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Religion, more than sexuality, cast psychoanalysis in controversy
and onto the world stage even as it threatened to dismantle the
psychoanalytic collective. In the founding years of the first
psychoanalytic periodicals, relational dynamics shaped the
psychoanalytic corpus on religion. The psychoanalytic pioneers
developed their ideas in tandem even if in protest to one another.
Religion is a topic worthy of engagement, not least because the
symbolized terrain in the history of religion was so often deployed
as a vehicle for motivating, disciplining, or editing out a member
of the psychoanalytic community in publication. This book offers an
interdisciplinary approach to religion and psychology, including a
compelling denouement that reveals new narratives about
longstanding rumours in the early history of the psychoanalytic
movement. Above all, this volume demonstrates that the first
generation of psychoanalysts succeeded in writing themselves into
the history of religious thought and sacralizing the origins of
psychoanalysis.
Religion, more than sexuality, cast psychoanalysis in controversy
and onto the world stage even as it threatened to dismantle the
psychoanalytic collective. In the founding years of the first
psychoanalytic periodicals, relational dynamics shaped the
psychoanalytic corpus on religion. The psychoanalytic pioneers
developed their ideas in tandem even if in protest to one another.
Religion is a topic worthy of engagement, not least because the
symbolized terrain in the history of religion was so often deployed
as a vehicle for motivating, disciplining, or editing out a member
of the psychoanalytic community in publication. This book offers an
interdisciplinary approach to religion and psychology, including a
compelling denouement that reveals new narratives about
longstanding rumours in the early history of the psychoanalytic
movement. Above all, this volume demonstrates that the first
generation of psychoanalysts succeeded in writing themselves into
the history of religious thought and sacralizing the origins of
psychoanalysis.
This book presents the first full-length study of a vast and
complex visual tradition produced, revered, preserved, banned and
destroyed by the Hasidic movement of Chabad. This rich repository
of visual artifacts provides the archaeological data for an
analysis of how the movement consolidated its influence during a
period of political and economic transformation and survived its
immigration to America in the wake of the Holocaust. As one of the
most self-documented and media-preserved modern Jewish movements,
Chabad's rich material culture, including the hand-held portrait,
the 'rebbishe' space, the printer's mark and the public menorah,
afford scholars a wider range of interpretive strategies for
understanding the movement and the role of the visual experience in
religion.
This book presents the first full-length study of a vast and
complex visual tradition produced, revered, preserved, banned and
destroyed by the Hasidic movement of Chabad. This rich repository
of visual artifacts provides the archaeological data for an
analysis of how the movement consolidated its influence during a
period of political and economic transformation and survived its
immigration to America in the wake of the Holocaust. As one of the
most self-documented and media-preserved modern Jewish movements,
Chabad's rich material culture, including the hand-held portrait,
the 'rebbishe' space, the printer's mark and the public menorah,
afford scholars a wider range of interpretive strategies for
understanding the movement and the role of the visual experience in
religion.
In the American imagination, the Soviet Union was a drab cultural
wasteland, a place where playful creative work and individualism
was heavily regulated and censored. Yet despite state control, some
cultural industries flourished in the Soviet era, including
animation. Drawing the Iron Curtain tells the story of the golden
age of Soviet animation and the Jewish artists who enabled it to
thrive. Art historian Maya Balakirsky Katz reveals how the
state-run animation studio Soyuzmultfilm brought together Jewish
creative personnel from every corner of the Soviet Union and served
as an unlikely haven for dissidents who were banned from working in
other industries. Surveying a wide range of Soviet animation
produced between 1919 and 1989, from cutting-edge art films like
Tale of Tales to cartoons featuring """"Soviet Mickey Mouse""""
Cheburashka, she finds that these works played a key role in
articulating a cosmopolitan sensibility and a multicultural vision
for the Soviet Union. Furthermore, she considers how Jewish
filmmakers used animation to depict distinctive elements of their
heritage and ethnic identity, whether producing films about the
Holocaust or using fellow Jews as models for character drawings.
Providing a copiously illustrated introduction to many of
Soyuzmultfilm's key artistic achievements, while revealing the
tumultuous social and political conditions in which these films
were produced, Drawing the Iron Curtain has something to offer
animation fans and students of Cold War history alike.
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