The cartoon Pooh Bear was created by author A. A. Milne, with the first appearance of the book series appearing in 1926. The saga was inspired by a teddy bear that the author's son had, and the other characters had the same inspiration, All are characters from some toy that Milne's son had.

Research published in the year 2000 by the Canadian Medical Association has shown the pathologies, a neurodevelopmental perspective that shows how the Pooh-Bear characters have a disorder at home.

Table of Contents

• About Pooh-Bear
  • Pooh-Bear and sexual behavior
• The relationship with the unconscious
• Tigger, Piglet and Psychoanalytic Theory
• The Children's Unconscious and the Owl
• Lacanian concepts of lack and the Can & Guru
• Ló in Teddy Bear Pooh
  • Christopher Robin's gift
• Abel
  • Pooh-Bear and the symbol of the father figure
• Christopher Robin
  • Christopher Robin's image
  • The final chapter
• Conclusion: the psychoanalysis of Pooh-Bear
  • Child Sexual Development
  • Pooh-Bear and the unconscious of interest

About Pooh-Bear

Although he is the main character in the narrator's stories, Pooh is also the most complex and ambiguous image of the narrator's unconscious in all. Of all the characters, it is apparent that Pooh is Christopher Robin's favorite, the one he walks downstairs with every night before bed, the one who joins him when it's time to take a bath. Therefore, it is kind of logical that Pooh is the soft toy According to the report, Pooh suffers from more than one disorder, with the narrator projecting the most memories and feelings.

Most of Pooh's actions may have a connection to the Freudian process of sublimation, At the beginning of the story, it denotes a memory of the narrator's sexual development masked by an image that is acceptable to the conscious part of his mind. In the first chapter, Pooh tries to get honey from a tall hive and ends up failing a few times. The attempts can be seen as an innocent search for provisions, but that is for eyes inspired by Freudian philosophy.

Pooh's attempt to try to retrieve the honey from the tree is a metaphor regarding the narrator's failure to develop normal sexuality; that being the three parts of childhood sexuality, the oral, anal and phallic, are present in Pooh's tale, as he experiences problems with all of them. He is unable to defeat the great oak and retrieve the honey, cannot conform to the phallus that has the tree as its symbol. Then Pooh gets stuck in a hole, the rabbit's front door, this happens after he has eaten too much.

Pooh-Bear and sexual behavior

The Narrator did not develop normal sexual behavior when he was a child and thus was able to come to terms also with the anal element of the trinity of child sexuality, and furthermore, Pooh cannot leave the house, his appetite would be his death. Appetite symbolizes the third of the three sexual symbols. In no chapter does Pooh go without eating and thinking about honey.

His constant need to disrupt his daily life, causing him to end up eating the present he was taking to Lot for his birthday. When Pooh runs out of evil, he experiences signs of withdrawal, He jumps into the water to retrieve a note that was in a bottle for the piglet's distress, believing it to be honey.

In short, the narrator's sexual development possibly ceased to be normal soon after his birth, since when he was still a child, he had no notion or control over the three Freudian parts of infantile sexuality. Pooh-Bear is the figure that masks the painful memory in the unconscious, which was and still is a reality. Pooh's constant addiction to honey can also be interpreted in another way since the narrator lives with a constant desire for his mother, he wants to be a part of her and vice versa.

The relationship with the unconscious

In this desire one can add Piglet's fear of castration and the continuous presence of the father, name-of-the-father in the narrator's unconscious, it eventually becomes clear that Pooh's addiction to honey is in fact a metaphor for a desire for the mother, a desire that has not been abandoned. Eating and hunger are the representation of an insatiable desire. The other characters eat everything, although all the other characters may eat little, Pooh is the only one who is always eating or thinking about honey.

This hunger of his is not only a hunger restricted to the abdominal region, his entire body feels the need, the desire for honey; he is also the only character who overeats, what we can call gluttony. Pooh Bear has Attention Deficit Hyperactivity Disorder (ADHD) as his predominant disorder. This disorder is characterized by the patient's inability to pay attention and have an activity level above normal in most cases.

Pooh's perseverance in always eating honey and his repetitive counting behaviors increase the possibility of a diagnosis of Obsessive Compulsive Disorder (OCD). While it may sound quite scary, there may be a Freudian side to why Christopher Robin, the boy in the cartoon, chose the name of his teddy bear Winnie the Pooh. In English, winer is used as a slang term for the male reproductive organ.

Tigger, Piglet and Psychoanalytic Theory

By Sigmund Freud's psychoanalytic theory, the sex drive of every being has a role to play in their personality, so indicating Robin's possible fixation with the word winer, he names his bear Winnie the Pooh. The tiger on the other hand suffers from ADHD, and a chronic side of risky behaviors which also includes him in a compulsion to want to taste anything and everything. Tigger is one of the characters that only his qualities were always discussed and never what else was inside.

He has a persistent pattern of inattention and hyperactivity that interferes with his functioning and development. Pooh's piglet, confidant, and closest friend, suffered from a very acute case of generalized anxiety disorder. Citing his "anxious, flushed, upset, poor" self, the piglet is also said to have had self-esteem problems.

The piglet lived in a very large place, a house that was in the middle of the forest, and he lived in the middle of that house. Living in the middle of the forest and in the middle of his own house, the piglet was wary of something, that something was one of the most elusive and hidden forces in the novel: the narrator's father. The piglet lived in constant caution and anxiety because it was in a constant threat of castration. That is, it is the narrator's image when the child has a close relationship with the mother, a relationship that is so close that it is not considered normal.

The Children's Unconscious and the Owl

In a way, the memory reveals that the father, in his childhood unconscious, challenged the connection between mother and son. Piglet is so tense that he is often unable to be approached by his friend Pooh without him jumping up and down in fear. Owl, in his quesiton to Freudian theory, he is a difficult character to analyze and interpret. He does not seem to be a symbol for any particular memory or feeling. Still, there are circumstances surrounding the owl that are quite peculiar.

First of all, he is a character who always tries to appear intelligent and very wise, characteristics that his race is usually associated with, even though he cannot read or write properly. When Pooh visits him to have him write something on Lot's present, he gets anxious and makes sure that Pooh is illiterate before he even starts writing in the pot. In addition to his need to appear intelligent, Owl uses a vocabulary that is not on the same level as the other characters.

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Only when he realizes that his interlocutor does not understand, does he then proceed to adapt his language. Owl, unlike the other characters, may not be a symbol or metaphor for any repressed feelings or memories. Instead, it would be plausible to interpret him as a sign of destruction in the narrator's unconscious. as a character, He confuses the other characters with his vocabulary and tries hard to sound wise and intelligent at all points; others misunderstand him or show some kind of frustration towards him.

Lacanian concepts of lack and the Can & Guru

Known for his reputation as the smartest character, Owl has experienced some degree of dyslexia. His frequent inability to spell words, along with incorrect words, suggests his dyslexic condition. Can and Guru are the two easiest characters to analyze when seen through the eyes of Freud and Lacan. By the Freudian methods of revealing symbolism and Lacanian concepts of lack and desire, together they formed the first statement for the article that was written about drawing.

Can and Guru are a memory of the narrator's past and in order for this conscious of this memory to be saved, the narrator unconsciously made a projection of the characteristics of a long childhood onto Christopher Robin's stuffed animals. The two, Can and Guru, together form an image of the narrator's childhood, a childhood that was characterized by an extremely close mother-son relationship. The kangaroo as a marsupial animal, an animal that carries its offspring in a pouch, forms an argument for this; the mother carries her children not in her arms but in herself, in her womb.

In the memory itself is carried several meanings. The first speaks of the mother and child relationship. Second, of a child who is on the verge of entering the mirror phase. Guru is connected to Can and she constantly observes him carrying in her purse as part of herself. In the unconscious of the narrator, the two come together forming one, Guru is a child who is beginning to find his own identityand at the same time, he jumps and wants the attention of everyone around him just as many children do.

Ló in Teddy Bear Pooh

His perpetual state of being the donkey has been labeled as "depressive disorder". Lot's chronic dysthymia must be blamed for the fits of stress and negativity he suffers. Bisoning wielding sarcasm and bitterness as weapons in conversation, Lot holds the status of the darkest character. The old gray donkey is a metaphor and symbolization for all feelings and negative thoughts that the narrator once had regarding his sexual past and the maternal fixation of childhood.

Assuming that it would be highly unlikely that a human being could perform any kind of action or feel any feelings without having to consider them critically; it would be plausible to argue that it is a person who shows no signs of having critical thoughts about repressed actions or feelings that have been banished to the unconscious. Lot is the amalgam of all the narrator's critical thoughts and this explains why he maintains his melancholy throughout the stories.

Even though he is temporarily happy when Pooh finds his tail and on his birthday, he immediately reverts to his past mood, he himself is the critic of almost everything and everyone. When first introduced to the reader, and he becomes paranoid that someone has grabbed his tail. He is not only critical of himself, he is also critical of others and of the fact that others are no longer critical either.

Christopher Robin's gift

During the party that was given for Pooh, Lot makes a final push to teach his fellow forest-dwelling companions about critical thinking. He implicitly tries to provoke the others by outmaneuvering Pooh's group; acts as if everyone is gathered to celebrate something he has done, the despite the fact that he must know why Pooh is sitting at one end of the table.

In the end, he fails, as Pooh gets his gift from Christopher Robin and ends up not paying attention to Lot, even though he does his best to educate the others who continued his celebration. Lot can also be interpreted as a character with great effort from the condensed critical thoughts and feelings.

Critical thoughts and feelings about the past, it seems, can never be consciously thought or felt by the narrator, just continuing its residence in the unconscious.

Abel

Even though the Father-Name failed to separate the child from the mother, there is a pure logic that the spectral image of the father should be retained in the unconscious of the narrator. Since the name itself has already failed, it should not have a significant threat for the narrator until then. Be that as it may, the name still has a living memory in the unconscious of the rabbit narrator, Abel. Abel symbolizes the Father-Name, and it becomes clear by observing his behavior toward the other characters and his house.

Observing his behavior towards Pooh, we can't help but smile slightly and feel his true feelings for his "friend" between the lines. In the chapters where Abel is included, he always has a peculiar way of acting especially for Pooh, for example, he shows his frustration with the bear, speaks slowly to prevent interruptions, and then interrupts Pooh himself, In addition, there are times when it seems that he wants to provoke Pooh, to do the right thing.

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We can use as an argument that the reason why Pooh doesn't respond is because these are unconscious images created to save the narrator from the memory and feelings that openly symbolize hostility between the soft toys that are supposed to be good friends, Perhaps it would draw the attention of the conscious narrator to break the protective barrier that protects his consciousness from harm. As interesting as some examples are, the Father-Name maintains its presence from the narrator's masked unconscious memory.

Pooh-Bear and the symbol of the father figure

Remembering Freudian theory, it seems unlikely that the rabbit, Abel, could be a symbol of a father figure from times past, while the narrator's father should be a representation of a castration threat in order to break the Oedipus Complex, Much of the interpretation shows that the narrator did not undergo castration; Christopher Robin is not only an image of the unconscious, but of a real child.

Lacanian psychoanalytic theory, however, turns the tide and Abel can once again carry the weight that he is the memory of the father figure, because based on Lacanian theory, the Father-Name is not a real man, but of a force in the babies' unconscious that separates the child from the mother. The specter of the unconscious would be able to castrate a child physically, although logically it should be able to do so to the unconscious itself.

It can also be noted that none of the narrator's characters are connected to any concept or term that is overtly sexual other than one, Can, being the only female character in the story, Guru's mother. She is the only character who seems to have experienced copulation. Rabbit suffers from OCD in combination with his tendency to be extraordinarily self-important and his strange belief system that he has many relationships.

Christopher Robin

Christopher Robin in the narrator's unconscious is unique. Unlike any other character, he is a metaphor for the material of repression that is carried by the narrator and not the mask of a soft toy, but that of a living human being. It is very important to note that even though Christopher Robin lives in the forest, he is an entity to be distinguished. In the novel, the child, Christopher, hears someone else's stories about him and his friends, so his fictional may be entirely what is real.

The mental image of Christopher Robin must indeed be distinguished from the real one of himself, for the image of him does not portray him, but a repressed memory from the narrator's childhood, banished to his unconscious; To this day the narrator unconsciously refuses to remember the child he once was. Henceforth all references will be to the child living in the forest. The arguments for the interpretation of Christopher Robin as a childhood memory of the narrator are only two: the nature of his relationship and Pooh and his status in the forest.

Besides him being the only humanoid character, Christopher Robin is also the only one who is loyal and loving to Pooh. Everyone else in the Wood is completely impatient with Pooh because of his low intelligence, They always try to manipulate you or deliberately confuse you. The boy, however, never shows any signs of impatience, frustration, or desire to dominate his Pooh Bear. He simply loves him and loves him constantly.

Christopher Robin's image

When Pooh gets stuck at the front door of the rabbit, Abel, he shows nothing but warm affections; after pointing out that Pooh has gone around in circles by tracking Woozle, he doesn't bother him, instead he soothes him. The narrator's memory shows that he is a child in love with his mother's desire. Christopher Robin's image rightly portrays a child who is loving the metaphor of a memory of past desires. Pooh, plagued by an oral fixation corresponding to a desire for his mother and lacking the character and intelligence to deal with his problem, is totally loved by the child.

In short, the boy's unconditional love for Pooh corresponds to the narrator as a child loving unconditionalemtne desire for his mother, only to yes, recognize how stupid that is.The second argument for the interpretation of Christopher Robin as a metaphor for the narrator as a child is, as mentioned, his status among the other residents of the forest. Throughout the stories of Christopher Robin and his friends, he holds a very special place in everyone else's heart.

He is also the one who brings hope to the animals when Pooh gets stuck, and the one whose advent soon precedes the release of Piglet from Can's care. In the forest, Christopher Robin is the most prominent person, he is the image that has influence over others. However, since he is the personification of the narrator as a child, the all-powerful person who unconsciously masked and attributed all of them to the unconscious, it seems logical that he has some power to himself.

The final chapter

It is not surprising to say that Christopher Robin influences others the way he does. There are two chapters where he uses his power explicitly. In the last chapter, for example, he calls Owl whistling in a special way, the bird instantly responding to the call flew out of the Woods to see what was wanted.

Moreover, in the eighth chapter he shows the full extent of his influence. In a truly imperialistic way, he decides that everyone must go on an expedition to find the North Pole without even really knowing what to look for.

While Christopher Robin inspects his gun, Pooh ventures into the forest and summons all the other animals and finally all the characters leave together for the expedition being led by the boy and his own army of animals that have been recruited, follow his authority unconditionally and without question.

Conclusion: the psychoanalysis of Pooh-Bear

From a rather superficial view, one might see the Pooh Bear cartoon as just a children's animation, but when we think about it from a psychoanalytic point of view, we begin to see more clearly that there is more underlying meaning. The various characters in Pooh Bear embody the various parts of Christopher Robin's unconscious, Christopher, like many children, finds it difficult to separate thereality from fiction, then he, Unconsciously, it personifies its toys and the various qualities that make it up.

The most likely reason for this is as a coping method, because by making his various personas tangible, he can better understand himself and challenge various aspects that may be hindering him. The author writes characters as areas of his psyche to try to show the different areas of conflict in his brain. One emotion contradicts or affects another, trying to show the complexity of a human brain. That even as a child, there are extreme conflicts and the world of " several acres of wood", is simply an interpretation of a certain conflict in the mind of a child, named Christopher Robin.

The characters in Winnie-the-Pooh have been interpreted using psychoanalytic concepts, theories and methods. With almost all of them, there are arguments that are metaphors or symbols for repressed memories, thoughts and feelings. The narrator who tells the story about the Hundred Acre Wood and its inhabitants to Christopher Robin, as it turns out, he is a person with a recognizably complicated past. Can and Guru both form a symbol for a repressed memory of the narrator's childhood, a childhood in which mother and son were part of a whole.

Child Sexual Development

This extremely close relationship reaches a point where it needs to be broken. Leitão is constantly nervous and afraid, portraying a memory of when castration was feared. The narrator, as a child, transgressed his relationship with his parents, having Leitão's word included in a name written on a plaque outside his house. Pooh Bear is also a symbol of a memory, the memory of the narrator's childhood sexual development. Also, his oral fixation, from Pooh, his constant desire for honey, is a metaphor for a feeling that has been repressed, for the desire the narrator once had for his mother.

In contrast, the rabbit, Abel, is not an image of any repressed material, but the Father-Name, the name that transcends the real father. Having castrated all the images from the narrator's unconscious, how they now live in a connection with the symbols of the phallus, He obviously couldn't separate the child from the mother. However, he still keeps trying, inventing and carrying out a plan to kidnap Can's Guru.

Owl symbolizes all the turmoil that exists in the narrator's unconscious. He personifies linguistic confusion and is a character who strives to use the most advanced vocabulary possible, knowing that no one in the forest will understand. Frustrated with all the confusion portrayed and caused by Owl, Christopher Robin, a very loving and patient child, finally shows signs of frustration towards him, As a metaphor for the child, Christopher Robin has a very close relationship with Pooh.

Pooh-Bear and the unconscious of interest

He is the image of the one who originated all the images of the owner of the unconscious of interest; as such, Christopher Robin is a character who has and greatly influences the other characters and who is the unquestioned master of the Wood and its inhabitants.

As a metaphor for an amalgam of critical and negative thoughts, Lot then concludes the interpretation. Paranoid and depressing He uses negativity a lot as a weapon in his conversations with the other characters. He always contests the happiness of others and tries to spread his way of thinking to draw the attention of the narrator's conscience.

This article was written by Raïssa Grace J. Asobo. Writer (children's literature), graduated in Pedagogy and post-graduated in Psycho-pedagogy and Neurosciences. Studying Psychoanalysis. Contact by: Social networks: @r.g.asobo (Instagram) E-mail: [email protected]