The concept of "screen memories" was introduced by Freud for the first time in his 1899 paper, reprinted here in its entirety. Although the clinical interest in "screen memories" has perhaps diminished in recent analytic discussion, there is much to be gained from revisiting and re-examining both the phenomenon and Freud's original paper within a contemporary context. To this end, the authors have invited contributions from eight leading psychoanalysts on the current meaning and value to them of the screen memory concept. These comments come from contemporary psychoanalysts practicing in Italy, Francophone Switzerland, Argentina, Israel, and the United States of America, each of whom has been trained in one or another of a variety of psychoanalytic traditions, among which are ego psychology, a French version of Freud, an American version of Lacan and at least two variants of Kleinian thought - one British and one Latin American.

Thanks to Facebook and Instagram, our younger selves have been captured and preserved online. But what happens, Kate Eichhorn asks, when we can’t leave our most embarrassing moments behind? Rather than a childhood cut short by a loss of innocence, the real crisis of the digital age may be the specter of a childhood that can never be forgotten.

Selections span Freud's career from early case histories through his work on dreams, essays on sexuality, and his later philosophical writings. Most are reproduced in full and have been selected from the standard edition. Gay ties all together with an analytical introduction, chronology of life and work, and commentary throughout. Ideal size book for reading and browsing marred only by the inexplicable use of poor quality (and acidic) paper. Annotation copyrighted by Book News, Inc., Portland, OR

Literary trauma studies is a rapidly developing field which examines how literature deals with the personal and cultural aspects of trauma and engages with such historical and current phenomena as the Holocaust and other genocides, 9/11, climate catastrophe or the still unsettled legacy of colonialism. The Routledge Companion to Literature and Trauma is a comprehensive guide to the history and theory of trauma studies, including key concepts, consideration of critical perspectives and discussion of future developments. It also explores different genres and media, such as poetry, life-writing, graphic narratives, photography and post-apocalyptic fiction, and analyses how literature engages with particular traumatic situations and events, such as the Holocaust, the Occupation of France, the Rwandan genocide, Hurricane Katrina and transgenerational nuclear trauma. Forty essays from top thinkers in the field demonstrate the range and vitality of trauma studies as it has been used to further the understanding of literature and other cultural forms across the world. Chapter 2 of this book is freely available as a downloadable Open Access PDF at http://www.taylorfrancis.com under a Creative Commons Attribution-Non Commercial-No Derivatives (CC-BY-NC-ND) 4.0 license.

This book argues that Freud’s mapping of trauma as a scene is central to both his clinical interpretation of his patients’ symptoms and his construction of successive theoretical models and concepts to explain the power of such scenes in his patients’ lives. This attention to the scenic form of trauma and its power in determining symptoms leads to Freud’s break from the neurological model of trauma he inherited from Charcot. It also helps to explain the affinity that Freud and many since him have felt between psychoanalysis and literature (and artistic production more generally), and the privileged role of literature at certain turning points in the development of his thought. It is Freud’s scenography of trauma and fantasy that speaks to the student of literature and painting. Overall, the book develops the thesis of Jean Laplanche that in Freud’s shift from a traumatic to a developmental model, along with the undoubted gains embodied in the theory of infantile sexuality, there were crucial losses: specifically, the recognition of the role of the adult other and the traumatic encounter with adult sexuality that is entailed in the ordinary nurture and formation of the infantile subject.

When recalling events that one personally experienced, one often visualizes the remembered scene as one originally saw it: from an internal visual perspective. Sometimes, however, one sees oneself in the remembered scene: from an external "observer perspective." In such cases one remembers from-the-outside. This book is about such memories. Remembering from-the-outside is a common yet curious case of personal memory: one views oneself from a perspective one seemingly could not have had at the time of the original event. How can past events be recalled from a detached perspective? How is it that the self is observed? And how can we account for the self-presence of such memories? Indeed, can there be genuine memories recalled from-the-outside? If memory preserves past perceptual content then how can one see oneself from-the-outside in memory? This book disentangles the puzzles posed by remembering from-the-outside. The book develops a dual-faceted approach for thinking about memory, which acknowledges constructive and reconstructive processes at encoding and at retrieval, and it uses this approach to defend the possibility of genuine memories being recalled from-the-outside. In so doing it also elucidates the nature of such memories and sheds light on the nature of personal memory. The book argues that field and observer perspectives are different ways of thinking about a particular past event. Further, by exploring the ways we have of getting outside of ourselves in memory and other cognitive domains, the book sheds light on the nature of our perspectival minds. -- Publisher description.