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The future of psychoanalysis resides—or so many believe—in its ability to contribute to interdisciplinary study, whether it be with neurobiology on one hand or with the humanities on another. Emerging from its long isolation, psychoanalysis is increasingly finding its place in the scholarly and academic communities. It is, as I have written elsewhere, "seen by many students of the humanities not so much as an obscure therapeutic process but as a body of thought available, like others, for use in scholarly investigations about the human mind and its products."1
The appearance of this new annual represents another manifestation of this growing trend. A truly interdisciplinary project, it seeks to join scholarly efforts of psychoanalysts and art historians to explore meanings, motives, and methods in the interface of the study of cultural artifacts and that of those who have created them. The outcome of this labor is a beautifully designed, lavishly illustrated, and elegantly produced volume that represents, I believe, a worthy, if not entirely successful, beginning.
The book is divided into four sections, dealing respectively with aesthetics and "art history"; "self-portraiture"; sculpture; and book reviews and authors' responses. A wide range of material is covered, from Michelangelo to Delacroix's Michelangelo in His Studio,