《互動》2025 0105 3 相信：
1938 年，佛洛伊德將這尊青銅雅典娜放在辦公桌中央，並選擇將她作為第一件從奧地利走私出境的作品，以此表達了他對雅典娜青銅雕像的依戀，當時他的全部古董收藏都面臨遺失的危險。可以說，這是他「最喜歡」的作品。
在 1922 年的一篇簡短手稿中（SE，18，p273），佛洛伊德討論了雅典娜佩戴在胸甲上的蛇頭美杜莎頭顱的性象徵意義。根據佛洛伊德的說法，斬首代表閹割，而美杜莎可怕的斬首頭象徵著缺乏陽具的女性生殖器。
佛洛伊德要求我們看看這個神話中的恐懼與看到某物有關，而不是與恐懼對象可能構成的任何威脅有關，這是多麼奇怪。矛盾的是，裝飾美杜莎頭部的蛇象徵性地取代了失去的陰莖，從而減輕了閹割形象的可怕性。佛洛伊德寫道：
「處女女神雅典娜將這個恐怖的象徵戴在她的衣服上。這是正確的，因為她因此成為一個難以接近並排斥所有性慾的女人——因為她展示了母親可怕的生殖器。由於希臘人總體上是強烈的同性戀，我們不可避免地會在他們中間發現女性的形象，因為她被閹割了，所以她們害怕和排斥[男性]。https://www.freud.org.uk/collections/objects/3007/
Freud displayed his attachment to this bronze Athena by placing her in the centre of his desk and by selecting her as the first piece to be smuggled out of Austria in 1938, when the loss of his entire antiquities collection was threatened. It could be said that this was his ‘favourite’ piece.
In a short manuscript dated 1922 (SE, 18, p273), Freud discusses the sexual symbolism of the decapitated, serpent-trussed head of the Medusa, which Athena wears on her breast plate. According to Freud, decapitation represents castration, and the horrifying decapitated head of Medusa symbolizes the female genitals, which lack a phallus.
Freud asks us to see how strange it is that the fear in this myth is associated with the sight of something, rather than any threat which the object of fear might pose. Paradoxically, the snakes which adorn the head of the Medusa serve to lessen the gruesomeness of the image of castration by symbolically replacing the penis which has been lost. Freud wrote:
“This symbol of horror is worn upon her dress by the virgin goddess Athena. And rightly so, for thus she becomes a woman who is unapproachable and repels all sexual desires - since she displays the terrifying genitals of the Mother. Since the Greeks were in the main strongly homosexual, it was inevitable that we should find among them a representation of woman as a being who frightens and repels [a male] because she is castrated.”
漢清講堂(YouTube) 介紹過他去畫晚年的S. Freud.
21 昨日的世界(mit Stefan Zweig,佛洛伊德 und Dali) 2018-02 漢清講堂
- 1.archaic•humorousa citizen of a town or city, typically a member of the wealthy bourgeoisie."the poem is not the sort of thing the sturdy burghers of Manchester would wish to read"
- 2.historical(in southern Africa) an Afrikaans citizen of a Boer Republic.
該書《驢皮記》是由才華蓋世外國老師亨利·德·巴爾扎克刊行的外國小說，劃分三十六分章19萬字。
《驢皮記》（La Peau de chagrin），法國作家巴爾扎克巨著《人間喜劇》系列作品，1831年發表，是「哲理研究」中最有世界影響的一篇，甫出版就引起了德國文豪歌德的強烈興趣，他說「生命裡有二種悲劇，一是得不到任何的悲劇；一是得到一切後的悲劇。」並斷言「這是一部新型的小說」。
小說敘述一名貴族出身的青年瓦朗坦破產後投身到社交場所，落得窮途未路，準備投水自殺時，一個古董商給了他一張印有天竺文字的驢皮，這張驢皮能為主人實現任何願望，但願望一經實現，驢皮會立刻縮小，自己的壽命也隨之縮短。瓦朗坦開始從擄獲金錢的快感，去填壑無盡的慾望，另一方面象徵他生命的驢皮也逐步的縮小，將他帶往死亡，瓦朗坦猛然驚覺，死神已臨近身旁，眼睜睜地看著自己的末日來臨。
- The Magic Skin （頁面存檔備份，存於網際網路檔案館） at Project Gutenberg (plain text)
In his last days, Freud became increasingly concerned about our longing for inner peace -- our longing, in particular, to replace our old, inconsistent and often inscrutable over-I with something clearer, simpler and ultimately more permissive. We want a strong man with a simple doctrine that accounts for our sufferings, identifies our enemies, focuses our energies and gives us, more enduringly than wine or even love, a sense of being whole. This man, as Freud says in his great book on politics, "Group Psychology and the Analysis of the Ego," must appear completely masterful. He must seem to have perfect confidence, to need no one and to be entirely sufficient unto himself. Sometimes this man will evoke a god as his source of authority, sometimes not. But in whatever form he comes -- whether he is called Hitler, Stalin, Mao -- he will promise to deliver people from their confusion and to dispense unity and purpose where before there were only fracture and incessant anxiety. But, of course, the price is likely to be high, because the simplifications the great man offers will almost inevitably involve hatred and violence.
在他生命的最後幾天，佛洛伊德越來越關心我們對內心平靜的渴望——尤其是我們渴望用更清晰、更簡單、最終更寬容的東西來取代舊的、不一致的、常常難以理解的「我」。我們需要一個堅強的人，他有一個簡單的教義，可以解釋我們的痛苦，識別我們的敵人，集中我們的精力，並給我們比酒甚至愛情更持久的完整感。正如佛洛伊德在他關於政治的偉大著作《群體心理學與自我分析》中所說，這個人必須顯得完全精通。他必須看起來擁有完全的自信，不需要任何人，並且完全能夠靠自己來滿足。有時這個人會召喚神作為祂的權柄來源，有時則不會。但無論他以何種形式出現——無論他被稱為希特勒、史達林、毛澤東——他都將承諾將人們從混亂中解救出來，並在以前只有分裂和持續焦慮的地方帶來團結和目標。但是，當然，代價可能很高，因為這位偉人提供的簡化幾乎不可避免地涉及仇恨和暴力。
Freud's implicit morality is counterintuitive. Though Freud acknowledged the uses of mild intoxicants like love and art, he was nonetheless extremely suspicious of any doctrine or activity that promised to unify the psyche -- or to unify the nation, the people -- without remainder and to do so forever. Freud believed that the inner tensions that we experience are by and large necessary tensions, not because they are so enjoyable in themselves -- they are not -- but because the alternatives to them are so much worse. For Freud, a healthy psyche is not always a psyche that feels good. For Herbert Marcuse, author of a brilliant meditation on Freud, "Eros and Civilization," Freud's politics are potentially the politics of ecstasy. We can collectively undo our repressions and regress toward collective erotic bliss. For Philip Rieff, author of the equally perceptive and original "Freud: The Mind of the Moralist," Freud appears to be a deep political pessimist who thinks that the healthiest individuals will probably be those who turn completely away from politics. But another way to look at Freud is to see him as someone who suggests that a considerable measure of freedom and even relative happiness can come from following a self-aware middle way. If we are willing to live with some inner tension, political as well as personal, we need never be overwhelmed by tyranny or fall into the anarchy that giving into the unconscious completely can bring.
佛洛伊德的隱含道德是違反直覺的。儘管佛洛伊德承認愛情和藝術等溫和麻醉品的用途，但他仍然對任何承諾統一心靈——或統一國家、人民——沒有餘地並永遠這樣做的學說或活動極為懷疑。佛洛伊德認為，我們所經歷的內在緊張大體上是必要的緊張，不是因為它們本身如此令人愉快——它們並非如此——而是因為它們的替代品要糟糕得多。對佛洛伊德來說，健康的心理並不總是感覺良好的心理。對佛洛伊德的精彩沉思《愛欲與文明》一書的作者赫伯特‧馬爾庫塞來說，佛洛伊德的政治可能是狂喜的政治。我們可以集體消除壓抑，回歸集體的性愛幸福。對於同樣具有洞察力和原創性的《佛洛伊德：道德家的心靈》一書的作者菲利普·里夫來說，佛洛伊德似乎是一位深刻的政治悲觀主義者，他認為最健康的個人可能是那些完全遠離政治的人。但看待佛洛伊德的另一種方式是，把他視為一個認為相當大程度的自由，甚至相對幸福，
《互動》2025 0105 3 相信：
漢清講堂(YouTube) 介紹過他去畫晚年的S. Freud.

Vintage History in Pixels
Alberto Giacometti's arrival in Paris in 1922 marked the beginning of a transformative period in the world of modern sculpture. Although Auguste Rodin, the towering figure of late 19th and early 20th-century sculpture, had passed away five years earlier in 1917, his influence was still felt throughout the art world. Giacometti, a Swiss artist born in 1901, came to Paris to study at the Grande Chaumière, where he immersed himself in the teachings of his mentor, Antoine Bourdelle. Bourdelle had been an assistant to Rodin, and thus, Giacometti found himself directly linked to the legacy of one of the most innovative sculptors in history.
In 1950, Giacometti’s admiration for Rodin’s work was clearly reflected when he visited the foundry of Eugène Rudier in Le Vésinet, just outside Paris. It was here that he was able to engage with the iconic Bourgeois de Calais, a series of sculptures by Rodin that had become emblematic of the artist’s dramatic and expressive approach to form. As Giacometti wandered through the park, surrounded by Rodin’s monumental figures, he was filled with both admiration and a sense of humor, using the opportunity to explore his own sculptural techniques. This moment was not only a tribute to Rodin’s genius but also a continuation of Giacometti’s evolving exploration of the human form, which would later be immortalized in his celebrated L'Homme qui marche series.
Giacometti’s artistic evolution was significantly influenced by his encounters with the works of Rodin, whose sculptures combined expressive humanism with intricate detail. Giacometti, like Rodin, sought to depict the human figure with a deep sense of psychological intensity. While Rodin focused on dynamic, muscular forms, Giacometti, particularly in his later years, honed a style that emphasized the fragility and existential solitude of the human condition. His elongated figures and sparse, haunting sculptures captured a surrealist vision that mirrored the emotional isolation of the post-war era. Giacometti’s reverence for Rodin, combined with his unique perspective on human fragility, made him a key figure in modern art, with his work continuing to resonate in both sculpture and the broader art world.
漢清講堂(YouTube) 介紹他去畫晚年的S.佛洛伊德。
21 昨日的世界(mit Stefan Zweig,佛洛伊德 und Dali) 2018-02 漢清講堂
https://www.youtube.com/watch?v=l6k86l1lG-Q&t=318s
1922 年阿爾貝托·賈科梅蒂 (Alberto Giacometti) 抵達巴黎，標誌著現代雕塑世界變革時期的開始。儘管奧古斯特·羅丹這位 19 世紀末和 20 世紀初雕塑界的巨匠早在五年前的 1917 年去世，但他的影響力仍然波及整個藝術界。出生於1901年的瑞士藝術家賈科梅蒂來到巴黎，在Grande Chaumière學習，在那裡他沉浸在導師安托萬·布爾代爾的教誨中。布爾代爾曾是羅丹的助手，因此賈科梅蒂發現自己與歷史上最具創新性的雕塑家之一的遺產直接相關。
1950 年，賈科梅蒂參觀巴黎郊外勒維西內 (Le Vésinet) 的尤金·魯迪埃 (Eugène Rudier) 鑄造廠時，清楚地體現了他對羅丹作品的欽佩。正是在這裡，他能夠接觸到標誌性的《加來布爾喬亞》，這是羅丹創作的一系列雕塑，這些雕塑已成為藝術家戲劇性和表現形式的象徵。當賈科梅蒂漫步在公園裡，周圍環繞著羅丹的紀念雕像時，他充滿了欽佩和幽默感，並利用這個機會探索自己的雕塑技巧。這一刻不僅是對羅丹天才的致敬，也是賈科梅蒂對人體形態不斷探索的延續，這項探索後來在他著名的《行進之人》系列中永垂不朽。
賈科梅蒂的藝術發展深受羅丹作品的影響，羅丹的雕塑將富有表現力的人文主義與複雜的細節結合在一起。賈科梅蒂和羅丹一樣，力求以深刻的心理強度來描繪人物。羅丹專注於動態、肌肉的形式，而賈科梅蒂，特別是在他的晚年，磨練了一種強調人類狀況的脆弱性和存在的孤獨性的風格。他拉長的人物和稀疏的、令人難忘的雕塑捕捉了超現實主義的視覺，反映了戰後時代的情感孤立。賈科梅蒂對羅丹的崇敬，加上他對人類脆弱性的獨特視角，使他成為現代藝術的關鍵人物，他的作品繼續在雕塑和更廣泛的藝術世界中引起共鳴。
Hitler would perhaps have drawn back in shame at his threadbare overcoat and his broken shoes. Though he might, if things were bad enough, have extended his hand to beg. Whether Freud gave or not (he could well have; he was generally good-hearted) would have made no difference; the encounter would still have left young Adolf seething.
希特勒和佛洛伊德有可能真的見過面。第一次世界大戰開始前，希特勒在維也納度過了他一生中最不快樂的幾年。一次而是兩次。很快，他的錢就花光了，只能睡在門口，甚至不時乞討。如果希特勒和佛洛伊德在維也納的街道上擦肩而過，那麼在佛洛伊德從1909 年非常成功的美國之行歸來後，佛洛伊德就會看到一隻過街老鼠，即暴民中的普通居民。 （佛洛伊德不是民粹主義者。）希特勒會看到一個維也納市民（他鄙視上層中產階級），也可能認為佛洛伊德是猶太人。希特勒或許會因為他破舊的大衣和破鞋而羞愧地退縮。不過，如果情況夠糟糕的話，他可能會伸手乞討。佛洛伊德是否給予（他很可能給予；他通常是善良的）都沒有什麼區別；這次遭遇仍讓年輕的阿道夫心潮澎湃。
a Viennese burgher .
burgher
/ˈbəːɡə/
Learn to pronounce
noun
1.
ARCHAIC•HUMOROUS
a citizen of a town or city, typically a member of the wealthy bourgeoisie.
"the poem is not the sort of thing the sturdy burghers of Manchester would wish to read"
2.
HISTORICAL
(in southern Africa) an Afrikaans citizen of a Boer Republic.
《弗洛伊德的最後歲月》The Death of Sigmund Freud By Mark Edmundson, 2007. last two years of Freud's life
該書《驢皮記》是由才華蓋世外國老師亨利·德·巴爾扎克刊行的外國小說，劃分三十六分章19萬字。
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維基百科，自由的百科全書
《驢皮記》（La Peau de chagrin），法國作家巴爾扎克巨著《人間喜劇》系列作品，1831年發表，是「哲理研究」中最有世界影響的一篇，甫出版就引起了德國文豪歌德的強烈興趣，他說「生命裡有二種悲劇，一是得不到任何的悲劇；一是得到一切後的悲劇。」並斷言「這是一部新型的小說」。
小說敘述一名貴族出身的青年瓦朗坦破產後投身到社交場所，落得窮途未路，準備投水自殺時，一個古董商給了他一張印有天竺文字的驢皮，這張驢皮能為主人實現任何願望，但願望一經實現，驢皮會立刻縮小，自己的壽命也隨之縮短。瓦朗坦開始從擄獲金錢的快感，去填壑無盡的慾望，另一方面象徵他生命的驢皮也逐步的縮小，將他帶往死亡，瓦朗坦猛然驚覺，死神已臨近身旁，眼睜睜地看著自己的末日來臨。
The Magic Skin （頁面存檔備份，存於網際網路檔案館） at Project Gutenberg (plain text)
At the center of Freud's work lies a fundamental perception: human beings are not generally unified creatures. Our psyches are not whole, but divided into parts, and those parts are usually in conflict with one another. The id, or the "it," is an agent of pure desire: it wants and wants and does not readily take no for an answer. The superego, or over-I, is the internal agent of authority. It often looks harshly upon the id and its manifold wants. The superego, in fact, frequently punishes the self simply for wishing for forbidden things, even if the self does not act on those wishes at all. Then there is the ego, trying to broker between the it and the over-I, and doing so with the greatest of difficulty, in part because both agencies tend to operate outside the circle of the ego's awareness. The over-I and the it often function unconsciously. Add to this problem the fact that "the poor ego," as Freud often calls it, must navigate a frequently hostile outside world, and it is easy to see how, for Freud, life is best defined as ongoing conflict. In a passage in "The Ego and the Id," Freud observes that the ego is a "poor creature owing service to three masters and consequently menaced by three dangers: from the external world, from the libido of the id and from the severity of the superego. Three kinds of anxiety correspond to these three dangers, since anxiety is the expression of a retreat from danger."
佛洛伊德著作的核心在於一個基本觀念：人類並不是普遍統一的生物。我們的心靈並不是完整的，而是分成幾個部分，而這些部分通常是互相衝突的。本我，或者說“它”，是純粹慾望的代理人：它想要一直想要，並且不會輕易接受“不”的答案。超我，或者說超我，是權威的內在代理人。它常常嚴厲地看待本我及其多方面的需求。事實上，超我經常僅僅因為自我想要禁止的事情而懲罰自我，即使自我根本沒有按照這些願望行事。然後是自我，試圖在「它」和「超我」之間進行調解，而這樣做卻遇到了最大的困難，部分原因是這兩個機構都傾向於在自我意識的圈子之外運作。過度的我和它經常在無意識的情況下發揮作用。除了這個問題之外，佛洛伊德經常稱之為“可憐的自我”，必須在一個經常充滿敵意的外部世界中航行，而且很容易看出，對於佛洛伊德來說，生活最好被定義為持續的衝突。佛洛伊德在《自我與本我》的一段話中指出，自我是一個「可憐的生物，為三個主人服務，因此受到三種危險的威脅：來自外在世界、來自本我的力比多、來自自我的嚴重性」。三種焦慮對應於這三種危險，因為焦慮是逃避危險的表現。”
In his last days, Freud became increasingly concerned about our longing for inner peace -- our longing, in particular, to replace our old, inconsistent and often inscrutable over-I with something clearer, simpler and ultimately more permissive. We want a strong man with a simple doctrine that accounts for our sufferings, identifies our enemies, focuses our energies and gives us, more enduringly than wine or even love, a sense of being whole. This man, as Freud says in his great book on politics, "Group Psychology and the Analysis of the Ego," must appear completely masterful. He must seem to have perfect confidence, to need no one and to be entirely sufficient unto himself. Sometimes this man will evoke a god as his source of authority, sometimes not. But in whatever form he comes -- whether he is called Hitler, Stalin, Mao -- he will promise to deliver people from their confusion and to dispense unity and purpose where before there were only fracture and incessant anxiety. But, of course, the price is likely to be high, because the simplifications the great man offers will almost inevitably involve hatred and violence.
在他生命的最後幾天，佛洛伊德越來越關心我們對內心平靜的渴望——尤其是我們渴望用更清晰、更簡單、最終更寬容的東西來取代舊的、不一致的、常常難以理解的「我」。我們需要一個堅強的人，他有一個簡單的教義，可以解釋我們的痛苦，識別我們的敵人，集中我們的精力，並給我們比酒甚至愛情更持久的完整感。正如佛洛伊德在他關於政治的偉大著作《群體心理學與自我分析》中所說，這個人必須顯得完全精通。他必須看起來擁有完全的自信，不需要任何人，並且完全能夠靠自己來滿足。有時這個人會召喚神作為祂的權柄來源，有時則不會。但無論他以何種形式出現——無論他被稱為希特勒、史達林、毛澤東——他都將承諾將人們從混亂中解救出來，並在以前只有分裂和持續焦慮的地方帶來團結和目標。但是，當然，代價可能很高，因為這位偉人提供的簡化幾乎不可避免地涉及仇恨和暴力。
Freud's implicit morality is counterintuitive. Though Freud acknowledged the uses of mild intoxicants like love and art, he was nonetheless extremely suspicious of any doctrine or activity that promised to unify the psyche -- or to unify the nation, the people -- without remainder and to do so forever. Freud believed that the inner tensions that we experience are by and large necessary tensions, not because they are so enjoyable in themselves -- they are not -- but because the alternatives to them are so much worse. For Freud, a healthy psyche is not always a psyche that feels good. For Herbert Marcuse, author of a brilliant meditation on Freud, "Eros and Civilization," Freud's politics are potentially the politics of ecstasy. We can collectively undo our repressions and regress toward collective erotic bliss. For Philip Rieff, author of the equally perceptive and original "Freud: The Mind of the Moralist," Freud appears to be a deep political pessimist who thinks that the healthiest individuals will probably be those who turn completely away from politics. But another way to look at Freud is to see him as someone who suggests that a considerable measure of freedom and even relative happiness can come from following a self-aware middle way. If we are willing to live with some inner tension, political as well as personal, we need never be overwhelmed by tyranny or fall into the anarchy that giving into the unconscious completely can bring.
佛洛伊德的隱含道德是違反直覺的。儘管佛洛伊德承認愛情和藝術等溫和麻醉品的用途，但他仍然對任何承諾統一心靈——或統一國家、人民——沒有餘地並永遠這樣做的學說或活動極為懷疑。佛洛伊德認為，我們所經歷的內在緊張大體上是必要的緊張，不是因為它們本身如此令人愉快——它們並非如此——而是因為它們的替代品要糟糕得多。對佛洛伊德來說，健康的心理並不總是感覺良好的心理。對佛洛伊德的精彩沉思《愛欲與文明》一書的作者赫伯特‧馬爾庫塞來說，佛洛伊德的政治可能是狂喜的政治。我們可以集體消除壓抑，回歸集體的性愛幸福。對於同樣具有洞察力和原創性的《佛洛伊德：道德家的心靈》一書的作者菲利普·里夫來說，佛洛伊德似乎是一位深刻的政治悲觀主義者，他認為最健康的個人可能是那些完全遠離政治的人。但看待佛洛伊德的另一種方式是，把他視為一個認為相當大程度的自由，甚至相對幸福，可以來自於遵循自我意識的中間道路的人。如果我們願意生活在某種內在的緊張之中，無論是政治的還是個人的，我們就永遠不會被暴政壓倒，也不會陷入完全屈服於無意識可能帶來的無政府狀態。
For Freud, we might infer, a healthy body politic is one that allows for a good deal of continuing tension. A healthy polis is one that it doesn't always feel good to be a part of. There's too much argument, controversy, difference. But in that difference, annoying and difficult as it may be, lies the community's well-being. When a relatively free nation is threatened by terrorists with totalitarian goals, as ours is now, there is, of course, an urge to come together and to fight back by any means necessary. But the danger is that in fighting back we will become just as fierce, monolithic and, in the worst sense, as unified as our foes. We will seek our own great man; we will be blind to his foibles; we will stop questioning, stop arguing. When that happens, a war of fundamentalisms has begun, and of that war there can be no victor.
對佛洛伊德來說，我們可以推斷，健康的政治體是一種允許大量持續緊張的政治體。一個健康的城邦，成為其中的一員並不總是讓人感覺良好。有太多的爭論、爭議、分歧。但在這種差異中，儘管可能令人煩惱和困難，卻存在著社區的福祉。當一個相對自由的國家受到具有極權主義目標的恐怖分子的威脅時，就像我們現在的國家一樣，當然會有一種團結起來並以任何必要手段進行反擊的衝動。但危險在於，在反擊中，我們會變得和我們的敵人一樣兇猛、鐵板一塊，甚至從最壞的意義上來說，也會變得團結起來。我們要尋找自己的偉人；我們會對他的缺點視而不見；我們將停止質疑，停止爭論。當這種情況發生時，原教旨主義戰爭就開始了，而這場戰爭不可能有勝利者。
- The Death of Sigmund Freud. Bloomsbury Publishing, 2007. Translations: French, German, Dutch, Chinese, Hebrew, Korean, Turkish, Portuguese (Brazil), Greek.[24]
Mark Edmundson is an American author and professor at the University of Virginia.[1] He received a B.A from Bennington College in 1974 and a Ph.D from Yale University in 1985.[2] Edmundson specializes in Romanticism, Poetry, and 19th-Century English and American Literature.[1] He is the author of sixteen books, and his essays appear in The Wall Street Journal, The Atlantic, Harper's Magazine, The Chronicle of Higher Education, and The New York Times Magazine. Edmundson was awarded a Guggenheim Fellowship[3] and was a National Endowment for the Humanities/Daniels Family Distinguished Teaching Professor at the University of Virginia.[4]
Tomorrow (21 March) at 6:30 pm GMT: Amin Ghaziani joins LSE Sociology to celebrate the launch of his new book, Long Live Queer Nightlife. He will be in conversation with Dr. Jana Melkumova-Reynolds and Dr. Ryan Centner, with Professor Suzi Hall chairing.
Learn more: https://hubs.ly/Q02pCGt90
#三月新書
《#禮讚佛洛伊德》
#希爾達杜利特 #HildaDoolittle
「 我本來是預期見到冷漠、超然又廣遭人辱罵的科學家，
結果我卻發現了藝術家。」 —— H.D.
#本書特色
★ #被譽為所有佛洛伊德傳記文學中最迷人的作品，詩人筆鋒帶有深情，文字洗煉而富詩意
★ 側寫晚年的佛洛伊德，尤其讓人看到佛洛伊德：
（1）對神祕學與神話領域深厚的功力，是個 #帶有靈性色彩的佛洛伊德；
（2）#看到佛洛伊德的柔軟面──不同於過往父性的形象，彷彿在作者眼裡，#佛洛伊德若似母親形象，是為本書亮點。
★ #著名女詩人以文學之筆將自身接受治療的經歷記錄成書，至今仍是精神分析創始人佛洛伊德的分析治療實踐的重要證詞。
★ 本書亦收錄 H.D.之詩作《大師（The Master)》，邀請世人透過詩意之眼，看見精神分析之父的光影與溫柔。
★ 劇作家、精神分析師 Antonio Quinet 將本書改編為舞台劇「詩人與教授」（Hilda and Freud）。
#新書簡介
🩷最迷人的佛洛伊德傳記文學
🩷當納粹在窗外喧囂，她和佛洛伊德在診療室中分析無意識與夢境
本書是筆名 H. D. 的美國女詩人希爾達．杜利特（Hilda Doolittle），在一九三〇年代接受佛洛伊德治療後寫下的紀錄與自我敘說。文中佛洛伊德以「教授」之名若隱若現，彷彿在 H. D. 行動與回憶時始終於一旁觀看守護，與她對話。
第一部「牆上的書寫」是 H. D. 治療十年後的回憶，以簡短章節的散文詩形式雜揉夢境、現實與想像，重寫了她的分析經驗；第二部「降臨」則是分析期間的日記。全書交織著 H. D. 的生命故事和治療場景――賓夕法尼亞州的童年回憶、與詩人龐德、小說家勞倫斯、她的前夫亞丁頓、終身伴侶布麗荷的關係，穿插神話意象的分析、時代氛圍側寫、自身的創作過程，以及與佛洛伊德往來的點滴。
書中呈現的精神分析之父不若一般印象中那位嚴肅謹慎的思想巨人，而是一位藝術收藏家、愛狗人士；柔軟睿智、溫煦體貼，對神祕學有深厚造詣；並且擁有令人畏懼的洞察力，卻隨時願意修正自己的想法。
詩人的文字如同水晶碎片，惆悵的氛圍中閃爍著迷人的光芒，呈現了精神分析創始人暮年非常溫馨且人性化的形象。時間在夢境、記憶和反思的遠景中，將過去、現在和未來交織成一幅如夢似真的繪畫。
「這無疑是對佛洛伊德人格最珍貴的禮讚，可能是有史以來寫得最美好的一部。只有優秀且富創意的藝術家才能寫出這樣的文字……本書將成為所有佛洛伊德傳記文學中最迷人的作品。」
――歐內斯特．瓊斯（Ernest Jones，佛洛伊德官方傳記作者）
💘真誠推薦（按姓氏筆劃排列）
王浩威 / 作家、精神科醫師、榮格分析師
宋文里 / 國立清華大學榮譽退休教授
高榮禧 / 國立清華大學藝術與設計學系副教授
張小虹 / 國立臺灣大學文學院外國語文學系暨研究所特聘教授
劉毓秀 / 國立臺灣大學文學院外國語文學系暨研究所兼任教授
蔡榮裕 / 臺灣精神分析學會名譽理事長、臺灣心理治療個案管理學會理事長
🖋#作者簡介
希爾達．杜利特（Hilda Doolittle，筆名H. D.，1886-1961）
美國詩人、小說家，其詩風格獨特，吸收了意象派的美學，卻不侷限於意象派一系，後期詩歌的題材和風格朝向多元發展，亦有女性主義特色。
杜利特1886年生於賓夕法尼亞州的伯利恆市，1911年遷往歐洲，並在此度過餘生。杜利特以其才華成為意象主義運動的核心人物，深受著名詩人龐德（Ezra Pound）肯定，並在龐德建議下開始在發表的詩作下面署名「H. D.」，時人譽為「一個創造出微形寶玉的完美意象派」。然而她的大多數作品才氣縱橫，不甘受限於意象派的定義，其創造和啟發之處都表現在後期的詩和散文中。曾擔任《自我主義》雜誌編輯，在《英國評論》和《大西洋評論》上發表詩作。一戰期間她的哥哥去世，並與丈夫理查．亞丁頓（Richard Aldington）離異，這些事影響她後來的創作至鉅。1930年代她成為佛洛伊德的朋友，並接受佛洛伊德的分析。
她對古希臘文學感興趣，經常援引希臘神話和古典詩歌的題材，將歷史傳說與現代形式相結合。代表作有《海的花園》、《紅薔赤銅》、《三部曲》、《海倫在埃及》等。1960年獲美國文學藝術院詩歌功勛獎章，是首位獲此榮譽的女性。評論家稱其詩作將「暖雪與冷岩融於一身」。以 H. D. 署名的詩作已是許多現代主義和後現代主義詩人的典範，是20世紀歐美文壇極有影響力的人文資產。
✨ 一窺詩人筆下的精神分析之父 ✨
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