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But this meant that in some obscure way the instinct toward self-preservation and the death instinct were homologous.
One is satisfaction of the need, epitomized by the search for the object, love and the expression of the life instinct; the second is the obliteration of the need, in other words the expression of the death instinct.
Unless, as Freud qualifies it, the reality principle intervenes, this nirvana principle, this death instinct, becomes the goal of life.
In a 1943 manuscript entitled "The Pattern of Organic Life in America," Smith noted: "All monumental architecture is an objectification of the death instinct.
Mesrine: Public Enemy No1 is the second of a two-part work based on the autobiography Death Instinct by Jacques Mesrine, one of France's most infamous criminals.
For example, Freud drew on Sanskrit ideas for his Nirvana principle or death instinct.
He is said to be "vehemently opposed to any psychoanalytic reading of his work,"[1] but we don't need much psychoanalytic understanding to see the narcissistic basis of his photographs, and to see that they reek of the death instinct, like all good German art.