The current resurgence of interest in the scientific origins of
psychoanalysis has overshadowed the artistic and literary models to
which Freud had recourse time and again in the development and
presentation of his theories. It is this neglected aesthetic
wellspring of psychoanalysis to which Harry Trosman calls attention
in Freud and the Imaginative World.
Trosman enriches our understanding of psychoanalysis by
demonstrating how Freud's cultural and humanistic commitments
guided his pursuit of a science of mind. Toward this end, he
undertakes a number of challenging tasks: to situate Freud in the
formative culture of his time, to adumbrate the human concerns that
infromed his work in the natural sciences, and to delineate the
multiple "modes of influence" that fostered his creativity. The
second part of the book moves from the cultural sources of Freud's
creativity to the psychoanalytic contribution to our understanding
of art and literature. Here, Trosman focuses on the consumer of art
and literature, tracing psychoanalytic perspectives on aesthetic
responsiveness from Freud to the present. Trosman's critical review
of the da Vinci and Hamlet literature illustrates the limitations
as well as the explanatory potential of the two principal genres of
applied psychoanalytic work, and leads naturally to the reflective
estimation of psychoanalysis and creativity that concludes the
work.
Throughout, Trosman is a well-informed and engaging guide, both
to the imaginative Freud and to the abundant literature on
psychoanalysis and the arts. He documents Freud's continuing
indebtedness to the literary models that nourished his theorizing
and gave shape to his narrative clinical expositions, even as he
takes pains to show how psychoanalysis has, in many ways, outgrown
Freud's own reductive explanations of aesthetic phenomena. A
skillfully crafted overview, Freud and the Imaginative World is an
exemplary introduction to a crucial aspect of the Freudian
legacy.
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