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List of Figures. <p>Notes on Contributers.</p> <p>Series Editor's Preface.</p> <p>Preface.</p> <p>1. The Image in Psychoanalysis and the Archaeological Metaphor. (Griselda Pollock).</p> <p>2. Dreaming Art. (Mieke Bal).</p> <p>3. Fascinance and the Girl-to-m/Other Matrixial Feminine Difference. (Brache L. Ettinger).</p> <p>4. Melancholia and Cezanne's Portraits: Faces beyond the Mirror. (Young-Paik Chun).</p> <p>5. Yayoi Kusama between Abstraction and Pathology. (Izumi Nakajime).</p> <p>6. Diaspora without Resistance? Theresa Hak Kyung Cha's DICTEE and the Law of Genre. (Karyne Ball).</p> <p>7. Fragment(s) of an Analysis: Chantal Akerman's News from Home (or a Mother-Daughter Tale of Two Cities). (Adriana Cerne).</p> <p>Bibliography.</p> <p>Index.</p>

"With greater clarity than ever, this book articulates the relevance of psychoanalysis for art historical interpretation. The result is a work that must necessarily figure in method and theory courses from now on." <i>Keith Moxey, Barnard College, Columbia University</i>

<b><br /> </b> <p><b>Griselda Pollock</b> is Professor of Social and Critical Histories of Art and Director of the CATH Centre at the University of Leeds. She is the author of <i>Vision and Difference: Feminism, Femininity and the Histories of Art</i> (1988), <i>Differencing the Canon: Feminist Desire and the Writing of Art’s Histories</i> (1999), <i>Looking Back to the Future: Essays on Art, Life, and Death</i> (2000), and a monograph on Charlotte Salomon, <i>Theatre of Memory</i> (2007).</p>

<i><br /> </i> <p><i>Psychoanalysis and the Image</i> brings together an influential team of international scholars to use psychoanalytical resources in the study of international modern art and visual representation. Beginning with a substantial introduction by the editor, the volume covers a range of psychoanalytic concepts, including melancholia, trauma, sexuality, the dream, and femininity.<br /> </p> <p>Fresh, creative, and passionate about its subjects, <i>Psychoanalysis and the Image</i> advances methodological debates in theoretically enriched histories of art while offering closely read visual analyses of significant works of international twentieth-century art. It teaches theory in practice while enabling general readers to learn about psychoanalysis through their interest in the visual arts.</p>

"With greater clarity than ever, this book articulates the relevance of psychoanalysis for art historical interpretation. The result is a work that must necessarily figure in method and theory courses from now on." <i>Keith Moxey, Barnard College, Columbia University</i>

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