Psychoanalyse, Kunst Und Kreativität Heute. Die Entwicklung Der Analytischen Kunstpsychologie Seit Freud. (Psychoanalysis, Art and Creativity Today: Development of the Psychoanalytic Psychology of Art Since Freud.): Edited by Hartmut Kraft. Köln: DuMont Buchverlag, 1984. 370 pp.

In his introduction, the editor notes that the newer developments in psychoanalysis have not been sufficiently recognized by the public. When discussing psychoanalysis as a psychology of art, many authors refer primarily or even exclusively to the work of Sigmund Freud. The public seems unaware of such developments in psychoanalysis as ego psychology, object relations theory, and self psychology. This collection of essays is intended to bring together

into easily accessible form representative articles on creativity and art from the post-Freudian psychoanalytic literature. The collection is addressed to artists, teachers, psychologists, psychoanalysts, and all those who want to understand creativity and art as specifically human forms of expression and communication.

The editor proceeds from the point of view that the manifold developments in psychoanalysis since Freud are of such significance that psychoanalysis can no longer be thought of as synonymous with the work of Freud. From the very beginning, psychoanalysts have been intensely interested in the arts as one of the important forms for the expression of human concerns. Leading psychoanalysts have repeatedly returned to this basic interest in the arts that was also of central importance for Freud. However, these further developments have not been sufficiently recognized, and Kraft deems it necessary to acquaint people with the more recent work on the themes of psychoanalysis, art, and creativity.

In order to make the public familiar with post-Freudian psychoanalytic thought and as a baseline for the discussion, Kraft provides an introductory sketch of the origins and development of psychoanalysis until 1939. He follows this with a discussion of the newer developments since Freud's death. A special section is devoted to Freud's conceptualizations about art, with a side glance at the potentials and the limitations of Freud's thinking.

A number of problem areas are outlined as a preparation for the specif