importance by the number of enemies it had. The Tone of the book, the manner- isms of its style are vigorous, poignant, almost controversial; Freud It seems was still combating his opponents rather than trying to instruct his proponents. Almost To the last years ,of his life, Freud Preserved this combative vigor ,of ,writing, ,and ,in ,Beyond The ,Pleasure Principle This aspect ,of ,style stands out markedly, particularly when he emphasizes his claim that he is a partisan of no special philosophy and that he is indif- ferent as to whether what he has to say does or does not fit any known philosophy...

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Any proceedings and or activities related to the material contained  within this volume are exclusively your liability. The misuse and mistreat of the information in this book can consequence in unlawful charges brought against the persons in question. The authors and  review analyzers will not be held responsible in the event any unlawful charges brought against any individuals by misusing the information in  this book to break the law. This book contains material and resources  that can be potentially destructive or dangerous. If you do not fully comprehend something on this book, don‘t study this book. Please  refer to the laws and acts of your state/region/ province/zone/territory or country before accessing, using, or in any other way utilizing these  resources. These materials and resources are for educational and  research purposes only. Do not attempt to violate the law with  anything enclosed here within. If this is your intention, then leave now.

Neither writer of this book, review analyzers, the publisher, nor anyone else affiliated in any way, is going to admit any responsibility for your proceedings, actions or trials.

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received a call one day from an HR manager at a global financial services organization. The manager wanted to discuss a high potential whom I’ll call Clair.

Despite Clair’s remarkable intelligence and deep subject knowledge, she was unable to advance in her career; there was something in the way she presented herself that kept sabotaging all her efforts to be seen as a leader. Could I possibly help?

I met Clair in my office about three weeks later. At our first meeting I scribbled down words that popped instantly to mind: “kind, genuine, super smart, apologetic, neck, soft, scared, throat.” Where did those words come from? Why did I make such rapid word choices? Based on what? How quickly do we make assessments, and do they have value?

Can they be revised? What assessments are being made about us and by whom? How much control do we have over the instantaneous decisions being made about us?

Everyone’s body is unique. Each has its own shape, motor skills, assets, limitations, perceptual skills, history, and memory. Every body tells a story. Also, it is through the body that life is experienced, integrated, understood, and conceptualized. Over the past two decades there has been significant inquiry into the field of embodiment, the notion that the body and how it experiences and interacts with the world is deeply integral to thought and cognition. The cognitivist point of view—which held that thought was a product of mental abstraction, symbols, and language—was the dominant perspective well

before Descartes declared, “I think therefore I am.” The more recent shift toward embodiment as a source of thought opens entirely new ways of understanding how we affect one another, how our bodies give rise to ideas, and how movement itself can be the seed of new thoughts. “I think therefore I am” might well be revised to “I walk therefore I think!”

The awareness that aspects of mind may arise

From the body has tremendous ramifications for all aspects of communication. For what is a body but a constantly sensing instrument pulling data from other bodies and the surrounding environment? As the pendulum swings from a cognitive to an embodiment perspective, there is bound to be a middle ground that emerges. How do our bodies influence our thinking? What are the physical blocks that prevent our own self-understanding? How do those blocks prevent us from connecting with others?

The chief culprit that most often prevents connection is tension. Tension can be physical, vocal, emotional, psychological, or spiritual. No matter its source, tension creates a wall within the self and between that self and others. Quite simply, tension blocks the flow of exchange. It limits creative impulses, prevents risk taking, and literally seizes parts of the body. It can cause you to second-guess yourself, impede clear thought, and strike you dumb.

Where does tension come from? Why it is such a potent force? How is it manifest?

Most importantly, what can be done to release it, control it—even exploit it? For Clair, the tension manifested in her throat. Her voice was thin, flat, and lifeless; her jaw locked tight. She ate her own sound. Why? Why was she carrying so much tension in that part of her body? Did her self-opinion shape her tension, or did her body tension impact her self- erception? Humans evolved to send and receive countless communicative signals. A dismissive hand wave, a raised eyebrow, a habitually tucked chin, a warm smile, bewildered eyes—these all have profound, unspoken effects. Ignoring such signals vastly diminishes our ability to connect and communicate. These signals are subtextual, i.e., beneath spoken language. To navigate the innumerable bits of subtextual communication zooming by seems an impossible task, but the fact is we take in these moments. They have enormous impact on how we connect, or don’t, if an exchange succeeds or fails. For the most part, this level of communication is unconscious, but it results in instantaneous decisions about how trustworthy, credible, reliable, or genuine someone is. We’ve survived because of these instinctive lifesaving skills. However, in our increasingly complex, competitive global marketplace—where professionals from different countries and cultures interact— it’s no longer sufficient to rely solely on what’s instinctive or unconscious. Success today demands a profound awareness of the signals one sends and the acute and accurate interpretation of those received. To survive is one thing, but to thrive, it is essential that we go beyond the instinctive and develop conscious mastery.

This is not a “body language” book; there are countless other titles that cover that subject. This is a “body-as-an-instrument” book. I hope to give you a deeper appreciation of how the body influences yourself and others. As a communications coach to executives, leaders, entrepreneurs, and high potentials around the world, my process is to locate and unravel the source of whatever is blocking expression, self-realization, and connection with oneself and others. Following that, my goal is to provide tools that encourage improvisation and risk in the present moment. Those tools are then supported by design and thinking skills that enhance and incorporate the newly learned behaviors.

Fundamentally, my goal is to help my clients genuinely “live” the role each is “playing”—or “play” the role each is “living.” On the surface, this may seem contradictory, but we all play numerous roles all day long: manager, mother, employee, father, customer, child; the list goes on and on. Most people shift styles organically, with little awareness of the demands of each part. But for some, the challenges are fierce.

My focus as a coach is never to make my clients “actors” or “pretenders,” but rather to remove the blocks that prevent connection.

This is a vital distinction. Removing blocks is very different from being false or faking it. Our bodies and minds house deeply ingrained habits and patterns that once discovered can be redirected or even shed to allow for new pathways, new self-images, new thoughts. Different ways to connect emerge. To identify and unravel habitual blocks that prevent connection is always my goal. Imagine a musical instrument.

A tuba is not a flute is not a trombone. Each has a unique shape that results in a distinctive sound or timbre. Each has its own story or tune to play. However, if the tuba has a broken valve, or the trombone a dented slide—no matter how gifted the musician who plays that instrument—the outcome will always be influenced by the damaged part.

A talented player can work around a damaged part, but the instrument will never play as richly as possible as long as the damage itself isn’t addressed. It’s the same with us. It is always my intention to identify where a particular client’s block to connection resides and to offer ways to remedy that block and open up new channels.

The challenge is habit. We are all incredibly habit-driven, moving in the same patterns year after year, experiencing life through bodies confined by routine. Many of those routines act as filters that limit our perception and our thinking. The good news is, despite our habits, we are all “works in progress,” and that’s where potential lies. The body is fluid, and the brain is plastic (not “fixed”) and constantly evolving. Knowing this, it’s important to routinely refine and retune how we listen, move, think, and connect. Ultimately, the goal is to play the instrument in which you live robustly and joyously.

As the cellist Fredrik Sjölin put it, “People who play the instrument also form the instrument.” As you play the instrument that is your body, that contains your thoughts, you can remake how it experiences the world around you. Keep in mind that who you are, your personality, is well established. Personalities don’t change, but behaviors can. Who we are is solid, but what we do can be modified.

I’m not suggesting for a minute that making changes is easy. Old habits die hard, as the saying goes. As one CEO of a Fortune 500 company said to me, “The hardest thing for me is to remember to remember.” True enough. But it is truly astonishing what can manifest when drive, focus, and will are aligned with aspirations.

Whether you are the sole proprietor or the head of a team within a corporation, the skills needed to influence, inspire, motivate, and persuade are all dependent on the efficacy, clarity, and power of your expression. Exceptional ideas cannot move people if they are not well communicated. I’ve seen many terrific ideas die on the vine precisely because they were poorly communicated. And we’ve all seen rather insubstantial ones get traction because they were so well packaged! Nonetheless, all communication originates and must move through and be expressed via the instrument of the body.

Increasingly, no matter the profession or business, professionals of all sorts are expected to present their ideas before varied audiences: internal stakeholders, teams, boards, clients. These audiences can be small or global. My goal is to help speakers manage a new and recent dual challenge: how to be truly present and in the moment with a live audience while at the same time appreciating that random comments, or even a well-rehearsed speech, may wind up online and quickly go global. With the ubiquity of the web and video, even seemingly private communications can be sent throughout the world in mere minutes. Presentational derailers that can prevent the clarity of connection are vast: tension that blocks the voice, unconscious habits that result in distracting hand gestures, eyes that shift around a room but never really see, to name just a few. In our wired world these need to be identified and addressed before any damage is done.

From years of coaching many professionals, I’ve come to the realization that contrary to the well-worn phrase “practice makes perfect,” what practice really does is make imperfection livable. Being able to roll with the unexpected, breathe through it, accept mess-ups versus trying to hide them, be in the moment, these are the skills that practice, and only practice, can instill. And yet! Clients constantly tell me that they simply do not have time to practice. Make the time. Make. The. Time. There’s commuting time, and lacking that, there’s the shower. (Remember bathrooms have great acoustics!) A solid 10 minutes bathing and drying off are perfect for out-loud run-throughs of important upcoming messages. Speaking out loud is essential because only by saying and hearing how your words work together can you identify the places that need to be reworked, are repetitive or unclear. When we know our content inside out, feel completely comfortable with the architecture of our design, have not necessarily memorized it word for word but have a strong hold on structure, key points, and point of view, we can, as they say in the theater, throw the script in the air and truly be present.

My approach with each client is completely idiosyncratic, as no two people experience communication, managing, stage fright, or even stage panic, the same way. Nervous excitement is normal, to be expected, and can energize a talk. No matter what the platform is, whether the TED Stage or boardroom, hardly anyone speaks without some degree of stress. But audiences are generous, eager to hear new ideas or solutions to challenges.

Audiences want speakers to succeed. Yet, even knowing that, the most accomplished speakers can still struggle with fears about forgetting text, losing the thread of their talk, or messing up one way or another. Since no audience can bear to watch a speaker fail, it is crucial that with all my clients, no matter what the forum, I find a way to help each to connect with ease and joy, to be centered and calm and as conversational as possible.

Whether in the boardroom or on Broadway, context is everything. (Even the most seasoned professional actor can be thrown off by knowing that someone special is in the audience.) There will always be high-stakes situations during which our bodies and emotions are hijacked by the stress response. But living in that state day in and day out—unless you love it—serves little purpose other than shortening your life span! Given the reality that many of us are under unremitting stress at work, must communicate constantly and present quite frequently, building the skill set to mitigate these challenges is essential.

Calm authenticity is not secondary but primary. It will affect you as much as it will impact your audience.

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