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Selected by Choice magazine as an Outstanding Academic Title In The Freudian Reading, Lis Møller examines the premises, procedures, and objectives of psychoanalytic reading in order to question the kind of knowledge such readings produce. But above all, she questions the role of Freud as master explicator. Although Freud has been seen as a great synthesizer, Møller contends that his significance as a reader lies elsewhere. For Møller, this significance lies in the way Freud presses his inquiry to the point where he encounters something he cannot explain or that he can only explain at the risk of overthrowing previous conclusions. Such "moments of crisis" occur repeatedly in Freud's work, causing him to swerve from his original train of thought, or even to call into question the theoretical foundation of his interpretation. The dominant line of argument, therefore, is frequently punctuated with problems and questions. If we concentrate on these, Møller argues, we are forced to reconsider the traditional conception of a "Freudian reading" and to reassess our perceived notions of just what kind of reader Freud was. While The Freudian Reading is based on a wide range of Freud's writings, it concentrates on four central texts: Delusions and Dreams in Jensen's "Gradiva", From the History of an Infantile Neurosis, "The Uncanny," and "Constructions in Analysis." The discussion does not progress chronologically. Rather, it explores the ways in which these texts interact: how they reflect, comment on, and contradict one another. The Freudian Reading is a concentrated, subtle analysis of Freud's interpretive practice, with special reference to his interpretations of literary texts. It will be of interest to scholars and students of literary theory and criticism as well as to readers in the field of psychoanalysis.

A critical study of Louise Bourgeois's art from the 1940s to the 1980s: its departure from surrealism and its dialogue with psychoanalysis.

Despite Freud's enormous influence on twentieth-century interpretations of the humanities, there has never before been in English a complete collection of his writings on art and literature. These fourteen essays cover the entire range of his work on these subjects, in chronological order beginning with his first published analysis of a work of literature, the 1907 "Delusion and Dreams in Jensen's Gradiva" and concluding with the 1940 posthumous publication of "Medusa's Head." Many of the essays included in this collection have been crucial in contemporary literary and art criticism and theory. Among the subjects Freud engages are Shakespeare's Hamlet, The Merchant of Venice, King Lear, and Macbeth, Goethe's Dichtung und Wahrheit, Michelangelo's Moses, E. T. A. Hoffman's "The Sand Man," Dostoevsky's The Brothers Karamazov, fairy tales, the effect of and the meaning of beauty, mythology, and the games of aestheticization. All texts are drawn from The Standard Edition of the Complete Psychological Works of Sigmund Freud, edited by James Strachey. The volume includes the notes prepared for that edition by the editor. In addition to the writings on Jensen's Gradiva and Medusa, the essays are: "Psychopathic Characters on the Stage," "The Antithetical Meaning of Primal Words," "The Occurrence in Dreams of Material from Fairy Tales," "The Theme of the Three Caskets," "The Moses of Michelangelo," "Some Character Types Met with in Psycho-analytic Work," "On Transience," "A Mythological Parallel to a Visual Obsession," "A Childhood Recollection from Dichtung und Wahrheit," "The Uncanny," "Dostoevsky and Parricide," and "The Goethe Prize."

Lowentahal looks at the benefits and burdens of the past, how we study the past, and how we change it.

Perfect for readers of Women in Clothes, this beautifully designed philosophical guide to fashion explores art, literature, and film to uncover the hidden meaning of a well-chosen wardrobe. We all get dressed. But how often do we pause to think about what our clothes say? When we dress ourselves, we are presenting to the world an essence of who we are, who we want to be. Dressed ranges freely from suits to suitcases, from Marx's coat to Madame X's gown. Through art and literature, film and philosophy, philosopher Shahidha Bari unveils the surprising personal implications of what we choose to wear. The impeccable cut of Cary Grant's suit projects masculine confidence, just as Madonna's oversized denim jacket and her armful of orange bangles loudly announces big ambition. How others dress tells us something fundamental about them -- we can better understand how people live and what they think through their garments. Clothes tell our stories. Dressed is the thinking person's fashion book. In baring the hidden power of clothes in our culture and our daily lives, Bari reveals how our outfits not only cover our bodies but also reflect our minds.

The science of mind has been plagued by intractable philosophical puzzles, chief among them the distortions of memory and the relation between mind and body. Sigmund Freud's clinical practice forced him to grapple with these problems, and out of that struggle psychoanalysis emerged. From Freud's Consulting Room charts the development of his ideas through his clinical work, the successes and failures of his most dramatic and significant case histories, and the creation of a discipline recognizably distinct from its neighbors. In Freud's encounters with hysterical patients, the mind-body problem could not be set aside. Through the cases of Anna O., Emmy von N., Elisabeth von R., Dora, and Little Hans, he rethought that problem, as Hughes demonstrates, in terms of psychosexuality. When he tried to sort out the value of memories, with Dora and Little Hans as well as with the Rat Man and the Wolf Man, Freud reintroduced psychosexuality and elaborated the Oedipus complex. Hughes also traces the evolution of Freud's conception of the analytic situation and of the centrality of transference, again through the clinical material, including the case of Freud himself, who at one point figured as his own "chief patient". Moving from case to case, Hughes has coaxed them into telling a coherent story. Her book has the texture of intellectual history and the compelling quality of a fascinating tale. It leads us to see the origins and development of psychoanalysis in a new way.