This Article  • Full text  • PDF  • Reply to article  • Send to a friend  • Save in My Folder  • Save to citation manager  • Permissions  Citing Articles  • Citing articles on HighWire  • Citing articles on Web of Science (3)  • Contact me when this article is cited  Related Content  • Similar articles in this journal  Topic Collections  • Psychiatry  • Psychiatry, Other  • Art and Images in Psychiatry  • Humanities  • Humanities, Other  • Alert me on articles by topic  Social Bookmarking   What's this?

	Since this article does not have an abstract, we have provided the first 150 words of the full text and any section headings.

When Max Eastman visited Sigmund Freud's apartment at Berggasse 19, Vienna, Austria, in 1926, he noticed a print of John Henry Fuseli's (1741-1825) The Nightmare hanging on the wall next to Rembrandt van Rijn's The Anatomy Lesson.^1(p15) Freud did not refer to Fuseli's most famous painting in his writing, but his colleague Ernest Jones chose another version of it as the frontispiece of his book On the Nightmare,² a scholarly study of the origins and significance of the nightmare theme. However, the nightmare did not fit easily into Freud's model of dreams as wish fulfillments. Initially he proposed that nightmares represent superego wishes for punishment; later he suggested that traumatic nightmares represent a repetition compulsion.^3(p41) Fuseli's painting provides an opportunity to reexamine how the meaning of the word nightmare has evolved.

John Henry Fuseli (1741-1825), Swiss-English. Cover: The Nightmare, 1781, oil on canvas; 101 x 124.5 cm. Founders Society . . . [Full Text of this Article]

James C. Harris, MD

CiteULike    Connotea    Del.icio.us    Digg    Reddit    Technorati    Twitter     What's this?

THIS ARTICLE HAS BEEN CITED BY OTHER ARTICLES

Raft of the medusa.
Harris
Arch Gen Psychiatry 2006;63:602-603.
FULL TEXT