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Zusatztext This is a bold and imaginative exploration of the interplay not just between visual culture and Freudian psychoanalysis! but of Freud's personal Dingwelt and its role the complex genesis of his theorization of the unconscious. In a field as trampled as Freudian biography! O'Donoghue has managed to take a refreshingly different approach that argues for a whole new way of thinking with! through! and about things-from whole buildings and railway lines to specific books and tiny artifacts. She arrives at a new vision of how Freud's thinking about the unconscious converges around experiences! places! and objects that threaded through his life's trajectory. This is a deep dive into some of the most essential questions surrounding Freud's creation of psychoanalysis! and rewards the reader throughout with ways of reframing Freud's life and writings. Fruit of a long labor of preparation! this is a work of committed and critical scholarship! and merits careful consideration. Informationen zum Autor Diane O'Donoghue is a visual and cultural historian who directs the Program for Public Humanities at the Jonathan M. Tisch College for Civic Life at Tufts University, USA, where she is also the Senior Fellow for the Humanities and has served as chair of the University’s Department of Visual and Critical Studies. She is a scholar member and on the faculty of the Boston Psychoanalytic Society and Institute, on the editorial board of American Imago , and has been the recipient of the CORST Prize from the American Psychoanalytic Association, the Sigmund Freud/Fulbright Scholar for Psychoanalysis award at the University of Vienna and the Freud Museum, and an Erikson Scholar fellowship.Explores the influence of art and aesthetics on the development of Freud's concept of the "unconscious." Zusammenfassung Winner of the 2019 Robert S. Liebert Award (established jointly by the Association for Psychoanalytic Medicine and the Columbia University Center for Psychoanalytic Training and Research) In the final years of the 19th century, Sigmund Freud began to construct evidence for the workings of an “unconscious.” On Dangerous Ground offers an innovative assessment of the complex role that his encounters with visual cultures—architecture, objects from earlier cultural epochs (“antiquities”), paintings, and illustrated books—played in that process. Diane O’Donoghue introduces, often using unpublished archival sources, the ways in which material phenomena profoundly informed Freud’s decisions about what would, and would not, constitute the workings of an inner life. By returning to view content that Freud treated as forgettable, as distinct from repressed, O’Donoghue shows us a realm of experiences that Freud wished to remove from psychical meaning. These erasures form an amnesic core within Freud’s psychoanalytic project, an absence that includes difficult aspects of his life narrative, beginning with the dislocations of his early childhood that he declared “not worth remembering.” What is made visible here is far from the inconsequential surface of experience; rather, we are shown a dangerous ground that exceeds the limits of what Freud wished to include within his early model of mind. In Freud’s relation to visual cultures we find clues to what he attempted, in crafting his unconscious, to remove from sight. Inhaltsverzeichnis List of IllustrationsAcknowledgementsIntroductionChapter One: The Lost Language of StonesChapter Two: Phantasmal FragmentsChapter Three: Libido Awakened: In Transit and EnframedChapter Four: The Painting of Everyday LifeChapter Five: Paper Dreams: Illustrated Books and the Magic of the ManifestConclusion: Objects’ LessonsAfterwordBibliographyIndex...
