"I no longer believe": did Freud abandon the seduction theory?

Recent accounts of the seduction theory and the question of its abandonment have emphasized the continuity of Freud's work before and after the seduction theory, claiming that Freud did not abandon his concern with the event of seduction but rather came to appreciate that an understanding of fantasy was also essential. This claim is challenged. It is shown that Freud did abandon the passionate concerns of his seduction theory for the most part; that he left behind his early interest in reconstructing unconscious infantile incest and focused instead on later, conscious seduction; that he at times clearly reduced apparent paternal incest to fantasy; that he turned away from the phenomenology of incest he had begun to develop; and that he theoretically nullified the value of the difference between real and fantasied seduction. It is also shown that, contrary to a persistent concern in psychoanalytic history, attention to actual seduction need not detract from the essential psychoanalytic concern with fantasy and infantile sexuality. Thinking about incest specifically illuminates the capacity for fantasizing, the core of the Freudian psyche. In this way the intuition of the seduction theory that there is something of distinctive psychoanalytic significance about incest finds support.     

Freud's Little Oedipus: Hans as exception to the oedipal rule

Freud's "The Analysis of a Phobia in a Five-Year-Old Boy" is regarded by Freud and by analytic readers and commentators as a prototype of his conception of the oedipus complex. A literary methodology is used to show that the interpretation of the oedipus complex at work in Freud's text in fact differs from Freud's standard view of it. While studying the paper as text, not as case report, may obscure or distort some clinical matters, it is valuable in that it makes legible a sort of theoretical unconscious in the text. In contrast to Freud's typically tragic view of the oedipus complex (in the tradition of ancient Greek tragedy), the Hans study evokes a comic vision (in the tradition of Greek New Comedy). This comic vision allows Hans a happy imaginative ending to the oedipal dilemma, challenges certain epistemic pretensions, and emphasizes the oedipus complex as a set of abiding existential questions. Given the deep link between Freud"s oedipus concept and a tragic view of human life, this departure in the Hans paper is a fascinating anomaly.