An exploration of shunning reactions to psychobiographical accounts of theoretical ideas, this article delves into the question of why this particular reaction is the most widespread, as well as the reactions one of the authors experienced to his own work on Heidegger.

Based on Russell's archives and developments in psychodynamic theory, Brink (English and psychiatry, McMaster University) presents a new perspective on his contributions in forming late 20th c. liberal awareness. Paperback edition ($12.50) not seen. Annotation copyrighted by Book News, Inc., Portland, OR.

The aim of this psychobiography was to uncover, reconstruct and illustrate significant trajectories of psychosocial development and historical events over the lifespan of Emily Hobhouse. The British-born Hobhouse later became an anti-war campaigner and social activist who exposed the appalling conditions of the British concentration camps during the Anglo-Boer War, as evidenced by primary and secondary historical data. Purposive sampling was used to select Hobhouse as a significant and exemplary subject. Levinson’s four eras or seasons of lifespan development served (...) as the theoretical psychological approach. The study was undertaken against the background of Merleau-Ponty’s ontological philosophy that elucidates a human science phenomenology where the individual cannot be separated from her social world. Alexander’s model of identifying salient biographical themes was utilized and a conceptual psycho-historical framework, based on both the life cycle theory of Levinson and significant historical periods throughout Hobhouse’s life, was employed to assist with data gathering, categorisation, and analyses. The findings highlight significant psychosocial and historical events in the life of Hobhouse that shaped her development as an anti-war campaigner. These include: The role of her strong-willed and determined mother; the denial of an opportunity to study and pursue a formal education; her management of painful feelings of abandonment and grief; the care of her father during his illness and his eventual death; the abrupt ending of her failed romantic relationship; her networking capacity; and her open-mindedness and capacity for independent humanitarian thought. Against the philosophical background of Merleau-Ponty’s phenomenological ontology, Levinson’s theory and eras proved valuable in identifying these particular psychosocial life experiences and historical events as having shaped Emily Hobhouse into an antiwar campaigner. (shrink)

This study uses a psychobiographic research method as a means to explore and describe the life of lyricist, Anthony Kiedis. Kiedis’s history is investigated through the lens of Erik Erikson’s theory of identity development. Using Interpretative Phenomenological Analysis as a means to platform the psychobiographic methodology, this study explores Kiedis’s creativity and writing as intrinsic aspects of his identity. In addition, the analysis attempts to understand how Kiedis resolved his identity crises, and puts forward a presentation of Kiedis’s subjective experiences (...) of his identity development. Through this in-depth analysis, the study concludes that Kiedis is engaged in an infinite moratorium, and in so doing demonstrates the value of using the combined methods of IPA and psychobiography to understand the human condition. (shrink)

After noting how academic philosophers have shunned psychobiography, the author brings to focus the psychobiographical sources of Martin Heidegger's "turn" from a hermeneutic phenomenology to a form of metaphysical mysticism.

Albert Camus (1913–1960) stands as one of the famous pioneers in the French history of existentialism. He was a novelist, political activist, essayist and editor, as well as a journalist and playwright. Although he was described as philosopher, he often denied this ascription. Through his professional and creative expressions, Camus focused on questions of existentialism, the aspect of the human fate, and meaning in life, death and suicide. These existential questions have experienced a strong revival during the Covid-19 occurrence. This (...) psychobiographical approach aims at understanding Albert Camus' life and work in the context of the terror management theory of Becker and Wong's 4 pillars of PP2.0 theory, namely virtue, meaning, resilience and well-being. Both theories have gained importance during the pandemic. Based on the findings of the research study, implications for future research in the context of the pandemic are given. Finally, this article provides recommendations and best practices on how to approach the Covid-19 pandemic from a terror management theory and PP2.0 perspective in the light of Albert Camus' philosophy. The contribution of this psychobiography is two-fold: first, it expands psychobiographical research on Albert Camus from absurdist and existentialist theories and thereby expands the theoretical framework of psychobiographies. Second, it aims at strengthening the importance of theoretical psychobiographical investigations and their application in real-world scenarios to address complex contemporary challenges on the basis of existentialist positive psychology theories. (shrink)

Psychobiography has been a topical area and an applied research specialty in psychology since Freud’s influential psychoanalytic psychobiography of Leonardo da Vinci. Throughout the last century, psychobiographers have emphasized the importance of anchoring interpretations of life histories in established psychological theories and rigorous historiographic research methods. One topical area receiving less attention in psychobiography is the critical relationship between the psychobiographer and her or his subject as it relates to the process of psychobiographical writing. The present article (...) explores the phenomenology and challenges of this relationship in order to ultimately propose practical strategies for navigating countertransference issues throughout the subject selection, research and publication phases of psychobiography. Freud’s psychobiography of Leonardo da Vinci is used as a model of the stages of psychobiography, the evolution of the psychobiographer-subject relationship, and the challenges of countertransference. (shrink)

Peter Homans offers a new understanding of the origins of psychoanalysis and relates the psychoanalytic project as a whole to the sweep of Western culture, past and present. He argues that Freud's fundamental goal was the interpretation of culture and that, therefore, psychoanalysis is fundamentally a humanistic social science. To establish this claim, Homans looks back at Freud's self-analysis in light of the crucial years from 1906 to 1914 when the psychoanalytic movement was formed and shows how these experiences culminated (...) in Freud's cultural texts. By exploring the "culture of psychoanalysis," Homans seeks a better understanding of what a "psychoanalysis of culture" might be. Psychoanalysis, Homans shows, originated as a creative response to the withering away of traditional communities and their symbols in the aftermath of the industrial revolution. The loss of these attachments played a crucial role in the lives of the founders of psychoanalysis, especially Sigmund Freud but also Karl Abraham, Carl Jung, Otto Rank, and Ernest Jones. The personal, political, and religious losses that these figures experienced, the introspection that followed, and the psychological discovery that resulted are what Homans calls "the ability to mourn." Homans expands this historical analysis to construct a general model of psychological discovery: the loss of shared ideals and symbols can produce a deeper sense of self (psychological structure-building, or individuation) and can then lead to the creation of new forms of meaning and self-understanding. He shows how Freud, Jung, and other psychoanalysts began to extend their introspection outward, reinterpreting the meanings of Western art, history, and religion. In conclusion, Homans evaluates Freud's theory of culture and discusses the role that psychoanalysis might play in social and cultural criticism. Throughout the book, Homans makes use of the many histories, biographies, and psychobiographies that have been written about the origins of psychoanalysis, drawing them into a comprehensive sociocultural model. Rich in insights and highly original in approach, this work will interest psychoanalysts and students of Freud, sociologists concerned with modernity and psychoanalysis, and cultural critics in the fields of religion, anthropology, political science, and social history. (shrink)

This essay is divided into three parts. In the first, I develop a new interpretation of Sartre's notion of an original project, or original choice, by emending his initial position in Being and Nothingness, and by extrapolating from his autobiography and his psychobiographies on Baudelaire and Flaubert. In the second part, I examine the early and late Sartre's paradoxical commitment to self-analysis, and go on to draw taut the tension in the late Sartre between individual freedom and relations to others. (...) I demonstrate that the tension in the thought of the late Sartre can be explained and resolved only with reference to Sartre's own original projects. The third part is devoted to briefly analyzing what combination of factors in Sartre's developmental history led to his original projects, in view of a possible psychobiography on Sartre. Nearly everything covered in this essay is an attempt by Sartre to appropriate Freud as an instrument in his own thought. In the third part, I also try to show that Freud resists Sartre's analysis, as it were, and that Sartre only proves Freud right. (shrink)

This essay is divided into three parts. In the first, I develop a new interpretation of Sartre's notion of an original project, or original choice, by emending his initial position in Being and Nothingness, and by extrapolating from his autobiography and his psychobiographies on Baudelaire and Flaubert. In the second part, I examine the early and late Sartre's paradoxical commitment to self-analysis, and go on to draw taut the tension in the late Sartre between individual freedom and relations to others. (...) I demonstrate that the tension in the thought of the late Sartre can be explained and resolved only with reference to Sartre's own original projects. The third part is devoted to briefly analyzing what combination of factors in Sartre's developmental history led to his original projects, in view of a possible psychobiography on Sartre. Nearly everything covered in this essay is an attempt by Sartre to appropriate Freud as an instrument in his own thought. In the third part, I also try to show that Freud resists Sartre's analysis, as it were, and that Sartre only proves Freud right. (shrink)

At the beginning of the twentieth century, when psychoanalysis was just emerging and the tradition of writing psychoanalytic biographies did not yet exist, the genre of pathography was widespread among psychiatrists, who considered the life of a prominent figure through the prism of his or her disease. One of the heroes of the number of pathological investigations was Friedrich Nietzsche, whose figure and philosophical views instigated wide interest. This tendency was manifested among the psychiatrists working in the Russian Empire, including (...) the territory of contemporary Ukraine. The analysis of Nietzsche’s illness and creativity, proposed by a psychiatrist from Odessa Ivan Khmelevskyi, helps to clarify the historical boundaries between the pathography and psychobiography. The current article for the first time attempts to reproduce the basic data on the life and research activities of this now almost forgotten psychiatrist. The specificity of I. Khmelevskyi’s views on F. Nietzsche becomes more obvious due to the consideration of the position of Vladimir Chyzh, another Russian psychiatrist who was also interested in the figure and ideas of the German philosopher. It is shown that the pathographies of F. Nietzsche, proposed by I. Khmelevskyi and V. Chyzh, reflected both some features of the development of the genre and general trends in understanding of Nietzsche’s figure and teachings within the Russian context. It is shown that V. Chyzh and I. Khmelevskyi, like many scientists of their time, shared some ideas about evolution and degeneration, which are now considered outdated. At the same time, it has been shown that both psychiatrists confronted with the philosophy and figure of F. Nietzsche were forced to limit the explanatory ambitions of psychiatry and avoid the usual for pathographers of that time tendency to consider genius as a pathology. It is also noted that the fact of Nietzsche’s illness, if not overemphasized, can be accepted to the philosophical discourse of the present time. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Freud and Leonardo in Egypt DANIEL ORRELLS Stories of selfhood were central to the nineteenth -century cultural and literary imagination.1 For numerous intellectuals of the nineteenth century, the Italian Renaissance had become a privileged site for thinking about the emergence of the category of the individualized self in the history of the West, in a grand narrative about the rupture from ecclesiastical authority to secular and scientific thinking. The (...) life-story of Leonardo Da Vinci, artist and scientist, was a crucial example for nineteenth-century historiography about the origins of modern individualist subjectivity.2 It is hardly surprising, then, that Freud turned to concentrate on Leonardo in his 1910 biography of the Renaissance man, to construct the psychoanalytic account of the history of the self. What is remarkable and fascinating, however, is that ancient Egypt should be so important in Freud’s biography: it reveals Freud’s investment in Egyptology for the development of the psychoanalytic narrative of selfhood. If the Italian Renaissance was figured as the rebirth of Graeco-Roman paganism in the history of European culture, as late nineteenth-century commentators such as Walter Pater—read and imbibed by Freud—had argued, then what did ancient Egypt have to do with Leonardo?3 This essay excavates Freud’s fascination with the place of Egypt in understanding the beginnings of the self in his 1910 biography of Leonardo, whose pre-Oedipal relationship with his mother was crucial for Freud’s portrait of the Renaissance man. The complicated place of ancient Egypt within arion 28.3 winter 2021 106 freud and leonardo in egypt the modern European cultural imagination—both the object of linguistic and racial anthropologies and the archive of the truth of the biblical narrative—profoundly informed Freud’s psychobiography of Leonardo. On the one hand, the possibility that Egypt was at the origins of the story of what it means to be human—before Oedipus, before Greece—that Egyptian archaeology might contain timeless, esoteric truths was crucial to Freud’s understanding of the subject at the dawn of desire. And yet, on the other, the early-twentieth-century investment in the scientificity of the new discipline of Egyptology provided Freud with a support mechanism for his own “scientific,” psychoanalytic investigations into Leonardo’s life-story. Indeed, Leonardo was such a fascinating figure for Freud—a figure for identification—precisely because, as the quintessential Renaissance man, Leonardo was both artist and scientist. Freud’s interest in the classical and sacred art of Leonardo as well as Leonardo’s scientific investigations reflected Freud’s own complex intellectual identity, informed by his classical humanistic education and his medical training. As Richard Armstrong has put it so well, the Leonardo essay can be “read as a key for understanding Freud’s personalized genealogy of empirical science.”4 The complexity of the position of Egyptology at the turn of the century, then, will be crucial to any understanding of Freud’s own precarious epistemological authority as it was explored in relation to Leonardo.5 We will begin by examining the importance of Egyptian archaeology for Freud’s understanding of Leonardo’s early relationship with his mother, which in turn provided Freud with a method for interpreting Leonardo’s paintings. Freud will invoke the heroics of modern Egyptologists, such as Jean-François Champollion, who in the 1820s had successfully deciphered hieroglyphic writing, in order to characterize the psychoanalyst as the decipherer of the hidden meaning of Leonardo’s art. And yet, as we shall see, the overdetermined position of Egypt in the European public imagination Daniel Orrells 107 since the Enlightenment would also encourage Freud to turn back to the Egyptology before Champollion’s decipherment. Freud’s Egyptological excavations would also allow him to intervene in early twentieth-century debates in the “racial” sciences which were developing increasingly hardening views about the “Aryan” and the “Semitic” “races.” If Leonardo’s biography was such an important narrative for the story of the origins of the western self, then it was not only Leonardo ’s mix of artist and scientist which was important for Freud. By linking Leonardo back to Egyptian origins, Freud was able to make a point about the “Aryan” / “Semitic... (shrink)

As a part of “Xenophilia: A Symposium on Xenophobia’s Contrary” in Common Knowledge, this essay examines the interest in, affection for, friendship with, and romanticization of Native Americans by Jews in the United States since the 1960s. The affinity is frequent among Jews with “progressive” or “countercultural” inclinations, especially those with strong environmental concerns and those interested in new forms of community and spirituality. For such Jews, Native Americans serve as mirror, prod, role model, projection, and fictive kin. They are (...) regarded as having a holistic and integrated culture and religiosity, an unbroken connection to premodern attitudes and practices, an intimate relationship with the earth and with nonhuman creatures, along with positive feelings toward their own traditions and a simple, honest, and direct way of living. All of these presumed characteristics offer to progressive Jews parallels and contrasts to contemporary Jewishness and Judaism. For some, Native America has become a path back to a reconstructed Jewishness and Judaism; for others, a path away. Each path is assessed in this article with respect to questions of authenticity, psychobiography, family history, theology, and theopolitics. (shrink)

In 1958 William L. Langer, in a well-known presidential address to the American Historical Association, declared the informed use of psychoanalytic depth psychology as "the next assignment" for professional historians. _Psychoanalysis and History_, volume 31 of _The Annual of Psychoanalysis_, examines the degree to which Langer's directive has been realized in the intervening 45 years. Section I makes the case for psychobiography in the lives of historical figures and exemplifies this perspective with analytically informed studies of the art of (...) Wassily Kandinsky; the films of Stanley Kubrick; and the anti-Semitism of Adolf Hitler. Section II reviews Freud's own psychohistorical contributions and then considers the relevance to historical inquiry of the more recent perspectives of Winnicott, Kernberg, and Kohut. Section III explores an intriguing tributary of psychobiographical inquiry: the impact of the biographer's own subjectivity on his or her work. Section IV turns to a topic of perennial interest: the psychobiographical study of American presidents. Section V turns to the special challenges of applying psychoanalysis to topics of religious history and includes topical studies of religious figures as disparate as the 15th century Asian Drukpa Kunley and Osama bin Laden. Section VI focuses on the recent extension of psychohistorical inquiry to groups of people and to cultural phenomena more generally: an investigation of the youth movement in pre-Nazi Germany; consideration of how societies, no less than individuals, reenact and work through traumas over time; and an outline of the role of analysis in constructing a depth-psychological "social psychology" of use to historians. These papers, no less than those that precede them, are compelling testimony to the claim with which editors James William Anderson and Jerome A. Winer begin the volume, to wit, that "Psychoanalysis would seem to be a resource indispensable to the study of history.". (shrink)

Introduction. The paper contains political and psychological profiles of the local self-government deputies in the city of Chelyabinsk. The purpose of the study is to examine how municipal reform in 2014 influenced institutional opportunities for creating a new model of political leadership in terms of its effectiveness on political and psychological level. Methods. The author’s approach is based on the combination of political and psychological techniques, such as qualitative content analysis, psychobiography and in-depth interview (for assessing politicians’ images in (...) mass consciousness). Scientific novelty. The author presumes that political leadership is a complex phenomenon based on institutional and psychological factors. Its institutional framework for the purpose of the research is determined by the municipal reform. The deputies’ psychological profiles are viewed as individual patterns of political behavior shaped as a result of adopting individual psychological characteristics to the demands of political role presumed by the reform’s conceptual foundations. Results. The data contain evidence that political and psychological profiles of the deputies under analysis in general lack features which make it possible to uncover the institutional potential of the reform. A new model of political leadership presumed by the reform’s conception was supposed to possess such attributes as: 1) widening political representation; 2) enhancing effectiveness of communication between leaders and followers; 3) depoliticizing agenda. The analysis shows that deputies elected under reform on the “inner” level are rigid and reproduce inertial model of political behavior. On the “outer” level their perception is superficial and does not have explicit potential to improve due to revealed unconscious parameters. Conclusions. Two electoral cycles within the reform did not fully reveal the leadership potential of the deputies. Therefore, the perspectives of its prolongation are viewed by the author as highly problematic. (shrink)

We demonstrate in this article how critical realism can be used to explain indeterminacy in role behaviour systematically. In so doing, we both rebut various criticisms of critical realism made recently by Kemp and Holmwood and attempt to illustrate the weaknesses and absences of approaches that concentrate unduly on the collection of expectations of actors concerning roles and the behaviour of incumbents. Within a framework that recognises that structure and agency are ontologically distinct but necessarily empirically related entities, we argue (...) that structures should be seen as sources of indeterminacy within role behaviour for at least four reasons: the co-determination of roles through the intersection of structures; conflicting role expectations caused by contradictions inhering within structures; asymmetries of power within social relations; and asymmetric repetition within structural reproduction/transformation. In light of this discussion of structural sources of indeterminacy, we then go on to demonstrate how critical realism is also able to analyse systematically the agential sources of indeterminacy within role behaviour and expectations through theories of psychobiography and reflexivity. We thus conclude that critical realism contains the conceptual tools required to illuminate the point of intersection between structure, culture and agency which is central to understanding both role behaviour and the plurality of expectations concerning such behaviour. (shrink)

Fantasies of Flight invigorates the field of personality psychology by challenging the contemporary academic view that individuals are best studied as carriers of traits. Daniel Ogilvie exchanges a heart-to-heart, case study approach to understanding human behavior for the current strategies of categorizing and comparing individuals according to their manifest traits. Ogilvie asks and endeavors to answer questions like "What were the psychological conditions that led Sir James Barrie to create a character named Peter Pan?" and "What were the dynamics behind (...) the Marshall Herff Applewhite's conviction that a space ship, hiding behind the Hale-Bopp comet, would rescue him and his Heaven's Gate followers after they enacted a mass suicide pact in 1997?" Answering these questions requires him to resurrect "old" ways to think about personality and "old" strategies for studying individuals one by one. Early in the book, Ogilvie reviews the history of why intensive case studies were discredited in psychology and describes how Sigmund Freud's psychobiographical account of Leonardo da Vinci's fascination with flight inadvertently abetted critics of psychoanalytic psychology. He then performs a partial psychobiography of James Barrie and the origins of Peter Pan, followed by an investigation of Carl Jung, who fashioned the collective unconscious to serve as humankind's link to eternity. Arguing that personality psychology needs to become less insular, Ogilvie integrates information from the disciplines of developmental psychology and neuroscience into a theory regarding the latent needs that both Barrie and Jung sought to satisfy. The theory, including its emphasis on the onset of self and consciousness, is then applied to an array of well-known and obscure individuals with ascensionistic inclinations. Well written and accessible, but complex and scholarly, this volume will restore interest in the investigation of people's inner lives. (shrink)

This paper offers a psychobiographical study of the connection between the life and work of Heije Faber , the internationally best known Dutch psychologist of religion. Initially, Faber studied theology, qualifying in philosophy of religion; in later years, he studied psychology . As a politically active pastor, he had to hide from the Nazi-occupation of The Netherlands during World War II. In 1970 he became the first professor of the psychology of religion at a Dutch theological faculty. Faber was interested (...) in a psychoanalytic approach to religion, by the end of his life particularly in selfpsychology as developed by Heinz Kohut. There is a curious contradiction in his work: although Faber employs several types of psychology in his autobiography to interpret aspects of his own development, he neglects the Kohutian psychology that he had himself helped to introduce to The Netherlands. This article tries to solve the paradox and suggests some psychological hypotheses as to the relationship of Faber psychodynamics and his contribution to psychology. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Reviewed by:Desire of the Analysts: Psychoanalysis and Cultural CriticismVera J. Camden (bio)Desire of the Analysts: Psychoanalysis and Cultural Criticism. Ed. Greg Forter and Paul Allen Miller. New York: SUNY P, 2008. 258 pp.This collection takes up the uses of psychoanalysis for cultural studies in the new millennium. Its editors and contributors ask, “Where is psychoanalysis in contemporary thought?” At a time when the empirically based psychologies have long repudiated (...) the “talking cure” to the extent that the unconscious is not visible or easily measured, and when, on the other hand, psychoanalysis has been associated in the humanities with a radical political and social agenda, disappointed hopes for change have led many to throw the baby of psychoanalysis out with the bathwater of a utopian vision of transformation. The question now remains: “Whither psychoanalysis?” To answer this question (which is also a demand), the editors first acknowledge that the critique and curtailing of psychoanalytic thought in the cultural studies programs across the country in the last decade or so has been influenced by the works of Michel Foucault, his disciples, and the New Historicism. At the same time, they believe that the political, psychological, and moral dangers of embracing a knowing and cynical postmodernism that fosters hollow consumerism premised on modes of subjectivity that “neither ‘express’ interiority nor bear any relation to a lived past” are a real and present danger in contemporary life. “That the triumph of such a view has coincided with intellectuals’ renewed suspicion of psychoanalysis should, we believe, give us pause” (8). The essays that constitute the present volume thus insist on the persistence of the desire of the analyst: for knowledge of self and other, and by those who long for interpretive insight into interior lives and social places. The volume thus poses for its readers twin questions: “Why do we continue to desire psychoanalysis, and what should its role be in the cultural criticism of the new millennium?”This collection grew out of a conference organized around this question and thus reflects the varied but not necessarily interconnected papers offered in that setting. In an effort to provide some interconnections, the collection is divided into four sections grouped around the topics of psychoanalysis and the future of cultural criticism, collectivity, the author, and sexuality. The grouping does not, in my estimation, provide unity or coherence to the volume as a whole; nevertheless, each article emerges on its own terms as a strong contribution to the general field of psychoanalytic cultural criticism and critical theory. Henry Sussman’s “Psychoanalysis, Religion, and Cultural Criticism at the Millennium” provides an anchoring perspective to the volume, addressing with particular urgency the mutually transformative desire of and for analysis modeled on the transference/countertransference clinical encounter. This analogy [End Page 153] suggestively sets the stage for a like transformative intervention by the analyst in a cultural critique, while acknowledging that cultural studies provides the best interpretation and assessment of the ways that psychoanalysis operates historically and clinically in contemporary society. Sussman—and indeed many of the contributors—underscores the editors’ organizing declaration that since psychoanalysis derived from lived human experience it stands to reason that “analysis is both the product of and answer to suffering” (15).Thus it comes as something of a surprise that one of its editors, Greg Forter, in “F. Scott Fitzgerald, Psychobiography, and the Fin-de-Siecle Crisis in Masculinity,” locks the subject of psychoanalysis into a stranglehold with his presuppositions about the limits of history and the origins of psychoanalysis in the modern moment: “Because the theory and techniques of psychoanalysis were developed by analyzing modern men and women, psychoanalysis may be a theory of modern subjectivity rather than of subjectivity as such, and its mode of inquiry may be best suited to analyzing the phenomena of modernity” (148). Contrast this limiting and limited sense of the place of psychoanalysis in history (and the concomitant restriction of its utility expressed ironically in a volume with two major articles on premodern cultural texts!) to recent remarks in a new book by Christopher Bollas: “For thousands of years there has been an unconscious preconception of psychoanalysis. We [...] human beings [...] have been searching for... (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Ethos in Steig’s and Sendak’s Picture Books: The Connected and the Lonely ChildEllen Handler SpitzThere was the child, listening to everything...—Yasunari Kawabata1IntroductionPicture-book characters spring to life in both verbal and visual registers. Moving about the page before our eyes as well as speaking and acting in their respective stories, they often make a long-lasting impact on children. Pictures and words, moreover, may overlap but are never commensurate; like the (...) words and notes of a song, they mean and evoke differently even while being experienced together. This brief essay considers a small selection of works by two distinguished twentieth-century American authors-artists: William Steig (1907–2003) and Maurice Sendak (b. 1928). It argues that, with their artful words and pictures, Steig and Sendak construct very different—even contrasting—visions of childhood. By “ethos” in this context I mean to suggest a vision of what a child is, a sense of what it means both to be a child and to address one. Such visions differ not only through the ages and from one culture and locale to another but also from one author-artist of the same period and locale to another. Invited to speak on Sendak’s and Steig’s respective works at meetings scheduled just a week apart in New York City during the winter of 2007, I found in these paired invitations a fortuitous opportunity to juxtapose several of their works and thereby discover some arresting contrasts and formulate the following readings.2First, a word on the topic of methodology. Nearly one hundred years have elapsed since Freud published his celebrated-cum-notorious foray into psychobiography with Leonardo da Vinci and a Memory of His Childhood,3 wherein shards of circumstantial biographical evidence were laid out in seductive mosaic patterns secured with a grout of ingenious speculation. Despite subsequent decades of critical reflection, Freud’s method soldiers on nonetheless as a modus operandi in the psychological interpretation of art and literature.4 By bracketing a small selection of Steig’s and Sendak’s works here and limiting myself to extracting a tentative underlying ethos from them, I am [End Page 64] taking the position that to write psychologically one need not mention or exploit a creator’s personal life. This essay points gently toward psychological approaches that ask what we can see when we look carefully at the pages of works. What can we find when we share children’s books with children? Why, for example, has Sendak’s Where the Wild Things Are sold over seventeen million copies (and its Amazon rank last time I checked was around 145, which means that only 144 other books in the United States were selling more copies at that particular moment), whereas his later work Outside Over There—a book that apparently figures prominently in his personal life—comes nowhere close?5 While market figures do not correlate flawlessly with children’s actual preferences (adults, not children, are the buyers), I would aver that, in this case, they do reflect the success and beloved status of Where the Wild Things Are, since the figures tally with additional facts: the book continues to appeal in its fifth decade post publication; it is known and has been translated worldwide, dramatized, and set to music6; and its characters have been fashioned into ubiquitous stuffed toys. On the other hand, in my (limited) experience, young children seem to find Outside Over There unsettling, unintelligible, even “creepy” and often have trouble sitting still through a full rendition. Some adults, on the other hand, praise that book as poetic and admire its more complex art. Such discrepancies in reception deserve our attention; they hint at fallow fertile fields lying over the rainbow, far beyond the much-plowed tracts of authorial psychobiography. This essay gestures casually toward those fields.The Connected Child“My dear Deborah,” said Doctor De Soto, “you must have been reading my mind.7Let’s begin with William Steig, who is best known for his New Yorker cartoons. His work for children extends back to 1968,8 however, when he was already a man in his sixties. Setting aside the... (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Ethos in Steig’s and Sendak’s Picture Books: The Connected and the Lonely ChildEllen Handler SpitzThere was the child, listening to everything...—Yasunari Kawabata1IntroductionPicture-book characters spring to life in both verbal and visual registers. Moving about the page before our eyes as well as speaking and acting in their respective stories, they often make a long-lasting impact on children. Pictures and words, moreover, may overlap but are never commensurate; like the (...) words and notes of a song, they mean and evoke differently even while being experienced together. This brief essay considers a small selection of works by two distinguished twentieth-century American authors-artists: William Steig (1907–2003) and Maurice Sendak (b. 1928). It argues that, with their artful words and pictures, Steig and Sendak construct very different—even contrasting—visions of childhood. By “ethos” in this context I mean to suggest a vision of what a child is, a sense of what it means both to be a child and to address one. Such visions differ not only through the ages and from one culture and locale to another but also from one author-artist of the same period and locale to another. Invited to speak on Sendak’s and Steig’s respective works at meetings scheduled just a week apart in New York City during the winter of 2007, I found in these paired invitations a fortuitous opportunity to juxtapose several of their works and thereby discover some arresting contrasts and formulate the following readings.2First, a word on the topic of methodology. Nearly one hundred years have elapsed since Freud published his celebrated-cum-notorious foray into psychobiography with Leonardo da Vinci and a Memory of His Childhood,3 wherein shards of circumstantial biographical evidence were laid out in seductive mosaic patterns secured with a grout of ingenious speculation. Despite subsequent decades of critical reflection, Freud’s method soldiers on nonetheless as a modus operandi in the psychological interpretation of art and literature.4 By bracketing a small selection of Steig’s and Sendak’s works here and limiting myself to extracting a tentative underlying ethos from them, I am [End Page 64] taking the position that to write psychologically one need not mention or exploit a creator’s personal life. This essay points gently toward psychological approaches that ask what we can see when we look carefully at the pages of works. What can we find when we share children’s books with children? Why, for example, has Sendak’s Where the Wild Things Are sold over seventeen million copies (and its Amazon rank last time I checked was around 145, which means that only 144 other books in the United States were selling more copies at that particular moment), whereas his later work Outside Over There—a book that apparently figures prominently in his personal life—comes nowhere close?5 While market figures do not correlate flawlessly with children’s actual preferences (adults, not children, are the buyers), I would aver that, in this case, they do reflect the success and beloved status of Where the Wild Things Are, since the figures tally with additional facts: the book continues to appeal in its fifth decade post publication; it is known and has been translated worldwide, dramatized, and set to music6; and its characters have been fashioned into ubiquitous stuffed toys. On the other hand, in my (limited) experience, young children seem to find Outside Over There unsettling, unintelligible, even “creepy” and often have trouble sitting still through a full rendition. Some adults, on the other hand, praise that book as poetic and admire its more complex art. Such discrepancies in reception deserve our attention; they hint at fallow fertile fields lying over the rainbow, far beyond the much-plowed tracts of authorial psychobiography. This essay gestures casually toward those fields.The Connected Child“My dear Deborah,” said Doctor De Soto, “you must have been reading my mind.7Let’s begin with William Steig, who is best known for his New Yorker cartoons. His work for children extends back to 1968,8 however, when he was already a man in his sixties. Setting aside the... (shrink)