This paper focuses on Freud’s interpretation of racism and xenophobia as described in his essay “A Comment on Anti-Semitism” and in his “Letter to the Editor of Time and Tide“. The psychobiographical method Jean-Louis Maisonneuve uses in his work L’extrême droite sur le divan is also critiqued. An alternative starting point for a psychoanalytic interpretation of racism and xenophobia is found in the works of Tahar Ben Jelloun and Gerard Miller, in which racist language and sexual fantasies projected onto immigrants are analysed.
This article is the result of a collaboration between the author and the Kunstarbeidergezelschap of Ghent on “Maulwerke” by the contemporary composer Dieter Schnebel. It outlines briefly the importance of the figure Dieter Schnebel for contemporary experimental music and the idea behind his “Maulwerke”. The “Maulwerke” (1968-1974), generally considered to be his masterpiece, was written during the period that Schnebel undertook his analysis. Schnebel calls this work the product of his analysis and it is here he introduces his concept of “psychoanalytic music”. The author explores the meaning of “psychoanalytic music” and asks whether the psychoanalytic framework can help us to understand something of the gripping character of this musical work.