Freud Museum London: Psychoanalysis Podcasts

The Many Minds of Marilyn Monroe

Sarah Churchwell

In 1956 while filming The Prince and the Showgirl with Laurence Olivier, Marilyn Monroe suffered a crisis that brought her to see Anna Freud. Marilyn had a long history of encounters with the psychoanalytic profession. Her trajectory illuminates some of the difficulties celebrity engenders. Writer and broadcaster Prof. Sarah Churchwell, author of ‘Careless People: Murder, Mayhem and the Invention of The Great Gatsby’ and ‘The Many Lives of Marilyn Monroe’, discusses Marilyn's life.

Part of a season of performances, talks, films and events accompanying the exhibition 'Mad, Bad and Sad: Women and the Mind Doctors', 10 October 2013 - 2 February 2014.

Freud in Bloomsbury

The affinity between Freud and Bloomsbury was obvious from 1910 and became productive when core members of the Bloomsbury group becoming psychoanalysts in the 1920s and the Hogarth Press became the official psychoanalytic publishing house. The lecture will explore the reasons for this affinity and also ask if the history of psychoanalysis in Britain has been radically different from other countries because of its original alliance with an entrenched anti-establishment elite from the English rentier class, both extremely well-connected and bohemian.

John Forrester is Professor of History and Philosophy of the Sciences in the University of Cambridge, author of 'Language and the Origins of Psychoanalysis' (1980), 'The Seductions of Psychoanalysis' (1990), (with Lisa Appignanesi) 'Freud’s Women' (1992), 'Dispatches from the Freud Wars' (1997) and 'Truth Games' (1997). He is completing (with Laura Cameron) 'Freud in Cambridge', a study of the reception of psychoanalysis in the 1920s. He is interested in reasoning in cases in science, medicine and law. He is Editor of Psychoanalysis and History.

Part of a season of talks and events accompanying the forthcoming exhibition 'Mad, Bad and Sad: Women and the Mind Doctors', 10 October 2013 - 2 February 2014. 

Sites of the Unconscious

Sites of the Unconscious: Hypnosis and the Emergence of the Psychoanalytic Setting

Author's talk: Andreas Mayer introduced by John Forrester

In the late nineteenth century, scientists, psychiatrists, and medical practitioners began employing a new experimental technique for the study of neuroses: hypnotism. Though the efforts of the famous French neurologist Jean-Martin Charcot to transform hypnosis into a laboratory science failed, his Viennese translator and disciple Sigmund Freud took up the challenge and invented psychoanalysis. Previous scholarship has viewed hypnosis and psychoanalysis in sharp opposition or claimed that both were ultimately grounded in the phenomenon of suggestion and thus equally flawed. In this groundbreaking study, Andreas Mayer reexamines the relationship between hypnosis and psychoanalysis, revealing that the emergence of the familiar Freudian psychoanalytic setting cannot be understood without a detailed analysis of the sites, material and social practices, and controversies within the checkered scientific and medical landscape of hypnotism.

Sites of the Unconscious analyzes the major controversies between competing French schools of hypnotism that emerged at this time, stressing their different views on the production of viable evidence and their different ways of deploying hypnosis. Mayer then reconstructs in detail the reception of French hypnotism in German-speaking countries, arguing that the distinctive features of Freud’s psychoanalytic setting of the couch emerged out of the clinical laboratories and private consulting rooms of the practitioners of hypnosis.

Sites of the Unconscious: Hypnosis and the Emergence of the Psychoanalytic Setting is published by Chicago/London: Chicago University Press, 2013

After studying musicology in his native Vienna, Andreas Mayer turned to the history and sociology of science with studies in Paris, Cambridge and Bielefeld. His work centers on various topics in the history of the human sciences, the entangled relationship between music, literature, the arts and the sciences in the modern period, and most notably the emergence of psychoanalysis and its related discourses and practices. His major publications include Dreaming by the Book: A History of Freud's "The Interpretation of Dreams" and the Psychoanalytic Movement (2003).

John Forrester is Professor of History and Philosophy of the Sciences in the University of Cambridge, author of Language and the Origins of Psychoanalysis (1980), The Seductions of Psychoanalysis (1990), (with Lisa Appignanesi) Freud’s Women (1992), Dispatches from the Freud Wars (1997) and Truth Games (1997). He is completing (with Laura Cameron) Freud in Cambridge, a study of the reception of psychoanalysis in the 1920s. He is interested in reasoning in cases in science, medicine and law. He is Editor of 'Psychoanalysis and History.

Part of a season of performances, talks, films and events accompanying the forthcoming exhibition 'Mad, Bad and Sad: Women and the Mind Doctors', 10 October 2013 - 2 February 2014.

Sincerity and Freedom in Psychoanalysis 9: Internal and External Reality: The Ferenczi Project

Closing Discussion: Internal and External Reality: The Ferenczi Project

Facilitator: Kathleen Kelley-Lainé

Sincerity and Freedom in Psychoanalysis 8: Psychoanalysis and Politics

Panel 8: Psychoanalysis and Politics

Sincerity and Freedom in Psychoanalysis: a studio conference inspired by Sándor Ferenczi's Clinical Diary

18-20 October 2013

Ferenc Erős - Freedom and Authority in the Clinical Diary

Jonathan Sklar - Psychoanalysis, Analytic Societies and the European Unconscious

Facilitator: Lene Auestad

Ferenc Erős - Freedom and Authority in the Clinical Diary

In my paper I will examine the challenges of some twentieth century political theories and ideologies (like Marxism, socialism, feminism, postmodern thinking) for psychoanalysis. I will raise the question: after the experiences of historical traumata, totalitarianism and dictatorships, what psychoanalysis today can say about the non-traumatic, democratic social processes and about the threats they have to face with. To attempt to outline a possible answer, I will go back to Ferenczi’s early writings that explicitly deal with social and political issues, especially to his manuscript “Psychoanalysis and liberal socialism”. I will also discuss the ethical and political-philosophical implications of Ferenczi’s Clinical Diary, especially for the concept of freedom and authority.

Jonathan Sklar - Psychoanalysis, Analytic Societies and the European Unconscious

In this paper I address the impact of transgenerational conflict on European analysis and Societies.

How can one think about trauma in the individual without thinking of it in generational terms? In a similar way the cultural heritage that formed the backdrop to the development of psychoanalysis from within the Austro-Hungarian Empire and its aftermath has its own value transmitting unconscious imprints on analytic societies. What are the interfaces between personal and historical trauma, and in particular the interface with unconscious processes? Totalitarian regimes in the 20th century have, of course, had a massive impact on Europe including analytic societies, which I will argue is ongoing. How can the mind take a measure of history, when history will submit neither to the reason of the world nor to the mind that confronts it?

Sincerity and Freedom in Psychoanalysis 7: Ferenczi and Others

Panel 7: Ferenczi and Others

Sincerity and Freedom in Psychoanalysis: a studio conference inspired by Sándor Ferenczi's Clinical Diary

18-20 October 2013

Tom Keve - The Jung-Ferenczi Dossier

Isabel Halton - Mrs Klein and the Diary

Yves Lugrin - Lacan-Ferenczi … a paradoxical kinship?

Facilitator: Giselle Galdi

Tom Keve - The Jung-Ferenczi Dossier

The acquaintance between Ferenczi and C G Jung, pre-dates their first encounter with Sigmund Freud. Later, a triangular relationship developed when the three men crossed the Atlantic together and spent an extended period in one another’s company. Ferenczi’s friendship with Jung could not survive the latter’s break with Freud, but it’s development between 1907 and 1913 is evidenced by unpublished letters from Jung to Ferenczi, found in the Ferenczi Archive, now at the Freud Museum.

Isabel Halton - Mrs Klein and the Diary

In 1959 Klein wrote “While living in Budapest. I had become interested in psycho-analysis…I went into analysis with Ferenczi, who was the most outstanding Hungarian analyst, and he very much encouraged my idea of devoting myself to analysis, particularly child analysis, for which he said I had a particular talent.”

Ferenczi had an important influence on Melanie Klein’s ideas. In this talk I want to look at the clinical diaries and try to map the kind of influence he had on Mrs Klein’s work.

Yves Lugrin - Lacan-Ferenczi … a paradoxical kinship?

“In my teaching, I always give a special consideration to Ferenczi’s spiritual line of thought” : here is what Lacan confides in 1953 to M. Balint, “one of the best trained psychoanalysts in Ferenczi’s school of authenticity”. Nevertheless, this tribute paid to the author of “the luminous paper on psychoanalytical elasticity” is not given without strict, sometimes unfair criticism.

Moreover, from 1963 onwards, Ferenczi seems to disappear from Lacan’s horizon of thought, most of his students neglecting Ferenczi’s crucial role in the history of psychoanalysis, and failing to realize that his work should not be forgotten. Yet today, more than thirty years after Lacan’s death, we discover that in his own destiny as an psychoanalyst, he remained stangely loyal to “the passion for analyzing” that he early detected in Ferenczi whom he considered as “the most pertinent” among the pioneers “in his questioning what is required from the psychoanalyst, and specially about the end of the cure”

Each in his own psychoanalytical singularity, Lacan and Ferenczi were both “the most tormented by the psychoanalytical action”. But was it the same torment? And what were the differences?

Sincerity and Freedom in Psychoanalysis 6: Therapeutic Ethics and Analytic Concepts

Panel 6: Therapeutic Ethics and Analytic Concepts

Sincerity and Freedom in Psychoanalysis: a studio conference inspired by Sándor Ferenczi's Clinical Diary

18-20 October 2013

Julia Borossa - Translating Ferenczi’s Therapeutic Ethics for our Time: The Question of Being Alongside

Hayuta Gurevich - The Return of Dissociation as Absence within Absence

Facilitator: Antal Bókay

Julia Borossa - Translating Ferenczi’s Therapeutic Ethics for our Time: The Question of Being Alongside

Ferenczi’s practice and therapeutic ethics as exemplified in the Clinical Diary reveal a profound sensitivity to the question of authority and freedom. This paper will engage with the ways in which this question has been taken up elsewhere and has become central to post war extensions of the psychoanalytic field, such as group analysis. A particular comparison will be made with group analytic notions of leadership and horizontal ways of relating, ie how to be alongside one another. It will be suggested that the translation of Ferenczi for our time opens up onto the question of the adaptability of psychoanalysis to different and changing socio-political contexts.

Hayuta Gurevich - The Return of Dissociation as Absence within Absence

My aim is to translate Ferenczi’s central concepts of the intrapsychic impact and imprint of early developmental trauma into both revived and contemporary conceptualizations.

The concept of dissociation was central to the Seduction Theory renounced by Freud, yet it is returning as a cornerstone of recent Trauma Theories. Ferenczi, following Freud, usually used the concepts of repression and splitting, but definitely used them in the sense of an intrapsychic imprint of early external trauma, that is – as dissociation, i.e., fragmentation of consciousness itself. Furthermore, early trauma is double: an absence of protection that threatens existence of the self, combined with an absence of attachment and of recognition of this threat and terror; thus – an absence-within-absence. This contemporary conceptualization entails a widening of the intrapsychic realm to include an intersubjective one, and regards dissociation as a unique and complex intrapsychic absence, which is a negative of the external absence-within-absence in the early environment.

Sincerity and Freedom in Psychoanalysis 5: Kino-Analytic Panel

Panel 5: Kino-Analytic Panel

Sincerity and Freedom in Psychoanalysis: a studio conference inspired by Sándor Ferenczi's Clinical Diary

18-20 October 2013

Two films by Em Cooper, introduced and discussed by Kata Lénárd and Petra Kovács, with Em Cooper. 

Facilitator: Kanaan Navaratnam

British film director Em Cooper was inspired by Sándor Ferenczi’s ‘confusion of tongues’ theory. The film (2010) of the same title combines animation and live action seeking to capture the chaotic inner experiences, complex psychic, perceptual and memory distortions of the person suffering from trauma.

Please note that the films themselves have been cut from this recording.

Confusion of Tongues

The short film – using only a scarce number of words – depicts with incredible power a trauma that can hardly be recounted verbally. Rapid changing of images, colours and shapes, the transitions of contoured and obscure, shifts between ’real’ and ’imaginary’ figures – this visual montage synthesizes multiple ideas in a powerful visual language. The blending of animation and live action creates a chaotic, surreal world that is both frightening and moving. The film, as a work coming into existence in transitional space, zooms in and out.

Em Cooper’s movie helps encounter what is incomprehensible, inexplicable and impossible to apprehend.

The film is about a young woman haunted by a recurring childhood memory. Gripped by her fear of a window left open she begins to recall a much deeper trauma. Likewise in some sentences of the Ferenczi-essay, heavy layers of meanings are building upon each other through the images of the movie. The text and special language of the original paper is turned into a visual language with astounding accuracy – thus the inner content of the coherent text, the non-narratibility of the trauma are transformed into an experience affecting our primary senses through images and sounds difficult to reflect (upon) and integrate.

In our lecture we observe the role of live action and animation in capturing the dynamics of confusion of tongues and how it affects the receivers/audience. How is confusion of tongues portrayed today in an animation employing oil-painting technology? What extra meanings are given by images, colours and sounds to the issues of seduction and trauma, construction and reconstruction, narrative and objective truth? The real, live hand, flashing onto the screen, sketching up the animation parts of the film may also actuate thoughts concerning the processing of the trauma.

The Nest and trauma

The short film of British film director Em Cooper The Nest (2010) tells the parallel story of a domestic abuse. The very same morning is shown first from the mother’s point of view, then from her daughter’s angle. The ”dissociated” images of the film blur the line between past and present, fantasy and reality, mother’s and daughter’s story. Is it the mother’s or the daughter’s trauma? Or the trauma suffered by the mother is mirrored in fantasy, and this unprocessed trauma presents itself in the dynamics of the father-daughter relationship, or even, in all three lives?

After watching the film we will discuss how stories that are verbally ’non-narratable’ but live deep inside us can emerge, come back to life, be animated through various media, e.g. the visual arts. The director employs the ambiguity, “double senses” (M.L. Hernandez) immanent in animation to represent the interplay between fiction and reality. The intermediality of animation and live action helps getting to a closer understanding of domestic violence, the dynamics of abuse and transgenerational trauma.

Sincerity and Freedom in Psychoanalysis 4: From Babies to Maturity

Panel 4: From Babies to Maturity

Sincerity and Freedom in Psychoanalysis: a studio conference inspired by Sándor Ferenczi's Clinical Diary

18-20 October 2013

Shaul Bar-Haim - “Infants do not love; they must be loved”: Omnipotence, dependency and the Ferenczian notion of childhood

Antal Bókay - The Idea of the Child – Ferenczi and Others

Julianna Vamos - Free to Move – Free to Be

Kathleen Kelley-Lainé - Freedom to Grow: Inspired by Ferenczi’s Clinical Diary

Facilitator: Gianna Williams

Shaul Bar-Haim - “Infants do not love; they must be loved”: Omnipotence, dependency and the Ferenczian notion of childhood

On the 7th of August 1932, Sandor Ferenczi wrote in his Clinical Diary the following words: “The newborn child uses all its libido for its own growth; indeed, it must be given additional libido to ensure that it grows normally. Normal life thus begins with exclusive, passive object-love. Infants do not love; they must be loved” (Clinical Diary, 189). This quotation represents Ferenczi’s much wider understanding of childhood, as he perceived it in the early 1930s – the last years of his life. In a series of notable publications, he portrayed childhood as a state of passivity, dependency and weakness. In order to survive, he argued, children must not only learn their carers’ formal language, but also to fully internalize their carers’ unconscious wishes and desires. To survive, he believed, children must develop an ability to ‘identify with an aggressor’, who he often saw as being their own parents. Childhood, according to the later writings of Ferenczi, is a matter of survival.

But this was not always the case. In his early psychoanalytical works, and mainly in his influential essay, ‘Stages in the Development of the Sense of Reality’, published in 1913, Ferenczi had a different picture of infancy and early childhood. Children, he then thought, are motivated by their feelings of omnipotence. From a very early stage, perhaps from the moment of birth, they perceive themselves as capable and powerful beings. According to this perception of childhood, infants believe in their power to make their carers attune to their needs rather than to attune themselves to their carers’ desires.

So what happened to the ‘Ferenczian child’ between ‘The Stages of Development’ and ‘The Clinical Diary’? My aim is to provide a short history of the changes in Ferenczi’s concept of childhood, during the two decade period, 1913-1932. This might help us to have a better picture of the ways in which Ferenczi thought of childhood – from a state of ‘omnipotence’ to a state of what he famously described as a ‘confusion of tongues’. It will also be argued that the reasons for this change are not solely related to Ferenczi’s own personal life, but also to some historically major changes in the psychoanalytical understanding of childhood, and the emergence of child-psychoanalysis after the First World War.

Antal Bókay - The Idea of the Child – Ferenczi and Others

The paper discusses the idea of the child as a projection, a construction of the self in psychoanalysis and in literature. The major “psychoanalytic philosopher” of the idea of the child was Sándor Ferenczi who wrote several important papers (pre-eminently, the “Confusion of tongues between adults and the child”) and discussed the theme in his Clinical Diary. Ferenczi’s reflections on the meaning of trauma and seduction for understanding neurosis and mental illness lead to a powerful restatement of the distinction between the child and the adult and of the anthropological difference that is connected to it. For Ferenczi the trauma is not only the cause of neurosis but also a constitutive factor of human subjectivity. The child, who resides in us, is a trauma product, a deeply hidden special narrative, a heterogeneous unfolding of inner energies inscripted by early primary events as signifiers. The primary source of the trauma is relational: the irreconcilable difference of the child and the adult. Before the trauma there exists a tie of love between the adult and the child. The child plays out its desire on the level of tenderness, imagination and play. The adult has a different form of desire, he interprets the process sexually, with the language of passion. Adult passion intrudes into the child’s world brutally, the child starts to panic. To defend itself its only possibility is to identify with the aggressor. Not becoming aggressive, but accepting as normal its position and also introjecting the guilt feeling of the aggressor. Connected to the psychoanalytic views of Ferenczi I discuss parallel philosophical positions (Merleau-Ponty, Giorgio Agamben) concerning the figure of the child and analyze a few literary-poetical examples.

Julianna Vamos - Free to Move – Free to Be

The Hungarian Pikler-Loczy Institute for Infants’ Well-being and Healthy Development could not have been created without the fundamental contribution of the Budapest School’s approach to Object Relations. For historical reasons, there is very little known in psychoanalytical circles about this extraordinary experience.

The space for partnership and reciprocity, and space for “true” autonomy, is an original model created by Pikler, with central importance given to the baby’s self-initiated motor development: “freedom to move”.

We will present video sequences of this universe of solicitude. The atmosphere of this world around babies is en resonance with Ferenczi’s reflections in his Clinical Diary, and what he “dreamed” of as the necessity of a caring early environment provided through adult tenderness.

Kathleen Kelley-Lainé - Freedom to Grow: Inspired by Ferenczi’s Clinical Diary

This paper will explore how psychoanalysis can create a space in which immature, infantile psychic processes can be identified, elaborated and transformed, enabling the subject to emerge. A clinical example will illustrate the case of a young woman who after three years in analysis was able to break free of archaic, infantile fantasies and develop her career as a musician.

Sincerity and Freedom in Psychoanalysis 3: Experiencing, Re-Experiencing, Symbolization and New Beginnings

Panel 3: Experiencing, Re-Experiencing, Symbolization and New Beginnings


Sincerity and Freedom in Psychoanalysis: a studio conference inspired by Sándor Ferenczi's Clinical Diary

18-20 October 2013

Endre Koritar - Surviving Deadness in the Analytic Experience

Etty Cohen - The Vicissitudes of Enactment in Analysis of Traumatized Female Patients – From Freud and Ferenczi to Contemporary Psychoanalysis

Franco Borgogno - “Coming from afar” and “becoming temporarily the patient without knowing it”: Two necessary conditions of analysing according to Ferenczi’s later works

Facilitator: Joan Raphael-Leff

Endre Koritar - Surviving Deadness in the Analytic Experience

The transference/countertransference (T/CT) analysis is considered to be central in the therapeutic effectiveness of the analytic process. Less emphasis has been placed on the actual experiences of analyst and analysand in the conflictual re-enactment of T/CT and its resolution.

In this paper, I will recount the experiences of a patient who was silent throughout most of the analysis, and my reaction, in fantasy and enactment, to this difficult experience-both for him and myself. I argue that it is the affective re-experiencing of past, repressed trauma of both partners in the analytic couple that has a therapeutic impact, leading to growth in the patient and also the therapist.

I contrast Freud’s emphasis on insight, making the unconscious conscious, with Ferenczi’s suggestion that the therapeutic impact lies in the repetition of past traumatic experience in the analysis but with the possibility of a different outcome with a more benign object, leading to symbolic representation of repressed trauma. I will review the works of Pearl King on the affective response of the analyst, Joseph Sandler’s work on Role-Responsiveness, Franco Borgogno’s work on Role Reversal, Ted Jacobs work on CT Enactment, Casement’s views on learning from the patient, and Ogden’s work on analysis of the analytic space in focusing on the actual experiences of both partners in the analysis.

Re-experiencing and symbolization in the T/CT of past traumatic experience can be an exit point from the endless repetition of trauma in internal and external object relations, and a new beginning in the patient’s life.

Etty Cohen - The Vicissitudes of Enactment in Analysis of Traumatized Female Patients – From Freud and Ferenczi to Contemporary Psychoanalysis

The tears of doctor and of patient mingle in a sublimated communion, which perhaps finds its analogy only in the mother-child relationship. And this is the healing agent, which, like a kind of glue, binds together … (Ferenczi, 1932, p. 65).

Ferenczi departed from traditional psychoanalytic techniques and devoted part of his career to developing the role of action in the analytic treatment of difficult patients. He recognized the equal significance of verbal and nonverbal communications in the therapeutic dyad and believed that communication is in itself a form of action.

Traumatized patients generally engage with us through actions (enactments) rather than words. In this paper I will discuss the meaning and evolution of various enactments by Freud and Ferenczi as well as their female patients within the therapeutic process. These enactments allowed patients’ traumatic past experiences to emerge.

Freud’s patient, Dora, and Sándor Ferenczi’s patients, Dm and B, as described in his Clinical Diary (1932), were all severely traumatized. By exploring Ferenczi’s and Freud’s clinical work, I will focus on the multiple meanings of the choices they utilized while working with traumatized patients. Distinguished formulations of therapeutic actions specifically addressing enactment will be addressed.

Franco Borgogno - “Coming from afar” and “becoming temporarily the patient without knowing it”: Two necessary conditions of analysing according to Ferenczi’s later works

In this paper the Author will offer thoughts about the two necessary conditions of a true analysis according to Ferenczi’s later works: the “reciprocal coming from afar of the analyst and of the patient” and the “becoming temporarily the patient of the analyst without knowing it”.

Sincerity and Freedom in Psychoanalysis 2: Sincerity, Honesty and Freedom

Panel 2: Sincerity, Honesty and Freedom

Sincerity and Freedom in Psychoanalysis: a studio conference inspired by Sándor Ferenczi's Clinical Diary

18-20 October 2013

Andre Haynal - Prolegomena to the Clinical Diary

Ken Robinson - Empathy, Tact and the Freedom to be Natural

Gabor Szonyi - Challenges of Honesty

Facilitator: Judit Szekacs

Andre Haynal - Prolegomena to the Clinical Diary

In pursuing threads of the Correspondence with Freud and traces of the mutual analysis with Groddeck, this is an attempt at capturing the psychological atmosphere for Ferenczi around the time of the birth of the Diary. Mysterious and fecund moments follow difficulties that approach somatic breakdown.

Ken Robinson - Empathy, Tact and the Freedom to be Natural

The clinical concepts of “empathy” and “tact” as Ferenczi uses them in the Clinical Diary, in “The Elasticity of Psycho-Analytic Technique” (1928) and in his correspondence with Freud in January 1928, have an enduring importance. I propose to explore them as part of a family of related concepts, founded in the analyst’s capacity to be “natural” and “sincere”, and to locate them in the wider context of the philosophy of “personal knowledge” associated with another Hungarian, Michael Polanyi.

Gabor Szonyi - Challenges of Honesty

There was one thing Sandor Ferenczi was committed to more than to Freud: psychoanalysis. Above all others, he took the method extremely seriously. Not in a descriptive sense, but by following its spirit and exploring it in its totality.

Ferenczi was willing to explore the whole domain of the basic rule: express – without any filtering – what you have on your mind. His personality was that of a researcher, for whom experimentation is natural. The famous – and scarily misunderstood – experiences with mutual analysis explored the limits of honesty in free association for both actors; the analysand and the analyst.

There are today three settings where the honesty of an analyst is at stake: his or her personal analysis; supervisions and case discussions; and the analyses he or she conducts. These require the capacity and the willingness to be honest. Being honest can always turn into a painful exercise. It is not just a given, even if the capacity is broad and the analyst has extensive training. Willingness to be honest needs to be rebuilt in every context again and again – which is a crucial point of self-analysis.

Ferenczi criticized the hypocrisy of doctors – and honesty, indispensable in self-analysis, is the opposite of hypocrisy. A hundred years after the formation of the British and Hungarian Psychoanalytic Societies, it is worth reviewing our training practices to see how much they help or hinder the growing capacity to be honest and the willingness to practice honesty in our daily work.

Sincerity and Freedom in Psychoanalysis 1: Analysts, Scholars, Detectives and Patients: Who is who in the Clinical Diary?

Panel 1: Analysts, Scholars, Detectives and Patients: Who is who in the Clinical Diary?

Sincerity and Freedom in Psychoanalysis: a studio conference inspired by Sándor Ferenczi's Clinical Diary

18-20 October 2013

Christopher Fortune - The Diary’s “RN”: Reflections of the Legacy Twenty years on

B. William Brennan - Decoding Ferenczi’s Clinical Diary: Biographical Notes on Identities Concealed and Revealed

Emanuel Berman - Ferenczi and his analysands: A virtual therapy group

Facilitators: Tom Keve and Judit Szekacs

Christopher Fortune - The Diary’s “RN”: Reflections of the Legacy Twenty years on

Twenty years ago, the first collection of papers on Ferenczi’s contributions was published as The Legacy of Sandor Ferenczi (Aron & Harris, 1993). One of the chapters in the book shed light on the background, life and work of “RN”, Ferenczi’s code-name in the Clinical Diary for his critical patient, Elizabeth Severn. The publication of the Diary had earlier revealed the profound importance of her case for Ferenczi’s developing ideas and practice. The chapter in the Legacy book titled: The Case of “RN”: Sandor Ferenczi’s Radical Experiment in Psychoanalysis (Fortune), presented biographical material and research, supporting and adding to, the rich clinical material already revealed in the Diary. Now, two decades later, RN has continued to secure her place as “one of the most important patients in the history of psychoanalysis.” In our first studio conference, I would like to revisit, reflect and bring forward new material and insights on the relationship between Sándor Ferenczi and Elizabeth Severn.

B. William Brennan - Decoding Ferenczi’s Clinical Diary: Biographical Notes on Identities Concealed and Revealed

In The Clinical Diary of Sándor Ferenczi (1988) certain codes are used to refer to particular patients. The identity of some of these patients are known to us, notably, Dm (Clara Thompson) and RN (Elizabeth Severn), but the others have remained a mystery. We have the biographical data of many of Freud’s famous cases (the Wolf Man, Anna O, Little Hans etc) which contextualizes and enlarges our understanding. I propose a hypothesis of the code Ferenczi used to conceal his patient’s identities—revealing the identities and life stories. I will provide additional biographical notes to expand and contextualize our understanding of the lives of these patients—who were they? what kind of families did they came from? and what happened to them after their analysis? Included in their stories are tales of bobbed hair in the Amazon; ϋber wealth and aristocracy; parents who survived the Titantic; and FBI investigations for espionage. I will also address my own process in uncovering their identities and the ethics of writing about historical patients.

Emanuel Berman - Ferenczi and his analysands: A virtual therapy group

Ferenczi writes in the Clinical Diary, when dealing with the dilemmas of confidentiality in mutual analysis, of a “‘polygamous’ analysis, which roughly corresponds to the group analysis of American colleagues (even if it is not carried out in groups” (16 February, 1932; p. 34). In such a group there are no secrets among the participants. Although the setting of Ferenczi’s work in 1932 was of numerous individual analyses (some of them mutual), the process was actually also a group process. Many of the analysands knew each other and discussed their analyses with each other, making comparisons, competing with each other, reporting on one another, trying to influence Ferenczi in one direction or another, etc. This is clear from the text of the Diary, and becomes even clearer with the help of Brennan’s biographical explorations. I will demonstrate this emotional reality through several examples, and discuss its profound impact on some of the analyses described in the Diary. I will relate this situation to a common pattern in analytic training, when several candidates who know each other see the same analyst. In such situations we witness the emergence of “the reverse case conference” in which patients discuss their common analyst, often secretly. Such discussions never appear in print, but may have a strong and unacknowledged influence on the seemingly “individual” treatments.

Sincerity and Freedom in Psychoanalysis: Opening the Diary

Introductory remarks by Dawn Kemp and Judit Szekacs

Sincerity and Freedom in Psychoanalysis: a studio conference inspired by Sándor Ferenczi's Clinical Diary

18-20 October 2013

Wagner, Freud and the End of Myth 7: Tom Artin - The Ring in a Nutshell: A Glimpse at The Wagner Complex

Tom Artin - The Ring in a Nutshell: A Glimpse at The Wagner Complex

Wagner, Freud and the End of Myth: Day conference, Saturday 28 September 2013

In this paper I will present an overview of my recently published The Wagner Complex: Genesis and Meaning of The Ring, which sets forth a psychoanalytic interpretation of Wagner's operatic tetralogy. Though a commonplace that Wagner's works offer fertile ground for Freudian analysis, remarkably little investigation along these lines has actually seen publication. This book's thesis rests on an exploration of the 19th c. Zeitgeist in whose atmosphere Wagner's operatic creations and Freud's psychological speculations alike came to fruition, most notably the emerging conjecture--scientific as well as philosophical--of the fundamental role played by the unconscious in everyday life and the creative process. The overarching conclusion of The Wagner Complex is that The Ring comprises not merely fanciful adventures (and misadventures) of gods, giants, and dwarves, of super-human heroes and anti-heroes such as traverse its intricate surface, but shadows forth symbolically the drama of unconscious intra-psychic conflict.

Tom Artin was educated at Princeton, from which he holds a Ph. D. in Comparative Literature. He has held academic positions at a number of American colleges and universities, Swarthmore College and SUNY Rockland among them. His interest in Wagner evolved both from his training as a medievalist and his life-long involvement with music, and opera in particular. He is the author of several books, including The Allegory of Adventure, an exegetical study of the Arthurian romances of the 12th c. French poet Chrétien de Troyes, and most recently The Wagner Complex: Genesis and Meaning of The Ring.

Wagner, Freud and the End of Myth 6: Inge Wise - Die Walküre: A Tale of Oedipal Longings and Desires

Inge Wise - Die Walküre: A Tale of Oedipal Longings and Desires

Wagner, Freud and the End of Myth: Day conference, Saturday 28 September 2013

[No abstract]

Inge Wise studied English, French and Spanish literature and worked as simultaneous interpreter prior to training at the Tavistock Clinic and the British Psychoanalytic Society. She is a fellow of both the BPAS and of the Institute of Psychoanalysis. She founded the Psychoanalytic Ideas series published by the Institute of Psychoanalysis, which she co-edited with Paul Williams until 2011. She works in private practice and teaches/supervises in the UK and abroad. Music has been a constant in her life.

Wagner, Freud and the End of Myth 5: Bryan Magee in conversation with Stephen Gee - Precursors of the Unconscious: Wagner and the Philosophers

Precursors of the Unconscious: Wagner and the Philosophers

Bryan Magee in conversation with Stephen Gee

Wagner, Freud and the End of Myth: Day conference, Saturday 28 September 2013

In this conversation we will explore Bryan Magee's long-standing work on music and philosophy with reference to the impact on Wagner's operas of 19th century philosophers, most notably Schopenhauer, and Wagner’s concomitant influence on philosophy through his association with Nietzsche. In their writing, all three men elaborated ideas about unconscious forces and desires at work in human affairs, famously anticipating Freud and modernism. No 20th century composer could avoid the influence of Wagner and there were many artistic developments, including the breakdown of tonality itself. Likewise, with the advent of psychoanalysis there was no going back to any ideal of a unitary self or a philosophical ‘subject’.

Bryan Magee has had a lifelong engagement with philosophy and music. His work includes the award winning radio and TV series in which he interviewed contemporary thinkers such as Sir Alfred Ayer and Herbert Marcuse as well as exploring the ideas of philosophers of the past. His books include the autobiographical Confessions of a Philosopher and an acclaimed introduction to Karl Popper. He wrote The Philosophy of Schopenhauer and two books on Wagner; Aspects of Wagner and The Tristan Chord; Wagner and Philosophy. Like these two major figures in his creative life Bryan Magee has himself been a man of action as wells of ideas. In the1960s he made documentaries on prostitution, abortion and homosexuality and was Labour MP for Leyton in the 1970s and 80s. He has the gift of communicating his own love of ideas and music in a way that engages both aficionados and newcomers.

Stephen Gee is a member and former Chair of The Site for Contemporary Psychoanalysis. He has contributed to Site conferences on Winnicott, Lacan, Homosexuality, and Class. He organised a rehearsed reading of Sarah Kane's '4:48 Psychosis' followed by a colloquium in which psychoanalysts of different schools talked about the issues raised by the play and the challenges facing people suffering with psychosis. He ran a performance group at the Studio Upstairs where he was also a supervisor. He is a member of the editorial group of the Site's psychoanalytic journal, and has written on the problematic history of psychoanalysis and homosexuality. He interviewed the director Phyllida Lloyd at The Site and at the English National Opera on her 2005 production of Wagner's Ring cycle. He has a private practice in South London and teaches regularly at The Site and on other psychoanalytic trainings.

Wagner, Freud and the End of Myth 4: Stephen Gross - Freud and Wagner: The Assault on Reason

Stephen Gross - Freud and Wagner: The Assault on Reason

Wagner, Freud and the End of Myth: Day conference, Saturday 28 September 2013

A highly significant connection linking Freud and Wagner is the German philosopher Arthur Schopenhauer. His claim that true reality consists of the primordial and undifferentiated Will beyond both space and time as well as the reach of Reason and appearance, was hugely influential on Wagner's music, particularly "Tristan and Isolde" as Bryan Magee has argued in his celebrated study Wagner and Philosophy. Freud's notion of the unconscious, most specifically the id as seat of the sex drives, can now be seen as a derivation of Schopenhauer's ideas, thereby establishing his link with Wagner. The fierce resistance and hostility towards both Freud and Wagner was founded not only on their perceived assault on prevailing sexual mores, but their assault on Reason itself, and, in Wagner's case, on his association with Nazism.

Stephen Gross is an analytic psychotherapist in private practice. He also teaches and supervises at WPF Therapy and other training organisations. He is particularly interested in the overlap between psychotherapy and literature, especially the works of Shakespeare on which he has published widely. His first play, "Freud's Night Visitors" has been performed twice at The Freud Museum London.

Wagner, Freud and the End of Myth 3: Estela Welldon - The Chaste and the Driven: Power struggles in Wagner's Women

Estela Welldon - The Chaste and the Driven: Power struggles in Wagner's Women

Wagner, Freud and the End of Myth: Day conference, Saturday 28 September 2013

Far from being the passive victims of popular imagination, Wagner’s women are often complex, paradoxical and driven characters, representing diverse aspects of femininity and female desire. Wagner’s mythic narratives unveil power struggles between men and women, and between women themselves, representing warring currents of emotion within female psychology.

Estela Welldon is a psychotherapist who worked for many years at the Portman Clinic and in private practice. She is the founder of the International Association for Forensic Psychotherapy and a Fellow of the Royal College of Psychiatrists. She is most famous for her book Mother, Madonna Whore: The Idealization and Denigration of Motherhood (1988) which quashed the myth that ‘perversion’ was largely a male preserve and opened up a whole new field of therapeutic enquiry. In 1997 Oxford Brookes University awarded Dr. Welldon a D.Sc. Honorary Doctorate of Science degree for her contributions to the field of forensic psychotherapy, and this year she was invited to become an Honorary member of the American Psychoanalytic Association. She is principal editor of A Practical Guide to Forensic Psychotherapy (1997) and author of Sadomasochism (2002). Her latest publication is Playing with Dynamite: A Personal Approach to the Understanding of Perversions, Violence and Criminality (Karnac, 2011) Her interest in Wagner is long-standing.

Wagner, Freud and the End of Myth 2: Gavin Plumley - Private Theatre and Hysterical Opera: Wagner’s influence in Freud’s Vienna

Gavin Plumley - Private Theatre and Hysterical Opera: Wagner’s influence in Freud’s Vienna

Wagner, Freud and the End of Myth: Day conference, Saturday 28 September 2013

Post-Wagnerian composers in Vienna, hugely influenced by the Bayreuth Behemoth, actively explored the kind of mental dissociation described in Freud and Breuer's Studies on Hysteria (1894). Employing vast orchestras to create swirling psychodramas, their operas offer a beguiling artistic response to Anna O's idea of 'private theatre', and to Wagner’s use of the mythological as a way of approaching psychological ‘truths’. A few decades later many of those composers, exiled by the Nazis, employed the same soundworld to accompany the ultimate dissociative narratives of Hollywood's Silver Screen. In this paper I will look at operas by Schreker, Korngold and their contemporaries through a Freudian lens.

Gavin Plumley is a writer and broadcaster, specialising in the music and culture of Central Europe. He has appeared on BBC Radio 3 and has recently spoken at the Royal Opera House, ENO, the CBSO, V&A, The Freud Museum, and the Neue Galerie New York. He has given a number of talks at the Southbank Centre’s ‘The Rest is Noise’ festival this year and was recently appointed commissioning editor for the English language programmes at the Salzburg Festival. www.entartetemusik.blogspot.com

Wagner, Freud and the End of Myth 1: Anthony Cantle - Introductory Remarks

Anthony Cantle - Introductory Remarks

Wagner, Freud and the End of Myth: Day conference, Saturday 28 September 2013

Anthony Cantle has introduced and chaired three previous Freud Museum events - on the "Therapist's Body" (2000), "Understanding Perversion" (2009) and "Mahler" (2010). He is a practising Psychoanalyst and Psychoanalytic Psychotherapist and a Fellow of The Institute of Psychoanalysis, London and its former Curator. Formerly Founder and Director of the Open Door Adolescent Consultation Service in London he has also taught on the MA in Psychotherapy at the Tavistock Clinic. He worked for many years at the St Albans College of Art & Design where he set up and offered a consultation service to postgraduate students studying Art, Dance & Drama Therapies.

In addition to his clinical practice he is currently a Training Analyst and Supervisor for the former British Association of Psychotherapists, the Lincoln Clinic for Psychotherapy and the London Centre for Psychotherapy and the Tavistock Clinic and the Tavistock Centre for Couple Relationships. He is also member of the UK Mahler Society and participated in the 2009 BBC Series “Robert Winston’s Musical Analysis” where he spoke about the marriage of Gustav and Alma Mahler. In 2010 he introduced and chaired the Freud Museum event - with Gavin Plumley as the guest speaker - and entitled "The 'Faust' Problem: Music and Madness in Mahler's Vienna. Later the same year, as part of the centenary celebrations of Mahler's death, the BBC asked Anthony Cantle and the British composer and Mahler expert David Matthews to make a programme about Gustav Mahler's meeting and four hour conversation with Sigmund Freud in the Dutch city of Leiden. Recorded on location, "Walking with Freud" was transmitted in 2010 and was repeated as the interval documentary during the 2011 BBC Proms season.

Anthony Cantle was also a contributor to the 2011 BBC Radio Four series "Soul Music" featuring the Adagietto from Mahler's 5th symphony and assisted in the BBC Wales production of the 2012 two part programme on the Finnish composer, Jean Sibelius. 

Whistleblowers: Political and Psychological Perspectives

David Morgan and Prof Gavin MacFadyen

The Political Consequences of Dissent - Prof. Gavin MacFadyen

The Psychological Consequences of Political and Social Disclosure - David Morgan

Organisations cannot be held to account unless they are open to internal criticism, yet despite measures such as the Public Interest Disclosure Act, individuals within the UK’s institutions, public bodies and corporations are subject to severe gagging constraints. Whistleblowers are heavily penalised, both through mechanisms such as the Official Secrets Act and the Confidentiality Clauses built into employment agreements, and informally through loss of status and income, and social ostracism. What are the motives for whistleblowing, and how can whistleblowers be protected and encouraged to come forward despite the practical and psychological pressures that they face? Gavin MacFadyen and David Morgan will discuss these problems with us.

Gavin MacFadyen is Director of the Centre for Investigative Journalism and has researched, directed and produced investigative programmes in numerous countries around the world. He is currently Visiting Professor at City University, London, and a founder of the broad-support lobbying group, Whistleblowers UK which was launched in 2012.

David Morgan is a Consultant Psychotherapist and Psychoanalyst.He worked for many years at the Portman Clinic is now in private practice and is consultant psychotherapist for a number of organisations including WBUK, a Whistleblowers support network.

The German Soul and Psyche in The Third Reich

A lecture by Sander L. Gilman

"Against the soul-destroying glorification of the instinctual life! For the nobility of the human soul! We consign to the flames the writings of the school of Sigmund Freud..."

Freud’s works were ritually burned by the Nazi’s in 1933, and we have the pictures to prove it. But the relationship was more complicated than that. The Third Reich Source Book will appear this summer with the University of California Press. It is the most extensive collection of primary documents on the Third Reich ever made available to English readers. It also presents for the first time primary materials on the struggle over the meaning of the psyche and the legacy of psychoanalysis under Hitler. Sander Gilman, one of its editors, will present the reader and the material on psychology and psychoanalysis under the Nazis.

Sander L. Gilman is a distinguished professor of the Liberal Arts and Sciences as well as Professor of Psychiatry at Emory University. A cultural and literary historian, he is the author or editor of over eighty books. His Obesity: The Biography appeared with Oxford University Press in 2010; his most recent edited volume, Wagner and Cinema (with Jeongwon Joe) was published in the same year. He is the author of the basic study of the visual stereotyping of the mentally ill, Seeing the Insane, published by John Wiley and Sons in 1982 (reprinted: 1996) as well as the standard study of Jewish Self-Hatred, the title of his Johns Hopkins University Press monograph of 1986. For twenty-five years he was a member of the humanities and medical faculties at Cornell University where he held the Goldwin Smith Professorship of Humane Studies. For six years he held the Henry R. Luce Distinguished Service Professorship of the Liberal Arts in Human Biology at the University of Chicago and for four years was a distinguished professor of the Liberal Arts and Medicine and creator of the Humanities Laboratory at the University of Illinois at Chicago. He has held many distinguished posts in the UK and across the world, including the Weidenfeld Visiting Professor of European Comparative Literature at Oxford University in 2004-5, and Professor at the Institute in the Humanities, Birkbeck College from 2007 to 2012. He was elected an honorary professor of the Free University in Berlin in 2000, and has been an honorary member of the American Psychoanalytic Association since 2007.

Self Contained: Graham Music and Maria Walsh in conversation with Rebecca Fortnum

Consultant Child Psychotherapist Dr Graham Music and critic Dr Maria Walsh, author of 'Art and Psychoanalysis',  in conversation with the artist Rebecca Fortnum. The event is is part of our current exhibition 'Self Contained' by Rebecca Fortnum.

“.. only where I find a face do I encounter an exteriority and does an outside happen to me.” G. Agamben, Means without End, Notes on Politics (2000) Rebecca Fortnum’s exhibition at the Freud Museum, 'Self Contained', develops several strands of her recent work on the formation of identity, dreams and the power of the gaze. The series 'Dream' depicts children with their eyes closed in paired pencil portraits. In these small, intimate works we can look at the subjects very closely but they never look back. No blinking, no flinching; we are struck by their interiority. They shut out the intrusive viewer. The imagery responds directly to notions of the power relations of the subject’s gaze, introducing on a suggestive level the ideal of the child’s dreams and imaginings that are inaccessible to the viewer. The portraits are completed in pairs in a process developed to question the authenticity of the single image. These works will be displayed in Anna Freud’s room at the Freud Museum, along with works in silverpoint, to draw out connections with Anna Freud’s writings on the child’s relationship with the adult world. The series 'Wide Shut' includes three large paired portraits, each with a veil of colour over the image. These are of older girls, one image of each pair with open eyes. They act out the duality of proper and improper, of communication and communicability, of potentiality and action.

PROJECTIONS 3: Psychoanalytic interpretation of Polanski's Apartment Trilogy

In Repulsion (1965), Rosemary’s Baby (1968) and The Tenant (1976), Polish filmmaker Roman Polanski portrays a series of fragmented psyches confined in claustrophobic spaces. Fear objects move progressively from sexual intercourse (Carol), via pregnancy/childbirth (Rosemary), culminating in the blurring of gender identities (Trelkovsky). In her Projections lecture, Mary Wild offers a Freudian psychoanalytic interpretation of Polanski’s ‘apartment trilogy’, a genre-defining set of films with an influence as far-reaching as 2010’s Black Swan. PROJECTIONS is psychoanalysis for film interpretation. PROJECTIONS empowers film spectators to express subjective associations they consider to be meaningful. Expertise in psychoanalytic theory is not necessary - the only prerequisite is the desire to enter and inhabit the imaginary world of film, which is itself a psychoanalytic act. Please watch Roman Polanski’s ‘Repulsion’, ‘Rosemary’s Baby’ and ‘The Tenant’ before attending the lecture as there may be spoilers! MARY WILD, a Freudian cinephile from Montreal, is the creator of PROJECTIONS.

Reading Anna Freud - Author's Talk:Nick Midgley

Filmed at the Anna Freud Centre on 7 March 2013 How should we read Anna Freud's work today? At one point her classic work, 'The Ego and the Mechanisms of Defence', was described as 'perhaps the single most widely read book in our professional literature', but today a great deal of her work is out of print and her prominence in psychoanalytic thinking (at least in the UK) has been eclipsed by the work of Klein, Bowlby, Bion, Winnicott and others. In this lecture Nick Midgley considers some ways in which Anna Freud's work can be read today, and suggest that her work is still of value for the way it uses psychoanalytic thinking - both within and beyond the clinical setting - to help us make a difference to the well-being of children and young people. Nick Midgley is a Child and Adolescent Psychotherapist at the Anna Freud Centre, London, and Course Director for the MSc in Developmental Psychology and Clinical Practice at UCL. He is the author of 'Reading Anna Freud', published by Routledge / the New Library of Psychoanalysis in 2013.

Self Contained :Rebecca Fortnum

Join Freud Museum Curator Sophie Leighton as she talks to Rebecca Fortnum about her exhibition "Self Contained" which is running at the Freud Museum London from 6 March 2013 - 26 May 2013. “.. only where I find a face do I encounter an exteriority and does an outside happen to me.” G. Agamben, Means without End, Notes on Politics (2000) Rebecca Fortnum’s exhibition at the Freud Museum, 'Self Contained', develops several strands of her recent work on the formation of identity, dreams and the power of the gaze. The series 'Dream' depicts children with their eyes closed in paired pencil portraits. In these small, intimate works we can look at the subjects very closely but they never look back. No blinking, no flinching; we are struck by their interiority. They shut out the intrusive viewer. The imagery responds directly to notions of the power relations of the subject’s gaze, introducing on a suggestive level the ideal of the child’s dreams and imaginings that are inaccessible to the viewer. The portraits are completed in pairs in a process developed to question the authenticity of the single image. These works will be displayed in Anna Freud’s room at the Freud Museum, along with works in silverpoint, to draw out connections with Anna Freud’s writings on the child’s relationship with the adult world. The series 'Wide Shut' includes three large paired portraits, each with a veil of colour over the image. These are of older girls, one image of each pair with open eyes. They act out the duality of proper and improper, of communication and communicability, of potentiality and action.

Em Cooper in Conversation with Andrea Sabbadini

A sold out event recorded at the Freud Museum London on 20 February 2013 and was a discussion following the film screening. This evening included  the screening of three short films which explore the complex and chaotic world of inner experience from a psychoanalytic perspective which was followed by a discussion between the director, Em Cooper and Andrea Sabbadini. For clips of the films and more information please go to: http://www.emcooper.com/ Em Cooper is a British director and animator specializing in combining oil-painted animation with live-action footage to produce short films based around psychoanalytic themes. She is interested in experimenting with film form and especially use of subjective perspectives. Her recent films have explored subjects such as infancy, obsessive compulsive behaviour and child abuse. Em's films have been screened internationally, including at this year's Sundance Film Festival. Her work has also shown at Turner Contemporary, Margate and discussed at various psychoanalytic conferences including the European Psychoanalytic Film Festival in London and the International Ferenczi Conference in Budapest. Her film Confusion of Tongues was nominated for the 2012 British Animation Awards, Best Student Film. Em is currently working on a feature documentary for the BBC. Andrea Sabbadini, C. Psychol. is a Fellow of the British Psychoanalytical Society, its former Honorary Secretary and its current Director of Publications. He works in private practice in London, is a Senior Lecturer at UCL, a trustee of the Freud Museum, a member of the IPA Committee on Psychoanalysis and Culture, the director of the European Psychoanalytic Film Festival, and the chairman of a programme of films and discussions at the Institute of Contemporary Arts (ICA). The Nest (2010) dir. Em Cooper 12mins It is seemingly just another school morning for Laura and her mother, Alice. But the differences between their two points of view leave us haunted by questions about Laura’s father. When memory and reality become confused, is it possible to understand what really happened?  The Nest is a film about the transmission of trauma through the generations of a family. It is a film snapped in two, both in narrative and in technique, using oil painted animation to bring out the unconscious motives which drive a difficult family dynamic. Confusion of Tongues (2010) dir. Em Cooper 6mins Inspired by the 1932 paper by psychoanalyst Sándor Ferenczi, Confusion of Tongues takes us into the world of a woman suffering a sleepless night. Haunted by a recurring childhood memory and gripped by her fear of a window left open, she begins to recall a much deeper trauma.  Combining film with oil-painted animation Confusion of Tongues vividly conjures up the tragic confusion of desire which can be a devastating effect of child abuse Laid Down (2007) dir. Em Cooper 15 mins Shot from the point of view of a newborn baby, Laid Downexplores the chaotic world of a developing infant. Set over the first few months of life, dipping in and out of animated dream sequences, we encounter the turbulent relationship between the baby's parents from the raw, emotional and preverbal perspective of the baby.

Interpreting Collections Day Symposium Part 7 of 7

Part 7: Glenn Adamson - More Than a Feeling: The Museum as Research Institution. This one-day symposium recorded at the Anna Freud Centre on 26 January 2013 was timed to accompany the exhibition DreamWork by artist and researcher Christie Brown. It considered the relationship between ceramic art practice and museum collections within the broader context of contemporary visual culture. The symposium address key areas of inspiration for artists within this context, by focussing on the dialogue between the concept, the collection and the specific nature of the site. Papers will feature a subjective response to Freud’s archaic figurative collection, the uncanny notion of the inner life in inanimate objects and the private house as museum, broadening out to raise curatorial and theoretical questions around the nature of this art practice within post modern culture and ideology. The symposium forms part of the research project Ceramics in the Expanded Field (www.ceramics-in-the-expanded-field.com) funded by the Arts and Humanities Research Council through the University of Westminster in London. Researchers Christie Brown, Julian Stair and Clare Twomey and PhD student Laura Breen form the team for this project and the exhibition DreamWork is a key element in the dissemination of the outcomes. The major objective of the project is to investigate the ways in which contemporary ceramic artists have used ceramic practice to initiate new ways of working and new dialogues within the context of museums. Speaker Biographies & Abstracts Glenn Adamson is Head of Research at the Victoria and Albert Museum. Dr. Adamson is co-editor of the triannual Journal of ModernCraft, and the author of Thinking Through Craft (Berg Publishers/V&APublications), an anthology entitled The Craft Reader (Berg, 2010), and theforthcoming book The Invention of Craft (Berg, 2013). His other publications include the co-edited volume GlobalDesign History (Routledge, 2011). He was the co-curator for the exhibitionPostmodernism: Style and Subversion, 1970 to 1990, which was on view at theV&A from September 2011 to January 2012. Abstract: Museums are many things: spaces of entertainment, places to meet friends, repositories of objects. But of course they are also structures built on expertise. In this talk, Glenn Adamson will speak from his experience as Head of Research at the V&A. After a brief description of the way that research operates at this museum, he will address strategic priorities and opportunities for object-led research in the 21st century. Among the topics covered will be research in a digital space; issues of intellectual property; the relationship between academic and commercial content; and transformations in the nature of curatorial work and expertise.

Interpreting Collections Day Symposium Part 6 of 7

Part 6: Andrew Renton - Deposits and withdrawals at the ‘collective memory bank’: ceramic artists and the National Museum of Wales. This one-day symposium recorded at the Anna Freud Centre on 26 January 2013 was timed to accompany the exhibition DreamWork by artist and researcher Christie Brown. It considered the relationship between ceramic art practice and museum collections within the broader context of contemporary visual culture. The symposium address key areas of inspiration for artists within this context, by focussing on the dialogue between the concept, the collection and the specific nature of the site. Papers will feature a subjective response to Freud’s archaic figurative collection, the uncanny notion of the inner life in inanimate objects and the private house as museum, broadening out to raise curatorial and theoretical questions around the nature of this art practice within post modern culture and ideology. The symposium forms part of the research project Ceramics in the Expanded Field (www.ceramics-in-the-expanded-field.com) funded by the Arts and Humanities Research Council through the University of Westminster in London. Researchers Christie Brown, Julian Stair and Clare Twomey and PhD student Laura Breen form the team for this project and the exhibition DreamWork is a key element in the dissemination of the outcomes. The major objective of the project is to investigate the ways in which contemporary ceramic artists have used ceramic practice to initiate new ways of working and new dialogues within the context of museums. Speaker Biographies & Abstracts Andrew Renton is Head of Applied Art at Amgueddfa Cymru – National Museum Wales. Since joining the Museum in 1999, he has emphasised the development of the Museum’s collection of contemporary applied art, seeking to work with artists and to use collections creatively as part of an active and ambitious acquisition strategy. He has curated exhibitions at the National Museum in Cardiff in collaboration with Edmund de Waal (Arcanum: mapping European porcelain, 2005) and Elizabeth Fritsch (Dynamic Structures: Painted Vessels by Elizabeth Fritsch, 2010). His other priorities have included research into and acquisitions for the full range of post-mediaeval applied art collections, in particular Welsh ceramics and historic silver. Prior to moving to Cardiff, he worked for six years at National Museums Liverpool as a curator of applied art, including three years at the Lady Lever Art Gallery. Abstract: The first ‘intervention’ by a contemporary ceramic artist at the National Museum of Wales took place a century ago, thanks to Bernard Leach’s close relationship with his uncle who also happened to be the Museum’s founding director. However, it is only in the last two decades that the National Museum has engaged with ceramic artists in a sustained and strategic way. This survey of the Museum’s experience of this engagement will reflect on the interaction between curatorial and artistic practices, on the inspirational role of the Museum and its collections, and on the implications for the profile of contemporary ceramics within the Museum’s multidisciplinary context.

Interpreting Collections Day Symposium Part 5 of 7

Part 5: Calum Storrie - Turning Around/Going Back. This one-day symposium recorded at the Anna Freud Centre on 26 January 2013 was timed to accompany the exhibition DreamWork by artist and researcher Christie Brown. It considered the relationship between ceramic art practice and museum collections within the broader context of contemporary visual culture. The symposium address key areas of inspiration for artists within this context, by focussing on the dialogue between the concept, the collection and the specific nature of the site. Papers will feature a subjective response to Freud’s archaic figurative collection, the uncanny notion of the inner life in inanimate objects and the private house as museum, broadening out to raise curatorial and theoretical questions around the nature of this art practice within post modern culture and ideology. The symposium forms part of the research project Ceramics in the Expanded Field (www.ceramics-in-the-expanded-field.com) funded by the Arts and Humanities Research Council through the University of Westminster in London. Researchers Christie Brown, Julian Stair and Clare Twomey and PhD student Laura Breen form the team for this project and the exhibition DreamWork is a key element in the dissemination of the outcomes. The major objective of the project is to investigate the ways in which contemporary ceramic artists have used ceramic practice to initiate new ways of working and new dialogues within the context of museums. Speaker Biographies & Abstracts Calum Storrie has designed exhibitions for many of London’s major public galleries including the Royal Academy, the National Portrait Gallery, the Wellcome Collection and the National Gallery. He has worked in the museum sector since 1986 and has worked as part of an exhibition design office, been an in-house designer at the British Museum and now runs his own micro-studio (i.e. he works alone in a basement). As well as teaching on interior design and museum studies courses he has written the book The Delirious Museum; A Journey from the Louvre to Las Vegas - published in 2007.  www.calumstorrie.com Abstract: In this talk I would like to examine the allure of immersion as exemplified by the visit to the museum/shrine/home of the famous. To what extent does this ‘immersion’ depend on the illusion of an unmediated environment? What are the dangers of travelling in time and space? How can artists or designers find room to operate within these hermetic spaces? The pilgrim’s reading of the shrine can be disrupted in a number of ways…by intervention in the form of adding content (artwork, labels, vitrines and any number of museological knick-knacks) or by the displacement and removal of treasured objects. My usual rôle as an exhibition designer is to conspire in the removal of objects from one context (the collection) into another (the exhibition). So I would also like to look at the process of migration of objects between spaces and discuss what this does to them.

Interpreting Collections Day Symposium Part 4 of 7

Part 4: Janice West - Serious Toys. This one-day symposium recorded at the Anna Freud Centre on 26 January 2013 was timed to accompany the exhibition DreamWork by artist and researcher Christie Brown. It considered the relationship between ceramic art practice and museum collections within the broader context of contemporary visual culture. The symposium address key areas of inspiration for artists within this context, by focussing on the dialogue between the concept, the collection and the specific nature of the site. Papers will feature a subjective response to Freud’s archaic figurative collection, the uncanny notion of the inner life in inanimate objects and the private house as museum, broadening out to raise curatorial and theoretical questions around the nature of this art practice within post modern culture and ideology. The symposium forms part of the research project Ceramics in the Expanded Field (www.ceramics-in-the-expanded-field.com) funded by the Arts and Humanities Research Council through the University of Westminster in London. Researchers Christie Brown, Julian Stair and Clare Twomey and PhD student Laura Breen form the team for this project and the exhibition DreamWork is a key element in the dissemination of the outcomes. The major objective of the project is to investigate the ways in which contemporary ceramic artists have used ceramic practice to initiate new ways of working and new dialogues within the context of museums. Speaker Biographies & Abstracts Janice West is a London-based independent researcher and curator. With Tessa Peters she has created a number of exhibitions: The Uncanny Room,( 2002) at Pizthanger Manor, Ealing and re-staged at the Bowes Museum, County Durham;, The Secret Life of the Office (2008) Arts and Business, London, The House of Words (2009) Dr Johnson House, London and Memoranda, 2011 Crafts Study Centre, University of the Creative Arts, Farnham. Each exhibition was accompanied by a publication edited by the curators. She has curated and organized other exhibitions: Made to wear: Creativity in Contemporary Jewellery (1998) Central Saint Martin’s College of Art and Design, London and wrote the accompanying book; and The Era: A hundred years of London Theatre (2008) for the City of Westminster Archives Centre. She has written essays for exhibition catalogues and books, notably Christie Brown: The cast of characters (1995) University of Westminster; Maud Cotter : Mute displacement(1995) Galerie Schlossgoart, Luxembourg, and Footnotes: On shoes Rutgers University Press,(2001). Abstract: Freud’s 1919 essay The Uncanny he notes the uncanny effect produced by “...waxwork figures, ingeniously constructed dolls and automata”. and discusses the paradoxical feelings that they produce in the viewer. The contradictions of an object that appears to be alive and autonomous but is created and controlled by man and often built for human enjoyment are acutely pertinent in a world where AI departments are working on ideal cyberhumans. The conflicted desire these creations brings are freighted with fear and anxiety as well as pleasure and will be discussed in this paper with examples from John Joseph Merlin to Hiroshi Ishiguro via Burne-Jones and Bladerunner.

Interpreting Collections Day Symposium Part 3 of 7

Part 3: Esther Leslie - Houses of the Future Perfect: Freud, Benjamin and Schwitters’ Domestic Collections. This one-day symposium recorded at the Anna Freud Centre on 26 January 2013 was timed to accompany the exhibition DreamWork by artist and researcher Christie Brown. It considered the relationship between ceramic art practice and museum collections within the broader context of contemporary visual culture. The symposium address key areas of inspiration for artists within this context, by focussing on the dialogue between the concept, the collection and the specific nature of the site. Papers will feature a subjective response to Freud’s archaic figurative collection, the uncanny notion of the inner life in inanimate objects and the private house as museum, broadening out to raise curatorial and theoretical questions around the nature of this art practice within post modern culture and ideology. The symposium forms part of the research project Ceramics in the Expanded Field (www.ceramics-in-the-expanded-field.com) funded by the Arts and Humanities Research Council through the University of Westminster in London. Researchers Christie Brown, Julian Stair and Clare Twomey and PhD student Laura Breen form the team for this project and the exhibition DreamWork is a key element in the dissemination of the outcomes. The major objective of the project is to investigate the ways in which contemporary ceramic artists have used ceramic practice to initiate new ways of working and new dialogues within the context of museums. Speaker Biographies & Abstracts Esther Leslie is Professor of Political Aesthetics at Birkbeck, University of London. Her first book was Walter Benjamin: Overpowering Conformism (Pluto, 2000). She has also authored a biography of Benjamin (Reaktion, 2007). In 2002 she published Hollywood Flatlands: Animation, Critical Theory, and the Avant Garde (Verso). It excavated the historical relationships between critical theory, European intellectuals and animation, in its avant garde and commercial varieties. Since then she has published and lectured extensively on all types of animation. A subsequent book, Synthetic Worlds: Art, Nature and the Chemical Industry (Reaktion, 2005), investigated the industrial manufacture of colour and its impact on conceptions of nature and aesthetics. She runs a website together with Ben Watson, www.militantesthetix.co.uk Abstract: This talk considers the notion of the home-museum through three figures - Freud, Walter Benjamin and Kurt Schwitters. These three inhabitants prove to lodge in various ways with each other. For one, under the influence of Freud's dream analysis, Benjamin writes down a dream about Goethe's house, which he has visited before and in whose visitor's book he finds his name 'already entered in big, unruly, childish scrawl’ and at whose dinner table he finds places set for his relatives, ancestors and descendants. This will lead him to exclaim: when the ‘house of our life…is under assault and enemy bombs are taking their toll, what enervated, perverse antiquities do they not lay bare in the foundations!’. Benjamin's other homes, his exile homes, real and those imaged - such as the cave-like arcades - are considered as repositories of 'perverse antiquities'. These homes are set alongside those of a fellow exile, Kurt Schwitters, who built for himself three 'Merzbau' home-museums, each one as incomplete as Benjamin's Arcades Project, each one wrecked by war, like that project too. Freud lodges now and again in these houses, and his own house-museum is considered as a practical instantiation of the project of realising memories objectively.

Interpreting Collections Day Symposium Part 2 of 7

Part 2: Christie Brown Dreaming and Working. This one-day symposium recorded at the Anna Freud Centre on 26 January 2013 was timed to accompany the exhibition DreamWork by artist and researcher Christie Brown. It considered the relationship between ceramic art practice and museum collections within the broader context of contemporary visual culture. The symposium address key areas of inspiration for artists within this context, by focussing on the dialogue between the concept, the collection and the specific nature of the site. Papers will feature a subjective response to Freud’s archaic figurative collection, the uncanny notion of the inner life in inanimate objects and the private house as museum, broadening out to raise curatorial and theoretical questions around the nature of this art practice within post modern culture and ideology. The symposium forms part of the research project Ceramics in the Expanded Field (www.ceramics-in-the-expanded-field.com) funded by the Arts and Humanities Research Council through the University of Westminster in London. Researchers Christie Brown, Julian Stair and Clare Twomey and PhD student Laura Breen form the team for this project and the exhibition DreamWork is a key element in the dissemination of the outcomes. The major objective of the project is to investigate the ways in which contemporary ceramic artists have used ceramic practice to initiate new ways of working and new dialogues within the context of museums. Speaker Biographies & Abstracts Christie Brown is a practising artist based in north London and Professor of Ceramics at the University of Westminster. She graduated from Harrow School of Art in 1982 and her work is featured in several private and public collections in Europe and the USA. Abstract: The parallel disciplines of archaeology and psychoanalysis have inspired my art practice over many years and the ceramic medium is a key presence in museum collections, offering insights into the lives of human beings over time. As a figurative artist I am drawn to Freud’s collection of antiquities which inspired his use of the archaeology metaphor. The figure is especially powerful as a recipient for human emotion and projection giving rise to a rich cultural history of myths of origin and animated beings. In this talk I will present the ideas behind of my exhibition DreamWork and illustrate the development of my practice through figuration, narrative and installation.

Interpreting Collections Day Symposium Part 1 of 7

Part 1: Clare Twomey introduction to Ceramics in the Expanded Field This one-day symposium recorded at the Anna Freud Centre on 26 January 2013 was timed to accompany the exhibition DreamWork by artist and researcher Christie Brown. It considered the relationship between ceramic art practice and museum collections within the broader context of contemporary visual culture. The symposium address key areas of inspiration for artists within this context, by focussing on the dialogue between the concept, the collection and the specific nature of the site. Papers will feature a subjective response to Freud’s archaic figurative collection, the uncanny notion of the inner life in inanimate objects and the private house as museum, broadening out to raise curatorial and theoretical questions around the nature of this art practice within post modern culture and ideology. The symposium forms part of the research project Ceramics in the Expanded Field (www.ceramics-in-the-expanded-field.com) funded by the Arts and Humanities Research Council through the University of Westminster in London. Researchers Christie Brown, Julian Stair and Clare Twomey and PhD student Laura Breen form the team for this project and the exhibition DreamWork is a key element in the dissemination of the outcomes. The major objective of the project is to investigate the ways in which contemporary ceramic artists have used ceramic practice to initiate new ways of working and new dialogues within the context of museums.

Freud in Zion: Psychoanalysis and the Making of Modern Jewish Identity

Few episodes in the history of psychoanalysis are as densely packed with trans-cultural, ideological, institutional and ethical issues as the arrival of psychoanalysis in pre-state Israel in the early 20th century. 'Freud in Zion' is the first work to explore this encounter between psychoanalytic expertise, Judaism, Modern Hebrew culture and the Zionist revolution. It offers a look at the relationship between psychoanalysis and a wider community, and follows the life and work of Jewish psychoanalysts during World War II. As such, it makes an important contribution to a central concern of psychoanalytic studies today, the interplay of psychoanalysis, culture, ideology and politics. Can psychoanalysis as a psychological-critical theory and Zionism as an ideology and consciousness really live together? Did historical reality and the new Hebrew culture play a role in shaping local psychoanalytic practice and ethics? The coming of Freudian psychoanalysis to pre-state Israel, where it rapidly penetrated the discourse of pedagogy, literature, medicine, and politics, becoming a popular therapeutic discipline, could thus be regarded as an integral part of a Jewish immigrant society’s struggle to establish its identity in the face of its manifold European pasts and its conflict-ridden Middle Eastern present.Eran J. Rolnik, MD, PhD. Trained in psychiatry, psychoanalysis and history and is a member of the Israel Psychoanalytic Society. He is the author of several papers on the evolution of Freud's thought and on the history of psychoanalysis. He is also the Hebrew translator and editor of several volumes of Freud's papers. He teaches at Tel-Aviv University and works in private practice. 'Freud in Zion: Psychoanalysis and the Making of Modern Jewish Identity' is published by Karnac Books.

'Memoir' Lisa Appignanesi and Blake Morrison in Conversation with Jane Haberlin

A sold out event recorded at the Anna Freud Centre Library on 30 January 2013.  The Relational School (of psychoanalysis and psychotherapy) and the Freud Museum are holding a series of intimate evening forums addressing the subject of memoir from the perspective of how writing and publishing has come to affect the individual’s experience of their own story. Conveying a life illuminates profound aspects of our human story and our struggles to situate ourselves and to belong. As organisations concerned with the meaning and impact of reflection, we are delighted to welcome these esteemed memoirists to join us in conversation and reflection upon what it means to have shared their history in this way. As her mother slipped into the darkness of old age, authorLisa Appignanesi began to realise how little she knew of the reality behind the tales she had heard from her Jewish parents of wartime Poland. With vivid intelligence and without piety, 'Losing the Dead' brings to life what she discovered. At the same time the memoir considers the workings of individual and collective memory and charts the legacy of war and immigration as these rumble through the generations of a family. Novelist and poet, Blake Morrison's, moving memoir 'When Did You Last See Your Father?' was made into a film (with Jim Broadbent and Juliet Stevenson) and takes us into the heart of a family as a father lies dying. It plumbs father- son relations and family secrets: in the process understanding grows. With Psychotherapist Jane Haberlin, the two writers explore the possible links between memoir writing and couch memories. Jane Haberlin trained with Arbours as a Psychoanalytic Psychotherapist. She has worked at The Arbours Crisis Centre and The Women’s Therapy Centre. She is a founder member of The Relational School in London. She currently works as a therapist and supervisor in private practice and provides consultancy to organisations.

'Memoir' Jackie Kay and Gillian Slovo in Conversation with Robert Downes

A sold out event recorded at the Anna Freud Centre on 28 November 2012 The Relational School (of psychoanalysis and psychotherapy) and the Freud Museum are holding a series of intimate evening forums addressing the subject of memoir from the perspective of how writing and publishing has come to affect the individual’s experience of their own story. Conveying a life illuminates profound aspects of our human story and our struggles to situate ourselves and to belong. As organisations concerned with the meaning and impact of reflection, we are delighted to welcome these esteemed memoirists to join us in conversation and reflection upon what it means to have shared their history in this way. Jackie Kay is a Scottish poet and novelist. She was adopted into a white Glaswegian family where her father and mother were also communists and full time political activists. In 2010 she published ‘Red Dust Road’, an account of her search for her birth parents, a white Scottish woman and a Nigerian man. Gillian Slovo is a playwright, novelist and memoirist. ‘Every Secret Thing’ is an account of her childhood in South Africa where her communist parents were significant figures in forbidden anti-apartheid politics. Both of these memoirs are poignant accounts of the way in which the personal is woven in with great social movements of our time. Robert Downes is a psychotherapist, supervisor and teacher of body psychotherapy. He is a member of the Relational School executive committee

'Under Freud's Couch' Leif Elggren Performance, presentation and discussion

A  special performance and presentation by Leif Elggren, followed by a discussion between the artist and curator Lucia Farinati, chaired by Freud Museum deputy director, Ivan Ward.  A sold out event recorded at the Freud Museum London on 26 November 2012. Freud’s iconic psychoanalytic couch; an object which besides being a museological symbol that epitomizes the life and work of the father of psychoanalysis, is also a poignant listening device for recording the unheard and the unseen. It was on this couch, which inhabited the consulting rooms of both 20 Maresfield Gardens in Hampstead and Berggasse 19 in Vienna, that patients were listened to; a liminal space where free association and dreams were gathered and, in a certain way, a key listening point for the development of Freud’s analytical work. In this constructed space, a new form of listening was made palpable through the discovery of the unconscious and the birth of psychoanalysis. Using the microphone as a kind of third ear, Elggren’s recording under the couch brings to the forefront the potential to understand musical listening almost like a psychoanalytic treatment. 'Under the Couch' is a new CD release by Leif Elggren on Firework Edition Records with a critical text by Lucia Farinati. Leif Elggren is a writer, visual artist, book publisher, stage performer, and composer based in Stockholm. His varied and prolific output routinely involves dreams, subtle absurdities, and social hierarchies turned upside-down. His audio work, mostly conceptually based, but also often created as the soundtrack to an installation or performance, has been released on labels such as Ash International, Touch, Radium and his own Firework Edition. Lucia Farinati is an independent curator and researcher based in London. She is the Director of Sound Threshold, a long-term research project which explores the relationships between site, sound and text.

Keeping Schtum - a secret history of Jewish football

A talk by Anthony Clavane recorded on 8 November 2012. Jews don’t do football. This, at any rate, is the myth. They are people of the book not people of the penalty kick. Yet in the 1930s the Austrian 'Wunderteam', with many Jewish players and coached by the brilliant Hugo Meisl, was the best in the world. Anthony Clavane argues that football would not be the global entertainment industry it is without the Jewish influence - and neither would it be the ‘beautiful game’ played by Ajax, Hungary, Benfica or Brazil. This talk unravels the secret history of Jewish football in the UK, Europe and beyond, showing that the game’s transformation would not have been possible without such Jewish Sports Legends as Louis Bookman, Harry Morris, Leslie Goldberg, Mark Lazarus and Morris Keston. Their untold stories – as well as the more familiar rags-to-riches tales of the likes of David Dein, David Pleat and Roman Abramovich – are emblematic of an immigrant community’s successful integration into, and enrichment of, English society. But many of these big names have "kept schtum" about their Jewishness. Anthony Clavane examines their influence - and their silence. Anthony Clavane went to Sussex University and taught History in various schools for six years. He then became a journalist, first writing for the East Anglian Daily Times as a news and feature writer and then The Independent as an arts and culture writer. His book ‘Promised Land: A Northern Love Story’ was described as “glorious” by The Guardian and named both Football Book Of The Year and Sports Book Of The Year by the National Sporting Club – as well as sports book of the year by The Radio 2 Book Club. A stage adaptation is being shown in Leeds in June 2012. His new book 'Does Your Rabbi Know You're Here' examines Jewish involvement in English football and is published by Quercus in October 2012.

'Memoir' Eva Hoffman and Sathnam Sangera in conversation with Sue Cowan-Jenssen

A live event recorded at the Freud Museum on 19 September 2012. The Relational School (of psychoanalysis and psychotherapy) and the Freud Museum are holding a series of intimate evening forums addressing the subject of memoir from the perspective of how writing and publishing has come to affect the individual’s experience of their own story. Conveying a life illuminates profound aspects of our human story and our struggles to situate ourselves and to belong. As organisations concerned with the meaning and impact of reflection, we are delighted to welcome these esteemed memoirists to join us in conversation and reflection upon what it means to have shared their history in this way. Eva Hoffman Lost in Translation: Life in a New Language Sathnam Sanghera The Boy with the Topknot: A Memoir of Love, Secrets and Lies in Wolverhampton Eva Hoffman is a writer and academic. She has been a professor of literature and creative writing at several high profile American universities as well as editor for The New York Times Book Review. Sathnam Sanghera is a feature writer and columnist for The Times. ‘Boy with the Topknot' is an acclaimed best seller and won 'The Mind Book of the Year' in 2009. Both have written powerful memoirs of living in and between two very different cultures and of the impact of this experience on their identity and psyche. Sue Cowan-Jenssen is a founder member of the Relational School. She is an integrative psychotherapist and EMDR Consultant.

PROJECTIONS 2: David Lynch, surrealism and psychoanalysis

A sold out 90-minute lecture followed by 30-minute group discussion filmed at the Freud Museum London on 29 August 2012.

Moving beyond the 'blurred identity trilogy', the second of the PROJECTIONS lectures examines the artistic implications of David Lynch's inimitable style, which marks the shared space between the investigative 'desire to know' in psychoanalysis, and the provocative 'knowledge subversion' in surrealism. This anarchic process emerges from the unconscious, a mysterious psychic terrain that Lynch accesses via the practice of transcendental meditation. Special consideration will be given to Lacanian concepts of mirror stage and linguistic alienation in the exploration of Lynchian technique, comprised of dream-logic that is turbulent and seductive in equal measure. PROJECTIONS is psychoanalysis for film interpretation.PROJECTIONS empowers film spectators to express subjective associations they consider to be meaningful. Expertise in psychoanalytic theory is not necessary - the only prerequisite is the desire to enter and inhabit the imaginary world of film, which is itself a psychoanalytic act. Please watch 'Lost Highway', 'Mulholland Drive' and 'Inland Empire' before attending sessions as there may be spoilers! MARY WILD, a Freudian cinephile from Montreal, is the creator of PROJECTIONS.

PROJECTIONS 1: David Lynch's blurred identity trilogy

A sold out 90-minute lecture followed by 30-minute group discussion filmed at the Freud Museum London on 22 August 2012.

Making sense of 'Lost Highway',' Mulholland Drive' and 'Inland Empire' can be a daunting task! These films by David Lynch have captivated and mystified audiences around the world; Freudian psychoanalysis offers a chance to decipher the American director's luxurious cinematic dreamscapes. In the first of the PROJECTIONS lectures, these titles will be considered as forming a 'trilogy of blurred identity', where the central character in each instalment experiences a psychogenic fugue following the trauma of unrequited love within marriage and/or Hollywood. Special focus will be placed on Freud's hydraulic model of desire in the search for meaning in these enigmatic films. PROJECTIONS is psychoanalysis for film interpretation.PROJECTIONS empowers film spectators to express subjective associations they consider to be meaningful. Expertise in psychoanalytic theory is not necessary - the only prerequisite is the desire to enter and inhabit the imaginary world of film, which is itself a psychoanalytic act. Please watch 'Lost Highway', 'Mulholland Drive' and 'Inland Empire' before attending sessions as there may be spoilers! MARY WILD, a Freudian cinephile from Montreal, is the creator of PROJECTIONS.

Mark the Music: Jews, Music and Viennese Modernity

Austrian Cultural Forum present Mark the Music: Jews, Music and Viennese Modernity. Recorded live at the Freud Museum London on Wednesday 4th July 2012. The role music plays in the cultural life of 19th and 20th century Vienna cannot be overemphasized. This lecture will look at this world from the perspectives of Jews from Herzl to Freud to Mahler and ask why Jews were both welcomed into the musical world and yet were never quite at home in it. 'Mark the Music' is a means of understanding modern Jewish cultural sensibilities in a hostile cultural environment. The final lecture in the series Jews, Politics & Austria, organised by the ACF London together with the Leo Baeck Institute London, is given by Sander L. Gilman, a distinguished professor of the Liberal Arts and Sciences and Professor of Psychiatry at Emory University. He is the author or editor of over eighty books including his most recent edited volume Wagner and Cinema (with Jeongwon Joe, 2010).

'Hysteria, heredity and anti-Semitism: Freud's challenge to the Jewish stereotype' by Estelle Roith

'Hysteria, heredity and anti-Semitism: Freud's challenge to the Jewish stereotype'

A Talk by Estelle Roith

Recorded at the Freud Museum London on 28 February 2012. Estelle Roith is a psychoanalytic psychotherapist and trained at the London Centre for psychotherapy. She is the author of the of The Riddle of Freud: Jewish influences on his theory of female sexuality published in 1987, in the New Library of Psychoanalysis. Her recent work includes:Ishmael and Isaac: An Enduring Conflict, in Sibling Relationships'by Coles, 2006, Dr. Roith is currently working on a study that proposes that significant events in Freud's time, overlooked until now, have been an important influence in his life and in the development of psychoanalysis.

Photography and Freud: From Roma-Amor to Erotic Saturn

An Illustrated Hampstead Authors Society Talk by Mary Bergstein

Sound recorded at the Freud Museum on 13 February 2012 Mary Bergstein, gave an illustrated talk at the Freud Museum, introduced by HAS Chaiman Zsuzsanna Ardó. The talk explored Freud's visual imagination in terms of the photography he (and his patients) pondered. It is important that Freud believed repressed memories were unconscious, and that the most potent memories and desires would emerge in psychoanalysis from deep inside, via dreams. In the period from Freud's childhood to his old-age ruminations, several kinds of photographs were prominent: portraits, psychiatric illustrations, archaeological photography, and ethnographic documentation. These images along with the erotic photography and films of the era, that Mary Bernstein will introduce, paralleled the phenomena of Freudian memories and dreams. Mary Bergstein is a scholar of Italian Renaissance sculpture, painting, and architecture. She has also published widely on the cultural history of photography, which includes Mirrors of Memory: Freud, Photography, and the History of Art (2010). Bergstein is interested in the social history of art and visual culture, and has written on topics from Donatello and Michelangelo, to “reproductive” photography, to advertising art and contemporary manufactured dolls such as Barbie and Bratz. The Hampstead Authors Society (HAS) is a transcultural, transdisciplinary creative society, connecting ideas, people and places. HAS venues and partners include the Royal Institute, the British Film Academy (BAFTA), Nehru Centre, Jewish Cultural Centre, French Cultural Institute, Riverside Studio, Everyman Cinemas, Artsdepot Gallery, La Notte Blu di Firenze, Casa della Creativita, 12 Star Gallery, Europe House.

The Graving Tool: Michael Pennington in conversation with Philip Franks

Recorded at the Freud Museum London on 8 January 2012

The Graving Tool: A Series of Talks Hosted by Timberlake Wertenbaker

Michael Pennington in conversation with Philip Franks

This year playwright Timberlake Wertenbaker is Writer in Residence at the Freud Museum, generously funded by theLeverhulme Trust. Timberlake Wertenbaker is an acclaimed and prolific playwright whose works have been performed and studied all over the world. Her play Our Country’s Good is an A level text and won the Laurence Olivier Play of the Year award in 1988. She is also a translator, translating and adapting plays for performance from French (examples include Marivaux’s False Admissions, Anouilh’s Wild Orchids and Racine’s Phedre) and from classical Greek (examples include Sophocles’ Elektra and Euripides’ Hippolytus.) Her recent translation of Racine’s Britannicus received rapturous reviews at Wilton’s Music Hall. She is using her residency at the Freud Museum to complete her latest play, The Suicide of Colonel A. Ajaxinspired by Sophocles’ Ajax. Timberlake is organising The Graving Tool, a series of conversations between herself and leading theatre practitioners probing how they create complex characters. Timberlake will ask how actors and directors explore the physical and mental makeup of a character on stage. How does an actor enter into the psychology of a character, particularly in a new play? What physical manifestation, including habits or tics do they come up with and how is this used in the performance? What do they read, particularly when acting a disturbed character? Where do they find this in themselves? How are actors affected by the personalities they inhabit? Michael Pennington is a British director and actor, most of his career has been on stage in works such as Hamlet(RSC), Oedipus the King, The Entertainer and Gross Indecency: The Three Trials of Oscar Wilde. In 1986, Pennington and director Michael Bogdanov together founded the English Shakespeare Company. As joint artistic director, he starred in the company's inaugural productions of The Henrys and, in 1987, the seven-play history cycle of The Wars of the Roses, which toured worldwide. He appeared in the 2005 film Fragile, co-starring Calista Flockhart and is the author of the book Are You There, Crocodile? which combines biographical material about the Russian playwright Anton Chekhov with a narration of Pennington's efforts to write a one-man play about Chekhov. In April 2004 he became the second actor, after Harley Granville-Barker in 1925, to deliver the British Academy's annual Shakespeare lecture. The lecture was entitledBarnadine's Straw: The Devil in Shakespeare's Detail. Philip Franks is an English director and actor, he has directed many plays including Kafka's Dick and The Kiss of the Spiderwoman (Nottingham Playhouse), Hamlet(Greenwich and tour), The Duchess of Malfi (West Yorkshire Playhouse, Greenwich and West End), Private Lives and The Heiress (Royal National Theatre) and The White Devil(Lyric Theatre, Hammersmith). Franks is best known for his roles as tax inspector Cedric "Charley" Charlton in the British sitcom The Darling Buds of May, and Sgt. Raymond Craddock on Heartbeat. He has also made guest appearances in Absolutely Fabulous andFoyle's War. Other appearances include the TV miniseriesBleak House, Martin Chuzzlewit, The Buddha of Suburbia, The Green Man and To Serve Them All My Days. Franks is also a member of the Royal Shakespeare Company.

Richard Crow - Radio Schreber, Soliloques for Schziophonic (extract), 20.4.2011

Richard Crow - Radio Schreber, Soliloques for Schziophonic (extract), 20.4.2011

Phantasmic voices of Radio Schreber: Richard Crow, Gabriel Séverin, Anna Teresa Scheer, Nick Couldry, Adam Bohman, Douglas Park and others who remain obscure and unknown...

Radio Schreber, Soliloques for Schziophonic voices investigates

the recurring theme of ‘hearing voices’ in sonic and literary

works by paying homage to Daniel Paul Schreber’s Memoirs of My

Nervous Illness. Written in 1903 during his second mental illness

at Sonnenstein Public asylum, the Memoirs detail an alternate

delusional world famously analysed by Freud in his Psycho-analytic

Notes on An Autobiographical account of a case of paranoia

(Dementia Paranoides) published in 1911.

For the centenary of Schreber’s death (and Freud’s Psychoanalytic

Notes), a sound performance by artist Richard Crow

will give voice to Schreber’s visionary text through a specially

created composition that will be premiered at the Freud Museum

London. As a continuation of his project, Imaginary Hospital

Radio, Richard Crow will work in collaboration with sound-poet

Gabriel Séverin in exploring a sonic tableaux of phantasmic and

disembodied voices embedded in the text as well as in its physical

and imaginary locations inhabited by Schreber.

Presented by Sound Threshold. Curated by Lucia Farinati with the assistance of Rita Correddu.

Recorded by Colin Potter.

ADULT LOVE AND ITS ROOTS IN INFANCY - Part 4 of 4

Day Conference at the Tavistock Centre, London on 3rd December 2011 - a four part podcast. Part 4 of 4: Estela Welldon - The Dangers of First Love This conference investigated adult love by bringing together the worlds of psychoanalysis, literature, and performance. The most sublime, exhilarating and painful of emotions, love puzzles the intellect and almost defies description. It motivates the best and worst of us, overwhelming us with the ferocity of its demands, while thwarted love and perverse love are at the heart of much violent behaviour and neurotic suffering. Psychoanalysis unlocks the mystery of love by tracing its roots to childhood. The conference will be of interest to anyone involved in adult psychotherapy or counselling, and anyone who has ever been in love. ABSTRACTS Estela Welldon The first love between mother and baby will forever mark future encounters and relationships. Mother-baby love has a unique characteristic in that both parties are involved not only psychologically but also biologically. The possibility exists of a mutual and reciprocal experience of blissful and satisfying union. The expectation is of ‘unconditional love’. This is the situation in the perfect world, however things are not that simple and uncomplicated. In this talk we shall be addressing failures of that 1st love leading to violent relationships and escalating to forensic cases. Using clinical examples from both forensic and non-forensic psychotherapy this paper will show how the first experiences of love mark people for future love encounters, and how new patterns of loving can be established.

ADULT LOVE AND ITS ROOTS IN INFANCY - Part 3 of 4

Day Conference at the Tavistock Centre, London on 3rd December 2011 - a four part podcast. Part 3 of 4: Anna Furse - When I touch the keys my flesh melts: On writing Don Juan.Who? This conference investigated adult love by bringing together the worlds of psychoanalysis, literature, and performance. The most sublime, exhilarating and painful of emotions, love puzzles the intellect and almost defies description. It motivates the best and worst of us, overwhelming us with the ferocity of its demands, while thwarted love and perverse love are at the heart of much violent behaviour and neurotic suffering. Psychoanalysis unlocks the mystery of love by tracing its roots to childhood. The conference will be of interest to anyone involved in adult psychotherapy or counselling, and anyone who has ever been in love. ABSTRACTS Anna Furse The theatre production Don Juan.Who?/Don Juan.Kdo? (Athletes of the Heart with Mladinsko, Ljubljana and Riverside Studios 2008) was created in an especially assembled private 'cyberstudio' where geographically dispersed collaborators wrote confessionally and anonymously for 18 months to produce a performance text on the Don Juan archetype. An online masquerade, the project aimed to get under the skin of PC and reveal how the nomadic, priapic, irresponsible seducer lurks in women - and men's - minds. As the company met weekly to write on this theme, the actual erotic of the writing process began to reveal itself, as well the pleasure in cross-dressing at will, being interrupted, merging with others, and getting lost in the 'ballroom' of cyberspace.

ADULT LOVE AND ITS ROOTS IN INFANCY - Part 1 of 4

Day Conference at the Tavistock Centre, London on 3rd December 2011 - a four part podcast. Part 1 of 4: Lisa Appignanesi (Chair) - All About Love &  Introductory Remarks and Bernard Barnett Psychoanalytic Love, Real Love and Love in Anna Karenina. This conference investigated adult love by bringing together the worlds of psychoanalysis, literature, and performance. The most sublime, exhilarating and painful of emotions, love puzzles the intellect and almost defies description. It motivates the best and worst of us, overwhelming us with the ferocity of its demands, while thwarted love and perverse love are at the heart of much violent behaviour and neurotic suffering. Psychoanalysis unlocks the mystery of love by tracing its roots to childhood. The conference will be of interest to anyone involved in adult psychotherapy or counselling, and anyone who has ever been in love. ABSTRACTS Bernard Barnett In my paper I will discuss the nature of love (and to a lesser extent of hate) and take a fresh look at the psychoanalytic relationship and especially the the paradox of psychoanalytic love. I will draw on the work of Freud, Winnicott, Shakespeare, Hardy and especially Tolstoy and with the use of material from one of my own patients, I will explore a few of the many different kinds of love and arrive at some tentative conclusions.