The current resurgence of interest in the scientific origins of psychoanalysis has overshadowed the artistic and literary models to which Freud had recourse time and again in the development and presentation of his theories. It is this neglected aesthetic wellspring of psychoanalysis to which Harry Trosman calls attention in Freud and the Imaginative World. Trosman enriches our understanding of psychoanalysis by demonstrating how Freud's cultural and humanistic commitments guided his pursuit of a science of mind. Toward this end, he undertakes a number of challenging tasks: to situate Freud in the formative culture of his time, to adumbrate the human concerns that infromed his work in the natural sciences, and to delineate the multiple "modes of influence" that fostered his creativity. The second part of the book moves from the cultural sources of Freud's creativity to the psychoanalytic contribution to our understanding of art and literature. Here, Trosman focuses on the consumer of art and literature, tracing psychoanalytic perspectives on aesthetic responsiveness from Freud to the present. Trosman's critical review of the da Vinci and Hamlet literature illustrates the limitations as well as the explanatory potential of the two principal genres of applied psychoanalytic work, and leads naturally to the reflective estimation of psychoanalysis and creativity that concludes the work. Throughout, Trosman is a well-informed and engaging guide, both to the imaginative Freud and to the abundant literature on psychoanalysis and the arts. He documents Freud's continuing indebtedness to the literary models that nourished his theorizing and gave shape to his narrative clinical expositions, even as he takes pains to show how psychoanalysis has, in many ways, outgrown Freud's own reductive explanations of aesthetic phenomena. A skillfully crafted overview, Freud and the Imaginative World is an exemplary introduction to a crucial aspect of the Freudian legacy.

The current resurgence of interest in the scientific origins of psychoanalysis has overshadowed the artistic and literary models to which Freud had recourse time and again in the development and presentation of his theories. It is this neglected aesthetic wellspring of psychoanalysis to which Harry Trosman calls attention in Freud and the Imaginative World. Trosman enriches our understanding of psychoanalysis by demonstrating how Freud's cultural and humanistic commitments guided his pursuit of a science of mind. Toward this end, he undertakes a number of challenging tasks: to situate Freud in the formative culture of his time, to adumbrate the human concerns that infromed his work in the natural sciences, and to delineate the multiple "modes of influence" that fostered his creativity. The second part of the book moves from the cultural sources of Freud's creativity to the psychoanalytic contribution to our understanding of art and literature. Here, Trosman focuses on the consumer of art and literature, tracing psychoanalytic perspectives on aesthetic responsiveness from Freud to the present. Trosman's critical review of the da Vinci and Hamlet literature illustrates the limitations as well as the explanatory potential of the two principal genres of applied psychoanalytic work, and leads naturally to the reflective estimation of psychoanalysis and creativity that concludes the work. Throughout, Trosman is a well-informed and engaging guide, both to the imaginative Freud and to the abundant literature on psychoanalysis and the arts. He documents Freud's continuing indebtedness to the literary models that nourished his theorizing and gave shape to his narrative clinical expositions, even as he takes pains to show how psychoanalysis has, in many ways, outgrown Freud's own reductive explanations of aesthetic phenomena. A skillfully crafted overview, Freud and the Imaginative World is an exemplary introduction to a crucial aspect of the Freudian legacy.

Compares and contrasts the beliefs of two famous thinkers, Sigmund Freud and C.S. Lewis, on topics ranging from the existence of God and morality to pain and suffering.

This collection presents a broad and compelling overview of the most recent work in philosophy, politics, and psychoanalysis by a world-renowned figure in contemporary thought.

Schelling, Freud, and the Philosophical Foundations of Psychoanalysis provides a long-overdue dialogue between two seminal thinkers, Schelling and Freud. Through a sustained reading of the sublime, mythology, the uncanny, and freedom, this book provokes the reader to retrieve and revive the shared roots of philosophy and psychoanalysis. Teresa Fenichel examines the philosophical basis for the concepts of the unconscious and for the nature of human freedom on which psychoanalysis rests. Drawing on the work of German philosopher F. W. J. Schelling, the author explores how his philosophical understanding of human actions, based as it was on the ideas of drives, informed and helped shape Freud’s work. Fenichel also stresses the philosophical weight of Freudian psychoanalysis, specifically in regards to the problem of freedom and argues that psychoanalysis complicates and reinforces Schelling’s basic idea: to know reality we must engage with the world empathetically and intimately. This book also serves as an introduction to Schelling’s thought, arguing that his metaphysics—particularly concerning the primacy of the unconscious and of fantasy—can be read as a therapeutic endeavor. Finally, the book offers a deep rethinking of the action and nature of sublimation through both Freud’s and Schelling’s texts. Fenichel suggests psychoanalytic therapy is self-interpretation—a recognition of our narratives as narratives, without for that reason taking them any less seriously. Schelling, Freud, and the Philosophical Foundations of Psychoanalysis will be of great interest to psychoanalysts and psychoanalytic psychotherapists as well as scholars of philosophy.

Why are you so worried and anxious? Why are you so relentlessly critical of yourself? Why do you repeatedly get involved with the wrong people? Can psychotherapy help with these matters? And if so, how does it help? Tea with Freud is an invitation to go behind the closed door of the psychotherapist’s office to get an insider’s look at common emotional problems and their treatment. Listen to the verbatim dialogue of actual people in therapy, and learn about an effective approach to resolving their difficulties. Visit with Sigmund Freud himself in turn-of-the-century Vienna, and hear an imaginary but illuminating debate with Freud about what helps people to make changes and recover their psychological health. You may be surprised to learn that the answers to many psychological struggles can still be found in Freud’s original ideas, as well as in modern findings from psychology, child development, and memory research. Part case study, part fiction, this book is a readable, entertaining introduction to some of the most important ideas—old and new—in the field of psychotherapy. It will change the way you think about the nature of emotions, the root of emotional suffering, and the effectiveness of modern “talk therapy.”

"She's hysterical." For centuries, the term "hysteria" has been used by physicians and laymen to diagnose and dismiss the extreme emotionality and mysterious physical disorders presumed to bedevil others—especially women. How did this medical concept assume its power? What cultural purposes does it serve? Why do different centuries and different circumstances produce different kinds of hysteria? These are among the questions pursued in this absorbing, erudite reevaluation of the history of hysteria. The widely respected authors draw upon the insights of social and cultural history, rather than Freudian psychoanalysis, to examine the ways in which hysteria has been conceived by doctors and patients, writers and artists, in Europe and North America, from antiquity to the early years of the twentieth century. In so doing, they show that a history of hysteria is a history of how we understand the mind. This title is part of UC Press's Voices Revived program, which commemorates University of California Press’s mission to seek out and cultivate the brightest minds and give them voice, reach, and impact. Drawing on a backlist dating to 1893, Voices Revived makes high-quality, peer-reviewed scholarship accessible once again using print-on-demand technology. This title was originally published in 1993.

In Contemporary Psychoanalysis and Masterworks of Art and Film, Harry Trosman demonstrates that a psychoanalytic point of view can vastly enrich one's understanding and appreciation of works of art. Drawing on current psychoanalytic views of the importance of fantasy, attachment and individuation theory, preoedipal factors in development, and object relations, Trosman addresses the impact of psychoanalysis on the understanding of the visual arts, painting, and film. Velázquez's Las Meninas, Giorgione's The Tempest, Rembrandt's self-portraits, and Seurat's La Grand Jatte are among the paintings Trosman analyzes. He also considers such films as Antonioni's L'avventura, Welles's Citizen Kane, Hitchcock's Vertigo, and Fellini's 8 1/2. The result is an insightful and innovative perspective, integrating classical and contemporary psychoanalytic thought with art and film criticism.

"I have entitled this book For Love of the Imagination. Long ago, I fell in love with the imagination. It was love at first sight. I have had a lifelong love affair with the imagination. I would love for others, through this book, to fall in love, as I once did, with the imagination." Michael Vannoy Adams, from the Preface. For Love of the Imagination is a book about the imagination – about what and how images mean. Jungian psychoanalysis is an imaginal psychology – or what Michael Vannoy Adams calls "imaginology," the study of the imagination. What is so distinctive – and so valuable – about Jungian psychoanalysis is that it emphasizes images. For Love of the Imagination is also a book about interdisciplinary applications of Jungian psychoanalysis. What enables these applications is that all disciplines include images of which they are more or less unconscious. Jungian psychoanalysis is in an enviable position to render these images conscious, to specify what and how they mean. On the contemporary scene, as a result of the digital revolution, there is no trendier word than "applications" – except, perhaps, the abbreviation "apps." In psychoanalysis, there is a "Freudian app" and a "Jungian app." The "Jungian app" is a technology of the imagination. This book applies Jungian psychoanalysis to images in a variety of disciplines. For Love of the Imagination also includes the 2011 Moscow lectures on Jungian psychoanalysis. It will be essential reading for psychoanalysts, psychotherapists, students, and those with an interest in Jung.