Hardcover
-
PICK UP IN STORECheck Availability at Nearby Stores
Available within 2 business hours
Related collections and offers
Overview
Product Details
ISBN-13: | 9780801448195 |
---|---|
Publisher: | Cornell University Press |
Publication date: | 05/15/2010 |
Series: | Cornell Studies in the History of Psychiatry |
Pages: | 344 |
Product dimensions: | 7.00(w) x 8.00(h) x 1.06(d) |
Age Range: | 18 Years |
About the Author
What People are Saying About This
Mary Bergstein combines her talents as an art historian with a sophisticated approach to Freud and psychoanalytic theory. Mirrors of Memory tells us much about the mentality of turn-of-the-century visual culture in central Europe and the impact of that mentality on the development of Freud's thought. Photography as a medium in general—and the roles of art and archaeology photography in particular—played a crucial mediating role in the emergence of Freud's approach to sexuality, desire, representation, memory, and art.
Mirrors of Memory is an extraordinary interdisciplinary book, bringing together psychoanalysis, Freud's intellectual and emotional biography, the history of photography and its intellectual and popular reception, and the historiography of art. Mary Bergstein explores both Freud's work and the history of photography in depth and detail, with all their complexities and contradictions. Deeply scholarly and imaginatively researched, each chapter is a gem, and each page is thoroughly engrossing. In exploring all dimensions of Freud’s visual imagination, it literally and figuratively opened my eyes to images and possibilities of which I had only been dimly aware.
This is an excellent book: not just an itinerary of Freud's visual world, but an exploration of the ways his visual choices influenced his 'cognitive style.' In a series of careful and detailed case studies, Bergstein shows how photographic practices altered and directed Freud’s thinking about subjects as diverse as the appearance of Rome, Egypt, and Athens, Michelangelo’s Moses, the Gradiva relief, and the Laocoön. Mirrors of Memory argues that for Freud, photography’s influence was 'involuntary, even unconscious': it supported and guided discrete research projects, but it also 'analogized' modes of seeing. There is a wonderful diversity of themes in the book: photography as material and model of dreams, as a prompt for 'involuntary memory,' as the seed of art historical fantasies and structures of knowledge, as talisman for analytic work, as metaphor for the working of the psyche, as a 'ghostly surrogate,' even as the emblem of 'modernist superstition.' This is an exemplary study: it is philosophically engaged historiography, impeccable archival research, and rigorously interdisciplinary visual studies.