Abstract

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...