Sigmund Freud and the History of Anna O. Reopening A Closed Case by Richard A. Skues (Basingstoke and New York: Palgrave Macmillan, 2006); reviewed by Albrecht Hirschmüller

2008 ◽  
Vol 10 (1) ◽  
pp. 131-134
Author(s):  
ALBRECHT HIRSCHMULLER
Keyword(s):  
New York ◽  
Social Worker ◽  
Sigmund Freud ◽  
Case History ◽  
Medical Psychology ◽  
History Of Psychoanalysis ◽  
Productive Life ◽  
Affective Content ◽  
History Of ◽  
First Time

‘Anna O.’, Breuer's patient in the Studies in Hysteria, the ‘primal work of psychoanalysis’ (Grubrich-Simitis), features to this day in every history of psychoanalysis and every introductory seminar to medical psychology. This case history revealed for the first time how hysterical symptoms in speech could be traced back to their source and eliminated by bringing their unconscious affective content to consciousness and ‘abreacting’ it. Since Jones it has been known that the published case history left out the fact that the patient was not completely cured by Breuer's treatment and was treated for several more years in sanatoria, and that nevertheless in later years she led a full and productive life as a Jewish social worker. In 1972 Ellenberger revealed details of her life after Breuer's treatment and of a stay in Binswanger's clinic, and her case history for 1882 in Kreuzlingen was published in my dissertation in 1978.

An Occupational Neurosis: A Psychoanalytic Case History of a Rabbi

AJS Review ◽  
2010 ◽  
Vol 34 (1) ◽  
pp. 1-31 ◽  
Author(s):  
Maya Balakirsky Katz
Keyword(s):  
Social History ◽  
Sigmund Freud ◽  
Case History ◽  
Experimental Treatment ◽  
Jewish Studies ◽  
Early Years ◽  
History Of Psychoanalysis ◽  
The Social ◽  
History Of

In consultation with Sigmund Freud, the Viennese psychoanalyst Wilhelm Stekel (1868–1940) treated the first Jewish cleric known to undergo analysis, in 1903. According to the case history, published in 1908, a forty-two-year-old rabbi suffered from aBerufsneurose, an occupational neurosis associated with the pressures of his career. Stekel's case history forms an indelible portrait of a religious patient who submitted himself to the highly experimental treatment of psychoanalysis in the early years of the discipline. However, scholars never integrated the rabbi's case into the social history of psychoanalysis, more as a consequence of Freud's professional disparagement of Stekel than of the case history's original reception. Psychoanalytic historiography has largely dismissed Stekel's legacy, resulting in a lack of serious scholarly consideration of his prodigious publications compared to the attention paid to the work of some of Freud's other disciples. Stekel's most recent biographers, however, credit him as the “unsung populariser of psychoanalysis,” and claim that he is due for reconsideration. But in his published case history of the rabbi, Stekel also warrants introduction to the field of Jewish studies, not only because of the literary treatment of the rabbinical profession by a secular Jewish psychoanalyst, but also because the rabbi incorporated aspects of that experience into his own intellectual framework after treatment.

Dickens and the Wolf Man: Childhood Memory and Fantasy in David Copperfield

PMLA ◽  
2009 ◽  
Vol 124 (2) ◽  
pp. 406-420 ◽  
Author(s):  
Robert E. Lougy
Keyword(s):  
Case History ◽  
The Other ◽  
History Of Psychoanalysis ◽  
History Of ◽  
David Copperfield ◽  
The One ◽  
Childhood Memory ◽  
Wolf Man

This essay draws on Freud's case history of the Wolf Man (From the History of an Infantile Neurosis; 1918), which presents one of the most famous dreams in the history of psychoanalysis, in order to consider a moment in David Copperfield (1850) that constitutes the earliest childhood memory in Dickens's fiction. These two moments in Freud and Dickens occupy problematic sites that seem to slide between fantasy on the one hand and dreams on the other, and an examination of them helps open up the question of how texts remember—or fantasize—childhood and its power to structure adult experience.

scholarly journals Коллекция Пегги Гуггенхайм

2021 ◽  
pp. 270-279
Author(s):  
O.A. Yartseva
Keyword(s):  
New York ◽  
20Th Century ◽  
Significant Contribution ◽  
Art Scene ◽  
History Of ◽  
First Time ◽  
20Th Century Art

The article is devoted to the history of a unique collection made by famous American patron and curator Peggy Guggenheim. For several decades, she has been gathering works by European Cubists, Abstractionists and Surrealists, creating the huge collection of the 20th century art. But she made the most significant contribution to the development and popularization of modernism by organizing the «Art of this Century» gallery in New York. This gallery hosted for the first time exhibitions of artists who later became known as abstract expressionists. Their work loudly declared itself on the international art scene and won worldwide recognition. В фокусе внимания автора статьи — история создания уникального собрания произведений искусства ХХ века, принадлежавшего известной американской меценатке и куратору Пегги Гуггенхайм. На протяжении нескольких десятилетий она коллекционировала картины европейских кубистов, абстракционистов и сюрреалистов. Но самый значительный вклад в развитие и популяризацию модернизма она внесла, организовав в Нью-Йорке галерею «Искусство этого века», в которой впервые были проведены выставки художников, позже ставших классиками абстрактного экспрессионизма США, магистрального направления, громко заявившего о себе на международной художественной сцене и завоевавшего всемирное признание.

Jump Up!

2019 ◽  
Author(s):  
Ray Allen
Keyword(s):  
New York ◽  
New York City ◽  
Urban Studies ◽  
Cultural Context ◽  
Transnational Identities ◽  
Musical Practices ◽  
History Of ◽  
The Caribbean ◽  
First Time ◽  
Comprehensive History

Jump Up! Caribbean Carnival Music in New York City is the first comprehensive history of Trinidadian calypso and steelband music in the diaspora. Carnival, transplanted from Trinidad to Harlem in the 1930s and to Brooklyn in the late 1960s, provides the cultural context for the study. Blending urban studies, oral history, archival research, and ethnography, Jump Up! examines how members of New York’s diverse Anglophile-Caribbean communities forged transnational identities through the self-conscious embrace, transformation, and hybridization of select Carnival music styles and performances. The work fills a significant void in our understanding of how Caribbean Carnival music—specifically calypso, soca (soul/calypso), and steelband—evolved in the second half of the twentieth century as it flowed between its island homeland and its burgeoning New York migrant community. Jump Up! addresses the issues of music, migration, and identity head on, exploring for the first time the complex cycling of musical practices and the back-and-forth movement of singers, musicians, arrangers, producers, and cultural entrepreneurs between New York’s diasporic communities and the Caribbean.

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