A new translation from the original German manuscript of Freud's influential 1910 "A Childhood Memory of Leonardo da Vinci", which is one of his most expansive "pathographies", or Psychological analysis of historical figures, focusing on Symbolic analysis. This edition includes an introduction by the translator on the philosophic differences between Carl Jung and Sigmund Freud, a glossary of Freudian Psychological terminology and a timeline of Freud’s life & works. Freud explores the psychological impact of childhood experiences on adult behavior here in "A Childhood Memory of Leonardo da Vinci". He argues that our earliest memories are often of great significance and can shape our personality and desires in ways we may not even realize. Freud says: "The impressions of early childhood are like the sun which illuminates everything with its warmth; they create an image which extends over the whole of later life". This book is a study of the ways in which childhood experiences can shape an individual's adult personality and desires. His point is that even seemingly insignificant childhood events can have a profound effect on our psyche. Through his analysis of Leonardo da Vinci's childhood memories, Freud reveals the deep-seated feelings of loss and longing that underlie many of his works of art, writing: "The childhood memories of great artists are the fingerprints of their creative work".

Sigmund Freud was already internationally acclaimed as the principal founder of psychoanalysis when he turned his attention to the life of Leonardo da Vinci. It remained Freud’s favourite composition. Compressing many of his insights into a few pages, the result is a fascinating picture of some of Freud’s fundamental ideas, including human sexuality, dreams, and repression. It is an equally compelling – and controversial – portrait of Leonardo and the creative forces that according to Freud lie behind some of his great works, including the Mona Lisa. With a new foreword by Maria Walsh.

Piero della Francesca's Madonna del Parto, a celebrated fifteenth-century Tuscan fresco in which the Virgin gestures to her partially open dress and her pregnant womb, is highly unusual in its iconography. Hubert Damisch undertakes an anthropological and historical analysis of an artwork he constructs as a childhood dream of one of humanity's oldest preoccupations, the mysteries of our origins, of our conception and birth. At once parodying and paying homage to Freud's seminal essay on Leonardo da Vinci, Damisch uses Piero's enigmatic painting to narrate our archaic memories. He shows that we must return to Freud because work in psychoanalysis and art has not solved the problem of what is being analyzed: in the triangle of author, work, and audience, where is the psychoanalytic component located?

Leonardo da Vinci (1910) remains among the most fascinating, though speculative, works of Freud's entire output.

Contains early biographical information and art criticism of Leonardo da Vinci and his work.

This volume is an historically based critical evaluation of Freud's personality theory. In it the observations Freud made are described and the theoretical ideas he put forward for explaining them are set out. The adequacy of Freud's explanations are judged against the logical and scientific standards of Freud's own time. The historical perspective will give the reader a sound basis on which to make a judgement about psycho-analysis as a method of investigation and a theory of personality as well as a sense of what Freud was about from Freud's own standpoint.Freud's endeavour is sited in the psychological and psychiatric context of the time, a period not previously given the critical attention it warrants. All of Freud's important assumptions and characteristic modes of thought are to be found in this formative period. The placement also brings out more clearly the basis of a number of the unresolved problems of contemporary psycho-analytic theory, such as the place of affect and the instinctual drives, the role of the ego, and the basis of treatment. The core of the evaluation centres on Freud's basic method for gathering data - free association - a method which is not much written about and hardly ever criticised. What is said about it is new and more substantial than the few criticisms that have been made. Although a very critical work, there is probably no other appraisal which allows Freud and his colleagues and followers to speak so directly for themselves.

Within contemporary orthodoxy, debates over sex and gender have become increasingly polemical over the past generation. Beginning with questions around women’s ordination, arguments have expanded to include feminism, sexual orientation, the sacrament of marriage, definitions of family, adoption of children, and care of transgender individuals. Preliminary responses to each of these topics are shaped by gender essentialism, the idea that male and female are ontologically fixed and incommensurate categories with different sets of characteristics and gifts for each sex. These categories, in turn, delineate gender roles in the family, the church, and society. Gender Essentialism and Orthodoxy offers an immanent critique of gender essentialism in the stream of the contemporary Orthodox Church influenced by the “Paris School” of Russian émigré theologians and their heirs. It uses an interdisciplinary approach to bring into conversation patristic reflections on sex and gender, personalist theological anthropology, insights from gender and queer theory, and modern biological understandings of human sexual differentiation. Though these are seemingly unrelated discourses, Gender Essentialism and Orthodoxy reveals unexpected points of convergence, as each line of thought eschews a strict gender binary in favor of more open-ended possibilities. The study concludes by drawing out some theological implications of the preceding findings as they relate to the ordination of women to the priesthood, same-sex unions and sacramental understandings of marriage, definitions of family, and pastoral care for intersex, transgender, and nonbinary parishioners.

A provocative examination of the artistic interpretation of twelve of Borges’s most famous stories.