Portraits of the thirty-eight known patients Sigmund Freud treated clinically—some well-known, many obscure—reveal a darker, more complex picture of the famed psychoanalyst. Everyone knows the characters described by Freud in his case histories: “Dora,” the “Rat Man,” the “Wolf Man.” But what do we know of the people, the lives behind these famous pseudonyms: Ida Bauer, Ernst Lanzer, Sergius Pankejeff? Do we know the circumstances that led them to Freud’s consulting room, or how they fared—how they really fared—following their treatments? And what of those patients about whom Freud wrote nothing, or very little: Pauline Silberstein, who threw herself from the fourth floor of her analyst’s building; Elfriede Hirschfeld, Freud’s “grand-patient” and “chief tormentor;” the fashionable architect Karl Mayreder; the psychotic millionaire Carl Liebmann; and so many others? In an absorbing sequence of portraits, Mikkel Borch-Jacobsen offers the stories of these men and women—some comic, many tragic, all of them deeply moving. In total, thirty-eight lives tell us as much about Freud’s clinical practice as his celebrated case studies, revealing a darker and more complex Freud than is usually portrayed: the doctor as his patients, their friends, and their families saw him.
Remembering Anna O. offers a devastating examination of the very foundations of psychoanalytic theory and practice, which was born with the publication of Breuer and Freud's Studies on Hysteria in 1895. Breuer described the case of Anna O., a young woman afflicted with a severe hysteria whom he had cured of her symptoms by having her recount under hypnosis the traumatic events that precipitated her illness. Drawing on the most recent Freud scholarship and on long-secret documents, Borch-Jacobsen demonstrates, however, that Anna O. (Bertha Pappenheim) was never cured by Breuer's "talking cure" and that both Breuer and Freud knowingly falsified the historical record. Borch-Jacobsen points out the numerous inconsistencies in Breuer's account that suggests that Anna O.'s symptoms were simulated to meet Breuer's theoretical expectations and that her famed "reminiscences" were in fact fictitious memories induced by Breuer in the course of a hypnotic treatment.
Borch-Jacobsen provides an introductory summary of Freud's psychoanalysis, emphasizing biological and historical contexts, and offering a fresh perspective on the familiar facts of Freud's theories. Scholars and students of Freud, as well as practising psychoanalysts, will benefit from this book.
How did psychoanalysis attain its prominent cultural position? This book reconstructs the early controversies surrounding psychoanalysis and shows that rather than demonstrating its superiority, the Freudians rescripted history. This was not incidental, but formed the core of psychoanalytic theory. The Freud Files reveals how psychoanalysis is vulnerable to its past.
I would like to thank Judy Gammelgaard and Andrew Moskowitz for their encouragement, critique, and confidence in me, without which I could not have undertaken the present study. I also wish to thank Jon Frederickson for his generous editorial suggestions, and for his writings, which stimulated my interest in the ego in the first place. Last but not least, I want to thank my friend Joachim Meier for our tireless discussions on subjectivity—a continual source of vitality and inspiration during the years of this book’s conception.
Borch-Jacobsen provides an introductory summary of Freud's psychoanalysis, emphasizing biological and historical contexts, and offering a fresh perspective on the familiar facts of Freud's theories. Scholars and students of Freud, as well as practising psychoanalysts, will benefit from this book.
Portraits of the thirty-eight known patients Sigmund Freud treated clinically—some well-known, many obscure—reveal a darker, more complex picture of the famed psychoanalyst. Everyone knows the characters described by Freud in his case histories: “Dora,” the “Rat Man,” the “Wolf Man.” But what do we know of the people, the lives behind these famous pseudonyms: Ida Bauer, Ernst Lanzer, Sergius Pankejeff? Do we know the circumstances that led them to Freud’s consulting room, or how they fared—how they really fared—following their treatments? And what of those patients about whom Freud wrote nothing, or very little: Pauline Silberstein, who threw herself from the fourth floor of her analyst’s building; Elfriede Hirschfeld, Freud’s “grand-patient” and “chief tormentor;” the fashionable architect Karl Mayreder; the psychotic millionaire Carl Liebmann; and so many others? In an absorbing sequence of portraits, Mikkel Borch-Jacobsen offers the stories of these men and women—some comic, many tragic, all of them deeply moving. In total, thirty-eight lives tell us as much about Freud’s clinical practice as his celebrated case studies, revealing a darker and more complex Freud than is usually portrayed: the doctor as his patients, their friends, and their families saw him.
Remembering Anna O. offers a devastating examination of the very foundations of psychoanalytic theory and practice, which was born with the publication of Breuer and Freud's Studies on Hysteria in 1895. Breuer described the case of Anna O., a young woman afflicted with a severe hysteria whom he had cured of her symptoms by having her recount under hypnosis the traumatic events that precipitated her illness. Drawing on the most recent Freud scholarship and on long-secret documents, Borch-Jacobsen demonstrates, however, that Anna O. (Bertha Pappenheim) was never cured by Breuer's "talking cure" and that both Breuer and Freud knowingly falsified the historical record. Borch-Jacobsen points out the numerous inconsistencies in Breuer's account that suggests that Anna O.'s symptoms were simulated to meet Breuer's theoretical expectations and that her famed "reminiscences" were in fact fictitious memories induced by Breuer in the course of a hypnotic treatment.
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