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The Interwoven Lives of Sigmund, Anna and W. Ernest Freud is a biography of three members of the Freud family in which the central thread is the life and work of W. Ernest Freud, the only Freud grandchild to become a psychoanalyst. He was also the little boy that played 'fort da', the game Freud described and interpreted in Beyond the Pleasure Principle (1920). Unlike many biographies that emphasize the independent or frankly heroic efforts of the subject, this biography demonstrates the interpersonal and historical contexts, which influenced to the life and work of the main subject. It traces the interwoven lives and psychoanalytic contributions of Sigmund Freud, his daughter Anna and his g...
Ernst L. Freud (1892–1970) was a son of Sigmund Freud and the father of painter Lucian Freud and the late Sir Clement Freud, politician and broadcaster. After his studies in Munich and Vienna, where he and his friend Richard Neutra attended Adolf Loos’s private Bauschule, Freud practiced in Berlin and, after 1933, in London. Even though his work focused on domestic architecture and interiors, Freud was possibly the first architect to design psychoanalytical consulting rooms—including the customary couches—a subject dealt with here for the first time. By interweaving an account of Freud’s professional and personal life in Vienna, Berlin, and London with a critical discussion of sele...
This book, which uses illustrations assembled from family collections and from manuscripts, letters, and published material, sets out to discover the side of Freud the world did not often see. The result is an astonishingly immediate and stirring document which brings to life, often very touchingly, the husband and grandfather, the devoted friend, the comfortable bourgeois citizen, the radical thinker, the collector of antiquities, and, at the end of a long life, the cancer-racked exile from Nazism. Each photograph is captioned by a passage from Freud's own writing.
Wie kam es dazu, dass das als Technikmuseum gegründete Deutsche Bergbau-Museum Bochum (DBM) heute neben weiteren Sammlungsbereichen auch über eine Sammlung von Gemälden, Grafiken und Plastiken verfügt? Der Frage nach der Genese und der historischen Funktion dieser Kunstsammlung spürt das Buch anhand der Institutions- und Sammlungsgeschichte des Hauses nach. Dabei liegt der Fokus auf den Motiven und Handlungen der Akteur:innen des Museums in der Amtszeit des Gründungsdirektors, Dr.-Ing. Dr. h. c. Heinrich Winkelmann (1928–1966). Schriftliche Überlieferungen zeigen, dass Winkelmann sich berufen fühlte, regulierend in die Kunstszene einzugreifen. Anhand von Sammlungs- und Archivforschung wird deshalb außerdem untersucht, welche Positionen der Gründungsdirektor in Hinblick auf die Ikonografie von Bergleuten in der bildenden Kunst vertrat und inwiefern sich seine kulturpolitischen Bemühungen in der heutigen Kunst-Sammlung des DBM materialisiert haben.
This work is a compilation of abstracts of articles, advertisements, and paid notices that appeared in the five principal German newspapers published in Philadelphia and Germantown from 1743 to 1800. There are death notices, advertisements for runaway servants, notices of arrival and removal in the Pennsylvania area, and notices placed by persons seeking news of relatives and friends.
The phrase fin de siècle conjures up images of artistic experimentation and political decadence. The contributors to this volume argue that Wilhelmine Germany—best known for its industrial and military muscle—also shared these traits. Their essays look back to the years between 1885 and 1914 to find in Germany a mixture of sociopolitical malaise and experimental exhilaration that was similar in many ways to the better-known cases of France and Austria. Revising the view that the German Second Reich was merely a precursor to the Third, this broad-scoped study presents pre–World War I Germany in its own fascinating and often contradictory terms. The foundations of the antiliberal passio...
This is a collection of essays concerned with the thematic implications of Freud's deep interest in the art objects in his collection of antiquity.
As a psychotherapist, in whose name do I speak? How can I come to speak in my own name? What does ‘tradition’ mean in psychotherapy? Originally published in 1993, the contributors to this book – all practising psychotherapists and teachers – explore these questions and investigate how theories and practices are passed on from one generation to the next. Their responses range over questions of training and indoctrination, the idea of tradition in the thought of Freud, Jung and Winnicott, and the implications of these questions for the practice of psychotherapy. It will be of special interest to psychotherapists and counsellors, as well as students and teachers of therapy. With its emphasis on how psychotherapy might gain by seeing its connections to other traditions, such as literature, philosophy and the creative arts, the book will also appeal to a wider readership.
This book studies the role played by Jews in the explosion of cultural innovation in Vienna at the turn of the century, which had its roots in the years following the Ausgleich of 1867 and its demise in the sweeping events of the 1930s. The author shows that, in terms of personnel, Jews were predominant throughout most of Viennese high culture, and so any attempts to dismiss the "Jewish aspect" of the intelligentsia are refuted. The book goes on to explain this "Jewish aspect," dismissing any unitary, static model and adopting a historical approach that sees the "Jewishness" of Viennese modern culture as a result of the specific Jewish backgrounds of most of the leading cultural figures and their reactions to being Jewish.