Saturday , January 23 2021

In Paris, where Freud meets, art and religion



Sigmund Freud was born in a Jewish family, but since the early days he has become not only an atheist but also the one who wanted to retain his Jewish origins separated from psychoanalytic science. If he should be a scientist, he believed, he could not translate himself into religion. However, at the age of 81, two years before his death, he published "Moses and Monotheism," in which he essentially tried to psychoanalise Moses' death, calling him "tribal pater familias" of Judaism. Freud repeated Moses's death of the Old Testament, who originally claimed that at the top of the mountain and above the "promised land" of Israel, Moses died only at the age of 120. Freud, however, said that Moses's followers killed him in a frustrated rebellion, and this is the guilt that the Jews inherited for thousands of years, still turning them into religion to gain spiritual consolation and make some kind of historical recklessness.

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

But it is not true that Freud always kept out of religion. He used to mix Judaism in his psychoanalysis. In the earlier book, "Civilization and Its Discontent," Freud claimed that religion created the ultimate controversy in people as if it had been preaching violence, opposed to the natural human stimulation of power and sex attempts in no way. And, in Freud's "Fetish Analysis in a Five-Year-Old Boy" in Freud's study, Freud suggested that the Jewish tradition of circumcision due to castration anxiety was "the deepest unconscious root of anti". All this complements a man who, trying to avoid the spiritual aspects of religion was raised, actually seemed to apply its tenants and historical implications with relative frequency.

By February 10, 2019 "Sigmund Freud: From Watching to Listening" is at the same time a celebration of the 20th anniversary of the Museum of Jewish Art and History, as well as attempts to gather insight into Freud's Jewish perspective. More than two hundred drawings, books and scientific instruments from Freud, but also from Gustave Courbet, Gustav Klimt, Rene Magritte and Mark Rothka. He was represented by Gerard Regnier, an art historian and a member of the Academie francaise, who goes for the pseudonym "Jean Clair", and also includes loans such as Egon Schiele and Klimt drawings from Vienna's Leopold Museum as well as the famous "The Origin of the World" Courbet from Orsay a museum across Seine.

An unusual exhibition in Paris at the Salpetriere hospital, where 29-year-old Freud worked with doctor and professor Jean-Martin Charcot, whose conversations on "hysteria" helped establish Freud's concept of psychoanalysis. Freud had only spent four months working for Charcot – it was a short party – but the exhibition takes a long time to focus on Charcot's research of hypnosis and hysteria in an attempt to emphasize Freud's cultural Frenchness – his scientific curiosity obviously more than French than Austrian characteristics, that Freud found a particularly voluntary audience in the Parisian salons, where the Western European literary community mostly hugged his growing psychoanalytic theory more than the scientific community of that time.

But this exhibition, more than proving Freud's French bona fides, is interested in his Jewish affiliation. His father's family were Hasidi Jews, and, as he admitted in his "Autobiographical Study", he was inspired by his latent Jewish identity and non-conformity as a scientist and a certain form of morality in which sexual desire would always have contained some form of law or belief system. This, perhaps more than anything else, helps explain most of his psycho-theory theories that "stand out from listening to" are well tolerated.

Indeed, the deeply captured psychoanalysis of Freud's relationship to his Jewishness here is not attempted, but the surface is scathing. And it seems to go deeper. Even Freud himself seemed surprised at how much his Judaism still influenced him. In a letter from 1931, his friend David Feuchtwang, a doctor, admitted that his religious identity had more and more influenced him as he was older. "In some place in my soul, in a very narrow corner, I'm a fanatical Jew," wrote Freud as a 75-year-old. "I am very surprised that I have discovered this despite all my efforts to be impartial and impartial. What can I do against her at my age?"

"Sigmund Freud: From Watching to Listening" is a visit to the Museum of Jewish Art and History, Paris, until February 10, 2019. More information: www.mahj.org/en


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