20 Maresfield Gardens in Hampstead was the final home of Sigmund Freud, the founder of psychoanalysis, who came here with his family in 1938, after fleeing Nazi-occupied Vienna.
Importantly for Freud, he was able to bring his extensive library and collection of antiquities with him to London. In his new home, he recreated his study and consulting room as it been in Vienna and here you will find the original psychoanalytic couch on which Freud’s patients told him their dreams.
Senior Citizens: £7.00
Concessions £5.00 (Students with valid ID cards, children aged 12-16, unemployed persons, disabled persons.
Children under 12: Free
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Julia Samuel wrote Grief Works as the definitive guide for anyone who is grieving the death of someone they care about. Julia Neuberger works with bereaved families and has written textbooks for nurses and others on how best to treat dying people and their families from diverse communities.
The two Julias will discuss the grieving process, how friends and family can support the bereaved, and when it is time to call in the professionals.Full Details
In what is arguably his most politically oriented work, Seminar XVII – The Other Side of Psychoanalysis (1969-70), Jacques Lacan coins the neologism anthropie in order to refer to a form of entropy – a degradation or loss of energy – that would be specific to the anthropos, the human animal. In this one-day intensive course we will scrutinise this expression by first unravelling the closely related notion of discourse, which is the main focus of Seminar XVII.
Second, we will see how, in his early Seminars of the 1950s, Lacan already attempted to single out the peculiarity of the speaking animal with respect to other forms-of-life by pointing out that its potentially self-destructive death instinct is somehow anti-entropically contained through the concomitant production of information as an increase in “levels of differentiation”.
Third, we will dwell on how Seminar XVII further articulates and rectifies this scenario. At this point, the symbolic order of language, discourse, and knowledge is no longer simply seen as a tentative solution to the “perturbed” biological nature of Homo sapiens but also as an integral part of its predicament. The very slowing down of entropy – the separation of linguistic life from animal undeadness – itself enhances entropy. There is a structural entropic feature of knowledge that attempts to totalise knowledge, or differentiation, which increasingly indifferentiates it in a chaotic manner.
On the one hand, this endeavour – epitomised by the capitalist-bureaucratic capture of knowledge and its contradictory brandishing of the “happy life” as an elimination of loss – is itself inconclusive. On the other hand, the enhancement of entropy through knowledge may turn out to be truly irreversible and can already be given very concrete or at least evocative names, such a nuclear holocaust, environmental point of no return, pandemic malware, super-intelligent AI takeover, and so on.Full Details
The surrealist movement began shortly after the end of World War I. It aimed to liberate the individual from the constraints of bourgeois morality and thus cause revolutionary change in society. The early years of the movement were characterised by an emphasis on Marxist politics and psychoanalytical theory. Freudian theories about hysteria, dream symbolism, psychosexual imagery and the uncanny were used by surrealists to create haunting and provocative works of art. Freud’s use of myth to explain aspects of the psyche and his concept of the ‘omnipotence of thought’ opened doors for the surrealists to conduct their own explorations of magic and mythology. From the 1930s onwards, the surrealists became increasingly engaged with mythological themes and the hidden, symbolic language of magic and occult philosophy which is expressed through a wide range of works by artists such as Max Ernst, André Masson and Salvador Dalí.
In this presentation, Nadia Choucha analyses and compares the creative strategies of surrealist artists and writers whose work combined elements of occult symbolism with psychoanalytical and mythological themes. They aimed to reveal the secrets of the unconscious and create a ‘new myth’ for their time and, in doing so, they redefined the role of the artist as magician and the purpose of art as a means towards self-knowledge, transformation and illumination.
Part of an exciting series of talks and events which coincide with ‘Freud, Dali and the Metamorphosis of Narcissus’ on display the Museum from 3 October 2018 – 24 February 2019.
Nadia Choucha has degrees from the University of Edinburgh and King’s College London. Her book Surrealism and the Occult was published by Mandrake, Oxford in 1991 (2nd edition, 2016). She is based in London where she works for an academic research institute and is also an independent scholar and member of ESSWE (European Society for the Study of Western Esotericism).
The Education Service caters for groups in primary, secondary and tertiary education, allowing students to explore the resources of the museum, experience the intense atmosphere of Freud’s Study and consulting room, and discuss Freud’s life and work at times when the Museum is closed to the general public.
For further information (including downloadable worksheets), please visit our website.
Freud Museum London
20 Maresfield Gardens
Finchley Road, Finchley Road & Frognal
Euston, King's Cross
13, 82, 113, 187, 268