You do not currently have permission to view the full text for this document. Please sign in to an account with an active subscription or contact support.
Curiously, Freud seems to have neglected the notion of image or iconic representation when he talked of representation, even though he often wrote using iconic images such as the magic writing block, screen-memories, etc. The Signorelli parapraxis, for example, is analyzed without any mention of the Last Judgment of Signorelli at Orvieto, yet it is not an image that one easily forgets, and surely should have been mentioned in a discussion of death and sexuality. Freud later claimed to be more affected by sculpture than by painting. Is there perhaps an element of repression here? The work of painters haunts his work, even though they desert his theory. The author cites some passages from "Screen Memories," and from the figurability chapter in The Interpretation of Dreams. Curiously, there was a later absence of comments, except for the vulture or kite of da Vinci. There is also no comment on the drawing presented by the Wolf Man of his dream, even though the drawing differs by five wolves instead of six from the account given. The author examines Freud's curious and apparently repressive neglect of the visual image, even though it was often important, e.g., in the dream of the botanical monograph and other of Freud's dreams. Freud certainly knew of Charcot's interest in the plastic arts, the prevalence of iconography that marked the fine engravings, photographs, etc., that were even used in the study of neuroses and hysteria. Finally, the quarrel with Jung must be