"A Certain Fantasy Future" - Arugensou no Mirai

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[Art, Religion, and Social Studies]
Freud was an art lover, but he considered creative activity to be equivalent to daydreams that give rise to pleasure, and pointed out the Oedipus complex seen in Hamlet and The Brothers Karamazov, while also discussing the secrets of Leonardo da Vinci's creative work and the meaning of Michelangelo's statue of Moses. In A Fantastic Future (1927), he developed a theory of religion that sees religion as nothing more than a projection of the immature human psyche onto the outside world, that is, an illusion, and as a kind of collective obsessional neurosis (the root of which is the Oedipus complex toward God the Father), and in Totem and Taboo (1912-13), he speculates that the tragedy of Oedipus was actually carried out among primitive tribes. In "Dissatisfaction with Culture" (1930), he points out that there is a natural limit to the pursuit of happiness by human beings, as well as the persistence of the aggressive instinct, which has remained unchanged since the dawn of history, and that the psychological premise of communism, which holds that the denial of private property will lead to the improvement of humanity, is nothing more than an illusion.

*Some of the terminology referenced in "A Fantasy Future" is listed below.

Source | Heibonsha World Encyclopedia 2nd Edition | Information

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［芸術論，宗教論，社会論］
　フロイトは芸術愛好者だが，創作活動を快楽を生み出す白昼夢と等価なものとみなし，《ハムレット》や《カラマーゾフの兄弟》の中にみられるエディプス･コンプレクスを指摘し，他方，レオナルド･ダ･ビンチの創作の秘密やミケランジェロのモーセ像の意味について論じている。《ある幻想の未来》(1927)では，宗教は人間の未熟な心理の外界への投影，つまり幻想にすぎず，一種の集団的な強迫神経症(その根底にあるのは父なる神に対するエディプス･コンプレクスである)とみる宗教論を展開しており，《トーテムとタブー》(1912‐13)では，原始群族の間でオイディプスの惨劇が現実に行われたと推測している。《文化への不満》(1930)においては，人類の幸福追求にはおのずから限度があること，ならびに有史以来不変の攻撃本能の根強さを指摘し，私有財産制の否定が人性の向上にもつながるとする共産主義の心理的前提は幻想にすぎないと述べている。…

※「《ある幻想の未来》」について言及している用語解説の一部を掲載しています。

出典｜株式会社平凡社世界大百科事典 第２版について | 情報