Neurologist Sigmund Freud, known as the father of psychoanalysis, helped many dive into their subconscious and better understand themselves. Less known is that Freud struggled with neuroses too. In fact, he used some of his famed techniques on himself. This extraordinary book is a compelling chronological account of Freud’s life, both personal and professional. Of particular focus is the examination of how he developed his theories. Primary sources from the London Freud Museum, such as diary extracts, rare photographs, and personal notes, give insight into the mind of the man who helped unravel the mystery of our own minds.

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Has Sigmund Freud been seriously misunderstood? The author of The Uses of Enchantment argues that mistranslation has distorted Freud's work in English and led students to see a system intended to cooperate flexibly with individual needs as a set of rigid rules to be applied by external authority. This provocative argument cuts through the myths to reveal a greater, more compassoinate and also far more disturbing figure. "VITAL...an eloquent attempt to reclaim Freud's reputation in America." —THE NEW YORK TIMES "Lucid and provocative." —THE LOS ANGELES TIMES BOOK REVIEW

The world knows Freud as a thinker--one of the founding giants of modern culture. Now Lydia Flem paints a unique and unforgettable portrait of Frued the man: a father, husband, and friend, a secular Jew with passion for classical antiquity and European culture, torn between his need to be fully accepted in an anitsemitic society while remaining fatihful to his orgins. Flem enters into the depths of Freud's creativity, showing how his thinking is connected to his immersion in the arts, the history of religions, and mythology. The intimate details of his daily life, his relationships with women, his poetic gifts, his travels, his dreams, his letters to family, friends, and colleagues: all reveal his vision of the unconscious. We accompany Freud on his walks through Vienna and Rome; look over his shoulder as he writes to his fiancee; learn the significance of the Greek, Roman, and Egyptian figurines that stand before him on his desk as he conceives his groundbreaking ideas; and discover the books, read in childhood, that later shape his self-analysis and his theoretical development. Flem draws on an unusually broad range of sources, but she wears her learning lightly: her biography of Freud reads like a novel, full of vivid details and captivating human interest. From the 6-year-old gleefully tearing up a book illustrated with pictures of Persia; to the young doctor balancing his scientific training with his love of Shakespeare; to the psychoanalyst in his prime, conquering the resistance to his theories; to the old man, ravaged by illness, forced to flee into exile in England, Lydia Flem leads us deep into the life of a genius.

“An extraordinary record of a great artist in his studio, it also describes what it feels like to be transformed into a work of art.” —ARTnews Lucian Freud (1922-2011), widely regarded as the greatest figurative painter of our time, spent seven months painting a portrait of the art critic Martin Gayford. The daily narrative of their encounters takes the reader into that most private place, the artist’s studio, and to the heart of the working methods of this modern master—both technical and subtly psychological. From this emerges an understanding of what a portrait is, but something else is also created: a portrait, in words, of Freud himself. This is not a biography, but a series of close-ups: the artist at work and in conversation at restaurants, in taxis, and in his studio. It takes one into the company of the painter for whom Picasso, Giacometti, and Francis Bacon were friends and contemporaries, as were writers such as George Orwell and W. H. Auden. The book is illustrated with many of Lucian Freud’s other works, telling photographs taken by David Dawson of Freud in his studio, and images by such great artists of the past as van Gogh and Titian who are discussed by Freud and Gayford. Full of wry observations, the book reveals the inside story of how it feels to pose for a remarkable artist and become a work of art.

Describes and analyzes the techniques used by the famous psychoanalyst in this case involving obsessional neurosis, and questions their effectiveness

The papers in this book have been written over a period of fifteen years, and focus in the similarity between psychoanalysis and religion. The author argues that psychoanalysis can be seen as a scientific religion with Freud as the leader of the movement. He examines the various stages of the journey made by a religious leader from "blindness" to "founding an institution" and finds counterparts in the development of psychoanalysis while drawing examples from Buddhism, Christianity and Islam. He invites the reader on a journey with him - to examine the human mind, our society, the process of psychoanalysis, science and philosophy. He successfully uses examples from the consulting room to illuminate his arguments. The author's honest accounts of the search for answers relevant to all of us encourage the reader to think further and deeper than he or she had intended. 'The psychoanalyst examines scientifically the emotional pattern in himself and the other.

Based on his most famous case study - that of Russian aristocrat,Sergei Pankejeff - Sigmund Freud recounts the history of anobsessional neurosis. Pankejeff's troubling dream of a walnut tree full of white wolves earned him the title of 'The Wolf Man'. Pankejeff is one of five clinical case histories from which Freud extrapolated his theories of transference, the Oedipus complex, super-ego and psychosexual development. Freud's now classic psychoanalytic writing blurred the boundary between science and literature, which continues to provoke fierce debate to this day.

From the master of Freud debunkers, the book that definitively puts an end to the myth of psychoanalysis and its creator Since the 1970s, Sigmund Freud’s scientific reputation has been in an accelerating tailspin—but nonetheless the idea persists that some of his contributions were visionary discoveries of lasting value. Now, drawing on rarely consulted archives, Frederick Crews has assembled a great volume of evidence that reveals a surprising new Freud: a man who blundered tragicomically in his dealings with patients, who in fact never cured anyone, who promoted cocaine as a miracle drug capable of curing a wide range of diseases, and who advanced his career through falsifying case histories and betraying the mentors who had helped him to rise. The legend has persisted, Crews shows, thanks to Freud’s fictive self-invention as a master detective of the psyche, and later through a campaign of censorship and falsification conducted by his followers. A monumental biographical study and a slashing critique, Freud: The Making of an Illusion will stand as the last word on one of the most significant and contested figures of the twentieth century.