Foreword

The international presence of Italian psychoanalysis has grown in recent years thanks to the efforts of many colleagues, as is evident from the large number of articles which appear in the most prestigious foreign journals. Italian authors are being translated abroad and invited to participate in conferences, meetings and seminars at the Centres of THE other Societies. An Italian School exists and is becoming recognised as authoritative. Although the broader setting is one of a crisis in psychoanalysis, this is a very positive moment for the Italian Psychoanalytical Society. It would be sufficient simply to mention Stefano Bolognini's Presidency of the IPA. This is the context in which I am introducing the new edition of the Annual of the Rivista di Psicoanalisi, and I am convinced that it fully reflects the creativity which characterises Italian psychoanalytic culture and this greater presence on the international scene.

The booklet contains some of the best writing to have come out in 2013. It ably represents Italian psychoanalysis and several of its principle themes: the paradigm of the session as a dream, reflection of the setting, the theme of authenticity, the focus on art and on the history of psychoanalysis.

The paradigm of the dream in analysis is illustrated in Michele Bezoari's essay on the dream-environment, and again in Massimo Vigna Taglianti's on the meaning of play in child analysis. Anna Ferruta, Giuseppe D'Agostino and Maria Paola Ferrigno discuss the setting in their work. Sandro Panizza and Giuseppe Riefolo address vitality in analysis and life. Rita Corsa tells us about the fascinating adventures of Edoardo Weiss, founder of this Rivista in 1932. Lastly, Vanna Berlincioni and Fausto Petrella comment on the short publicity film shot by Roman Polanski for Prada, which features the actors Ben Kingsley and Helena Bonham Carter.

This brief roundup should be enough to show how Italian psychoanalysis has its roots firmly in the past and is passionate abou