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U-M Museum Exhibit Features
Freud's Books, Antiquities
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56
FRIDAY, JULY 19, 1991
t would take a good
analyst to really make
sense of the exhibit, but
that shouldn't preclude fans
of the father of psycho-
analysis from stopping
in to see "The Sigmund
Freud Antiquities:
Fragments from a Buried
Past," now on display at the
University of Michigan
Kelsey Museum of Archae-
ology.
The exhibit includes 65
prints, books, sculptures and
statuettes that once belong-
ed to Freud. It is on loan
from the Freud Museum in
London, which houses 2,000
antiquities transferred in
1938 to London from Freud's
apartment at 19 Bergasse in
Vienna.
U-M is the last Mid-
western stop for the exhibit,
on display in Ann Arbor
through Aug. 16. The 12-city
tour will end in 1992.
If Freud's first passion was
human nature, his second
must have been archaeology.
Much of the exhibit consists
of Greek and Egyptian
sculptures, including a
number of statuettes that
once sat on Freud's desk. His
favorite was a bronze statue
of Athena from the first cen-
tury C.E., showing her left
arm raised in a fist. When
Freud fled Nazi Germany in
1938, he was fearful his
treasured objects would be
left behind. He specified the
Athena was of the highest
priority to be smuggled out.
Other items from Freud's
desk, now on exhibit at U-M,
are statues of Osiris, the god-
king of the underworld, and
a marble baboon. Imagine
the thrill of being one of
Freud's patients and looking
at these oh-so-cheerful fig-
ures who sat watching, the
display suggests, "like an
all-seeing audience."
It was at this desk that
Freud made many of his
discoveries about the human
psyche; his archaelogy-filled
rooms were his laboratory,
the sites from which he
wrote such works as The
Interpretation of Dreams,
Beyond the Pleasure Princi-
ple and Moses and
Monotheism.
His books and articles
reflected his belief that pent-
up emotions in the un-
conscious could cause symp-
toms of hysterical illness.
Freud stressed the impor-
Freud's desk at the-Freud Museum of London. Many of the items shown
here are included in a new U-M exhibit.
tance of dreams and the sex
drive, and abandoned tradi-
tional hypnosis for free
association, in which the pa-
tient says whatever comes to
mind. He also used
psychoanalysis to show how
unconscious slips are not ac-
cidental, but rather hold
meaning that can be inter-
preted. His final formulation
of personality analysis
separated into the id, that
part of the brain which con-
trols passions; the ego,
The display
includes numerous
statues of Eros,
the Greek god of
love, which
influenced Freud's
concept of libido.
reason and reality; and the
superego, which represents
ethical standards.
Throughout his writings,
Freud made frequent refer-
ences comparing the work of
the psychoanalyst and the
archaeologist. In 1905, in
Fragments of an Analysis of
a Case of Hysteria, Freud
wrote, "In the face of the in-
completeness of my analytic
results, I had no choice but
to follow the example of
those discoveries whose good
fortune it is to bring to the
light of day after their long
burial the priceless though
mutilated relics of antiquity.
I have restored what is miss-
ing, taking the best models
known to me from other
analyses; but, like a cons-
cientious archaeologist, I
have not omitted to mention
in each case where the
authentic part ends and my
construction begins."
Clearly, his sentence con-
struction did not begin — or
ever include —brevity. But
examples of his psycho-
analytic building blocks.
like sex and love, are
prevalent throughout the
exhibit. The display includes
numerous statues of Eros,
the Greek god of love, which
influenced Freud's concept
of libido, the seeking of
pleasure.
Themes of death also
haunted Freud, who was fas-
cinated by what he called
"life after death," namely,
the way in which the living
continued to be influenced
by the fears and wishes of
the deceased. The U-M ex-
hibit features from Freud's
collection an ancient crema-
tion urn with the ashes still
within, a mask from an
Egyptian coffin, and a
statuette Egyptians believed
would take care of menial
chores in the afterlife for
those with whom they were
buried.
Exhibits on death also in-
clude a copy of the Egyptian
Book of the Dead, replete
with pictures. Here, too, the
ties to psychoanalysis are
inevitable. According to
Freud, "the interpretation of
dreams is completely analo-
gous to the decipherment of
an ancient pictografic script
such as Egyptian
hieroglyphics."
While the majority of
items on display are archae-
ological finds, the exhibit in-
cludes a number of
curiosities certain to interest
even those with only a pass-