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Informationen zum Autor Mary Bergstein won the American Psychoanalytic Association “Courage to Dream” prize for Mirrors of Memory: Freud, Photography, and the History of Art (2010). Among her other books are In Looking Back One Learns to See: Marcel Proust and Photography (2014) and The Sculpture of Nanni di Banco (2000). Her essay “Faux Nudes and Body Art 1900” about body-stockings and women’s tattoos appeared in History of Photography 2022. She is Professor Emerita of History of Art and Visual Culture at the Rhode Island School of Design (RISD). Mari Ruti (PhD, Harvard University) was Distinguished Professor of Critical Theory and of Gender and Sexuality Studies at the University of Toronto, Canada. She was the author of numerous important works, including thirteen books The Singularity of Being: Lacan and the Immortal Within (2012); Between Levinas and Lacan: Self, Other, Ethics (Bloomsbury, 2015); The Age of Scientific Sexism (Bloomsbury, 2015); Feminist Film Theory and Pretty Woman (Bloomsbury, 2016); Penis Envy and Other Bad Feelings: The Emotional Costs of Everyday Life (2018); Distillations: Theory, Ethics, Affect (editor; Bloomsbury, 2018); and Critical Theory Between Klein and Lacan: A Dialogue - with Amy Allen (Bloomsbury, 2019). Peter L. Rudnytsky is Professor of English at the University of Florida as well as Head of the Department of Academic and Professional Affairs and Chair of the Committee on Confidentiality of the American Psychoanalytic Association. From 2001 to 2011, he served as the editor of American Imago . A coeditor of the Psychoanalytic Horizons series and editor of the History of Psychoanalysis series for Routledge, Rudnytsky is the author of books from Freud and Oedipus (1987) to Reading Psychoanalysis: Freud, Rank, Ferenczi, Groddeck (2002), for which he received the Gradiva Award, and Mutual Analysis: Ferenczi, Severn, and the Origins of Trauma Theory (2022). He maintains a private practice in psychoanalysis and psychotherapy in Gainesville. Klappentext Visual Culture in Freud's Vienna s hows how photography and film in turn-of-the-century Vienna (the birthplace of psychoanalysis) not only reflected modernist ideas already in force, but helped to bring into being what might be referred to as a "psychoanalytic imagination." Mary Bergstein demonstrates that visual images not only illustrated, but also engendered ways of seeing social, psychological, and scientific ideas during a formative time in the creation and development of psychoanalysis and the modern age. Indeed, she argues that visual culture initiated significant aspects of psychoanalytic thought. Visual Culture in Freud's Vienna examines a variety of visual materials and texts, ranging from scientific illustrations to popular "low culture" and even forms of erotica, including film. Attention is also given to women's dresses and shoes in a social context and as they are represented in photography and circulated as fetish objects.Bergstein maintains a commitment to women's history and feminist inquiry throughout, particularly in her final chapter, which is devoted to the representations of women in the erotic photography and film. Visual Culture in Freud's Vienna is well illustrated with images drawn from the sources discussed and makes a significant contribution to our understanding of modernism and psychoanalysis. Vorwort Shows how visual culture in turn-of-the-century Vienna (the birthplace of psychoanalysis) not only reflected modernist ideas already gaining in force, but helped to bring into being our modern “psychoanalytic imagination.” Zusammenfassung Visual Culture in Freud's Vienna s hows how photography and film in turn-of-the-century Vienna (the birthplace of psychoanalysis) not only reflected modernist ideas alrea...
