In our interview series "in conversation with“, we will briefly present the authors of the leading articles. We want to give our users the ability to read also the leading article from a different point of view.
This week we are very glad to welcome Emilio Modena from Zurich, Switzerland:
Born in 1941 in Naples, since 1950 in Switzerland. Medical studies at the University of Zurich, afterwards five years working as a general practitioner. Psychoanalytic training at PSZ, private practice since 1974, lecturer and supervisor since 1977, founder of the Foundation for Psychotherapy and Psychoanalysis 1979. Numerous publications on psychoanalytic training drive theory and narcissism, psychoanalysis and politics (see Bibliography www.psychoanalyse-stiftung.ch).
DWP: What led you to deal with psychoanalysis, respectively with Freud and his achievements?
Emilio Modena: There have been two motifs during my adolescence and early adulthood. On the one hand the idealization of my grandfather (step-) father's side, Rudolf Brun, who was a neurologist, psychoanalyst and myrmecologist and a real private scholar and as such an impressive personality. Even today, I still own his research microscope. On the other hand, my curiosity, which was directed towards biology, as well as sociology and politics. I discovered psychoanalysis as a link between the two areas.
Foucault accused psychoanalysis that it yanks everything to light. The couch, on which nothing should be left unsaid, becomes thus the instrument of a disciplinary society in which no one has the right to something hidden, unspoken and secret anymore. Enlightenment is changed for screening, analysis used for spying.
The British psychoanalyst Josh Cohen, who in the book Lament cooperates with the photographer Bettina von Zwehl to save the shadows, has a similar fear. The exposure of the unconscious during analysis as well as that of the film must not slide into the totality of visibility and thus destroy the privacy. Can therefore, asks Cohen, a photograph protect the shadow of existence rather than illuminate it? Can analysis tolerate shadows? Can anything be said of the shadow, or will it always remain the negative of the language, the negative of the picture?
Four themes twist themselves around each other in the book Lament; two articles from Cohen and two photographic series of von Zwehl. The photo material was recently on display in the Freud Museum London, where the fifty always differently torn fragments (The Sessions) of an identical portrait of a young girl hung in the stairwell. The identical, as we see, is always different and it remains forever incomplete. Also incomplete are the fifteen silhouette portraits of women, whose faces are barely covered in enough light to let them be identified as individuals, but all other details remain in impenetrable shadows.
Welcome to the first psychoanalytical radio show live from Vienna!
UNBEWUSST - die Lust am freien Sprechen occurs on the second Wednesday of every month on Radio Orange 94.0 at 8 p.m.!
The recordings of the radio show can be found HERE.
FREUD Meister und Freund
by Hanns Sachs, 1950
Private sale: EUR 63,-
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von Dorothy Burlingham und Anna Freud
(Imago Publishing Co. Ltd), 1949
Private sale: EUR 48,-
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ÜBER DIE SYMBOLIK DER KOPFTROPHÄEN
von Marie Bonaparte
(Internationaler Psychoanalytischer Verlag), 1928
Private sale: EUR 52,-
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