Psychoanalysis and the Image: Transdisciplinary Perspectives

Psychoanalysis and the Image brings together an influential team of international scholars to use psychoanalytical resources in the study of international modern art and visual representation. Beginning with a substantial introduction by the editor, the volume covers a range of psychoanalytic concepts, including melancholia, trauma, sexuality, the dream, and femininity. Fresh, creative, and passionate about its subjects, Psychoanalysis and the Image advances methodological debates in theoretically enriched histories of art while offering closely read visual analyses of significant works of international twentieth–century art. It teaches theory in practice while enabling general readers to learn about psychoanalysis through their interest in the visual arts.

List of Figures. Notes on Contributers. Series Editor′s Preface. Preface. 1. The Image in Psychoanalysis and the Archaeological Metaphor. (Griselda Pollock). 2. Dreaming Art. (Mieke Bal). 3. Fascinance and the Girl–to–m/Other Matrixial Feminine Difference. (Brache L. Ettinger). 4. Melancholia and Cezanne′s Portraits: Faces beyond the Mirror. (Young–Paik Chun). 5. Yayoi Kusama between Abstraction and Pathology. (Izumi Nakajime). 6. Diaspora without Resistance? Theresa Hak Kyung Cha′s DICTEE and the Law of Genre. (Karyne Ball). 7. Fragment(s) of an Analysis: Chantal Akerman′s News from Home (or a Mother–Daughter Tale of Two Cities). (Adriana Cerne). Bibliography. Index.

Griselda Pollock is Professor of Social and Critical Histories of Art and Director of the CATH Centre at the University of Leeds. She is the author of Vision and Difference: Feminism, Femininity and the Histories of Art (1988), Differencing the Canon: Feminist Desire and the Writing of Art’s Histories (1999), Looking Back to the Future: Essays on Art, Life, and Death (2000), and a monograph on Charlotte Salomon, Theatre of Memory (2007).

"With greater clarity than ever, this book articulates the relevance of psychoanalysis for art historical interpretation. The result is a work that must necessarily figure in method and theory courses from now on." Keith Moxey, Barnard College, Columbia University