Thursday , November 26 2020

In Paris, where Freud, art and religion meet



Sigmund Freud was born into a Jewish family, but from an early age he became not only an atheist, but also his desire to preserve his Jewish origin separate from his psychoanalytic science. If someone was supposed to be a scientist, he believed, there was also no movement in religion. Still, at the age of 81, two years before his death, he published "Moses and Monotheism," in which he actually tried for psychoanalysis the death of Moses, calling it "the tribal families of Judaism." Freud recalled Moses' death in the Bible, which originally stated that on top of a mountain and overlooking the Promised Land of Israel, Moshe simply died at the age of 120. Freud, on the other hand, said that Moshe's followers murdered him in a frustrated revolt, The Jews for thousands of years, continues to turn them into a religion in order to gain spiritual comfort and make a kind of historical atonement.

"If Freud always kept religion, at the end of his life he publishes Moses and monotheism in which he returns to his Jewish origins," says Philippe Comar, a French multimedia artist and scientific adviser at the Freud exhibition at the Museum of Jewish Art and History in Paris.

But it is not exactly true that Freud always kept religion. He was involved in Judaism in his psychoanalysis in the past. In his previous book, "Civilization and Dissatisfaction," Freud argued that religion created the ultimate conflict among humans, as it preaches violence against the natural human impulse of power and sex by any means. And in a particularly Freudian footnote in "An Analysis of Phobia in a Five-Year-Old Child," Freud suggested that because of castration anxiety, the Jewish tradition of circumcision was "the deepest root of the unconscious." All of this amounts to a man who, in an attempt to escape the spiritual aspects of the religion in which he grew up, seems to apply the tenants and the historical implications relatively frequently.

On February 10, 2019, "Sigmund Freud: A Look to Listen" is immediately a celebration of the Museum of Jewish Art and a 20-year history, as well as an attempt to enlist Freud's Jewish point of view. There are more than two hundred paintings, books, and scientific instruments from Freud, but also from Gustav Kurebe, Gustav Klimt, Rene Magritte and Mark Rothko. Curator: Richard Ner, art historian and member of the academic parliament Anne Claire, also includes loans, such as drawings by Egon Schiele and Klimt of the Leopold Museum in Vienna, as well as the "source" of the world By Courbet from the Orsay Museum throughout the Seine.

Not surprisingly to the Paris exhibition, the show opened in a Parisian environment, at the Salpetriere hospital where Freud aged 29 worked with Anne Martin Charcot, a doctor and professor whose conversations about "hysteria" helped create the basis of Freud's conception of psychoanalysis. Freud worked only for four months – he was on a short scholarship – but the exhibition focuses on his research in hypnosis and hysteria, in an attempt to emphasize Freud's cultural Franciscus – his scientific curiosity probably more than French characteristics from Austria. But it is true that Freud found a particularly enthusiastic audience in the Paris salons, where the literary community of Western Europe generally adopted his developing psychoanalytic theories more than the scientific community of that period.

But this exhibition, more than to prove Freud's Frenchman in good faith, is interested in his Jewishness. His father's family was Hasidic, and as he admitted to his "autobiographical study," his Jewish identity aroused in him both nonconformism as a scientist and a certain form of morality that sexual desire would always include some form of law or belief system. This, perhaps more than anything else, helps explain most of his psychosexual theories, which "out of sight to listen" does well to emphasize.

Indeed, a profound psychoanalysis of Freud's relationship with his Jewishness did not try here, but the surface is scratched. And he seemed to be going deep. Even Freud himself seemed surprised at the extent to which his Judaism continued to influence him. In a 1931 letter to his friend, David Feuchtwang, a doctor, admitted his religious identity that affected him as they discovered. "Somewhere in my soul, in a very hidden corner, I am a fanatical Jew," Freud wrote about 75. "I am very surprised to discover myself as such despite all the efforts to be unbiased and impartial, what can I do against it at my age?"

"Sigmund Freud: From Sight to Listen" is displayed at the Museum of Jewish Art and History, Paris, February 10, 2019. More information: www.mahj.org/en


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