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In the Shadow of Freud’s Couch: Portraits of Psychoanalysts in Their Offices uses text and images to form a complex portrait of psychoanalysis today. It is the culmination of the authors 15-year project of photographing psychoanalysts in their offices across 27 cities and ten countries. Part memoir, part history, part case study, and part self-analysis, these pages showcase a diversity of analysts: male and female and old-school and contemporary. Starting with Freud’s iconic office, the book explores how the growing diversity in both analysts and patient groups, and changes in schools of thought have been reflected in these intimate spaces, and how the choices analysts make in their office arrangements can have real effects on treatment. Along with the presentation of images, Mark Gerald explores the powerful relational foundations of theory and clinical technique, the mutually vulnerable patient-analyst connection, and the history of the psychoanalytic office. This book will be of great interest to psychoanalysts and psychoanalytic psychotherapists, as well as psychotherapists, counsellors, and social workers interested in understanding and innovating the spaces used for mental health treatment. It will also appeal to interior designers, office architects, photographers, and anyone who ever considered entering a psychoanalyst's office.
In the Shadow of Freud's Couch: Portraits of Psychoanalysts in Their Offices uses text and images to form a complex portrait of psychoanalysis today. It is the culmination of the authors 15-year project of photographing psychoanalysts in their offices across 27 cities and ten countries. Part memoir, part history, part case study, and part self-analysis, these pages showcase a diversity of analysts: male and female and old-school and contemporary. Starting with Freud's iconic office, the book explores how the growing diversity in both analysts and patient groups, and changes in schools of thought have been reflected in these intimate spaces, and how the choices analysts make in their office arrangements can have real effects on treatment. Along with the presentation of images, Mark Gerald explores the powerful relational foundations of theory and clinical technique, the mutually vulnerable patient-analyst connection, and the history of the psychoanalytic office. This book will be of great interest to psychoanalysts and psychoanalytic psychotherapists, as well as psychotherapists, counsellors, and social workers interested in understanding and innovating the spaces used for mental health treatment. It will also appeal to interior designers, office architects, photographers, and anyone who ever considered entering a psychoanalyst's office.
In the Shadow of Freud's Couch: Portraits of Psychoanalysts in Their Offices uses text and images to form a complex portrait of psychoanalysis today. It is the culmination of the authors 15-year project of photographing psychoanalysts in their offices across 27 cities and ten countries. Part memoir, part history, part case study, and part self-analysis, these pages showcase a diversity of analysts: male and female and old-school and contemporary. Starting with Freud's iconic office, the book explores how the growing diversity in both analysts and patient groups, and changes in schools of thought have been reflected in these intimate spaces, and how the choices analysts make in their office arrangements can have real effects on treatment. Along with the presentation of images, Mark Gerald explores the powerful relational foundations of theory and clinical technique, the mutually vulnerable patient-analyst connection, and the history of the psychoanalytic office. This book will be of great interest to psychoanalysts and psychoanalytic psychotherapists, as well as psychotherapists, counsellors, and social workers interested in understanding and innovating the spaces used for mental health treatment. It will also appeal to interior designers, office architects, photographers, and anyone who ever considered entering a psychoanalyst's office.
How the couch became an icon of self-knowledge and self-reflection as well as a site for pleasure, transgression, and healing. The peculiar arrangement of the psychoanalyst's office for an analytic session seems inexplicable. The analyst sits in a chair out of sight while the patient lies on a couch facing away. It has been this way since Freud, although, as Nathan Kravis points out in On the Couch, this practice is grounded more in the cultural history of reclining posture than in empirical research. Kravis, himself a practicing psychoanalyst, shows that the tradition of recumbent speech wasn't dreamed up by Freud but can be traced back to ancient Greece, where guests reclined on couches at the symposion (a gathering for upper-class males to discuss philosophy and drink wine), and to the Roman convivium (a banquet at which men and women reclined together). From bed to bench to settee to chaise-longue to sofa: Kravis tells how the couch became an icon of self-knowledge and self-reflection as well as a site for pleasure, privacy, transgression, and healing. Kravis draws on sources that range from ancient funerary monuments to furniture history to early photography, as well as histories of medicine, fashion, and interior decoration, and he deploys an astonishing array of images—of paintings, monuments, sculpture, photographs, illustrations, New Yorker cartoons, and advertisements. Kravis deftly shows that, despite the ambivalence of today's psychoanalysts—some of whom regard it as “infantilizing”—the couch continues to be the emblem of a narrative of self-discovery. Recumbent speech represents the affirmation in the presence of another of having a mind of one's own.
In The Shadow of the Object, Christopher Bollas integrates aspects of Freud’s theory of unconscious thinking with elements from the British Object Relations School. In doing so, he offers radical new visions of the scope of psychoanalysis and expands our understanding of the creativity of the unconscious mind and the aesthetics of human character. During our formative years, we are continually "impressed" by the object world. Most of this experience will never be consciously thought, and but it resides within us as assumed knowledge. Bollas has termed this "the unthought known", a phrase that has ramified through many realms of human exploration, including the worlds of letters, psychology and the arts. Aspects of the unthought known --the primary repressed unconscious --will emerge during a psychoanalysis, as a mood, the aesthetic of a dream, or in our relation to the self as other. Within the unique analytic relationship, it becomes possible, at least in part, to think the unthought -- an experience that has enormous transformative potential. Published here with a new preface by Christopher Bollas, The Shadow of the Object remains a classic of the psychoanalytic literature, written by a truly original thinker.
Fifty Shrinks is a compendium of photographs and essays of psychoanalysts and psychotherapists in the most sacred of spaces, the private offices where they see their patients.
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.
Does critical theory still need psychoanalysis? In Critique on the Couch, Amy Allen offers a cogent and convincing defense of its ongoing relevance. Countering the overly rationalist and progressivist interpretations of psychoanalysis put forward by contemporary critical theorists such as Jürgen Habermas and Axel Honneth, Allen argues that the work of Melanie Klein offers an underutilized resource. She draws on Freud, Klein, and Lacan to develop a more realistic strand of psychoanalytic thinking that centers on notions of loss, negativity, ambivalence, and mourning. Far from leading to despair, such an understanding of human subjectivity functions as a foundation of creativity, productive self-transformation, and progressive social change. At a time when critical theorists are increasingly returning to psychoanalytic thought to diagnose the dysfunctions of our politics, this book opens up new ways of understanding the political implications of psychoanalysis while preserving the progressive, emancipatory aims of critique.
Drawing on interviews with witnesses to the early psychoanalytic movement as well as new archival material, this chronicle seeks to rescue from obscurity the history of a movement usually regarded as an expensive form of treatment for the economically & intellectually advantaged.
“A thrilling story of seduction, betrayal, and loss, Freud’s Mistress will titillate fans of Memoirs of a Geisha and The Other Boleyn Girl.”—Booklist In fin-de-siècle Vienna, it was not easy for a woman to find fulfillment both intellectually and sexually. But many believe that Minna Bernays was able to find both with one man—her brother-in-law, Sigmund Freud. At once a portrait of two sisters—the rebellious, independent Minna and her inhibited sister, Martha—and of the compelling and controversial doctor who would be revered as one of the twentieth century’s greatest thinkers, Freud’s Mistress is a novel rich with passion and historical detail and “a portrait of forbidden desire [with] a thought-provoking central question: How far are you willing to go to be happy?”* *Publishers Weekly