Mary Bergstein is Professor in the History of Art and Visual Culture at the Rhode Island School of Design. She is author of The Sculpture of Nanni di Banco and has written extensively on art, photography, and culture.

An erudite and original book... [on] the far-reaching effects of European fin de siècle visual culture on Freud's mind. Mirrors of Memory illuminates the heretofore unexamined ways in which the medium of photography, widely taken to be a transparent, objective way of documenting and gaining access to a previously existing reality, was relied on by many disciplines during Freud's lifetime.... This extraordinary book... is a paragon in the annals of interdisciplinary scholarship.... In teaching us to look back and to realize that we had missed an entire field of force in which the interpretations we thought we understood took place, it opens onto new vistas and suggests new paradigms for exciting twenty-first-century interdisciplinary work.- Ellen Handler Spitz (Journal of the American Psychoanalytic Association) Bergstein's book significantly furthers our understanding of Freud's Vienna and her rich data and analysis open many avenues for further research, particularly on the question of how the modern innovation of photography affected the development of art history and psychoanalysis in the late nineteenth century.... Bergstein provides a rich archive of information and analyses that future scholars will no doubt find indispensable.- Maya Balakirsky Katz (Visual Resources) Bringing analytic understanding to bear on cultural production, Bergstein explores the impact of photography on the human dynamics of perception, memory, and desire. At the same time, Mirrors of Memory historicizes psychoanalysis, shedding light on the circumstances that positioned Freud to formulate a new understanding of mental life.... Bergstein highlights the rigor with which Freud approached his investigations of mental life. She also enriches our understanding with her careful demonstration of the ways in which 'photographic presence and surrogacy were deeply embedded in Freud's visual imagination.'.- Anne Golomb Hoffmann (DeWitt Wallace Institute for the History of Psychiatry Annual)

Mary Bergstein is Professor in the History of Art and Visual Culture at the Rhode Island School of Design. She is author of The Sculpture of Nanni di Banco and has written extensively on art, photography, and culture.

An erudite and original book... [on] the far-reaching effects of European fin de siècle visual culture on Freud's mind. Mirrors of Memory illuminates the heretofore unexamined ways in which the medium of photography, widely taken to be a transparent, objective way of documenting and gaining access to a previously existing reality, was relied on by many disciplines during Freud's lifetime.... This extraordinary book... is a paragon in the annals of interdisciplinary scholarship.... In teaching us to look back and to realize that we had missed an entire field of force in which the interpretations we thought we understood took place, it opens onto new vistas and suggests new paradigms for exciting twenty-first-century interdisciplinary work.- Ellen Handler Spitz (Journal of the American Psychoanalytic Association) Bergstein's book significantly furthers our understanding of Freud's Vienna and her rich data and analysis open many avenues for further research, particularly on the question of how the modern innovation of photography affected the development of art history and psychoanalysis in the late nineteenth century.... Bergstein provides a rich archive of information and analyses that future scholars will no doubt find indispensable.- Maya Balakirsky Katz (Visual Resources) Bringing analytic understanding to bear on cultural production, Bergstein explores the impact of photography on the human dynamics of perception, memory, and desire. At the same time, Mirrors of Memory historicizes psychoanalysis, shedding light on the circumstances that positioned Freud to formulate a new understanding of mental life.... Bergstein highlights the rigor with which Freud approached his investigations of mental life. She also enriches our understanding with her careful demonstration of the ways in which 'photographic presence and surrogacy were deeply embedded in Freud's visual imagination.'.- Anne Golomb Hoffmann (DeWitt Wallace Institute for the History of Psychiatry Annual)

Mary Bergstein is Professor in the History of Art and Visual Culture at the Rhode Island School of Design. She is author of The Sculpture of Nanni di Banco and has written extensively on art, photography, and culture.

An erudite and original book... [on] the far-reaching effects of European fin de siècle visual culture on Freud's mind. Mirrors of Memory illuminates the heretofore unexamined ways in which the medium of photography, widely taken to be a transparent, objective way of documenting and gaining access to a previously existing reality, was relied on by many disciplines during Freud's lifetime.... This extraordinary book... is a paragon in the annals of interdisciplinary scholarship.... In teaching us to look back and to realize that we had missed an entire field of force in which the interpretations we thought we understood took place, it opens onto new vistas and suggests new paradigms for exciting twenty-first-century interdisciplinary work.- Ellen Handler Spitz (Journal of the American Psychoanalytic Association) Bergstein's book significantly furthers our understanding of Freud's Vienna and her rich data and analysis open many avenues for further research, particularly on the question of how the modern innovation of photography affected the development of art history and psychoanalysis in the late nineteenth century.... Bergstein provides a rich archive of information and analyses that future scholars will no doubt find indispensable.- Maya Balakirsky Katz (Visual Resources) Bringing analytic understanding to bear on cultural production, Bergstein explores the impact of photography on the human dynamics of perception, memory, and desire. At the same time, Mirrors of Memory historicizes psychoanalysis, shedding light on the circumstances that positioned Freud to formulate a new understanding of mental life.... Bergstein highlights the rigor with which Freud approached his investigations of mental life. She also enriches our understanding with her careful demonstration of the ways in which 'photographic presence and surrogacy were deeply embedded in Freud's visual imagination.'.- Anne Golomb Hoffmann (DeWitt Wallace Institute for the History of Psychiatry Annual)