Word: breuers
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Technology, placed at the service of the church, makes possible more audacity in design. For the Benedictine monastery church of St. John's at Collegeville, Minn., Marcel Breuer has flung skyward a 112-ft.-high bell banner utilizing reinforced concrete and parabolic curves to erect a vertical cantilever, a form that Architect Breuer thinks as expressive of the mid-20th century as the Byzantine dome and Gothic arch and spire were of their times...
Casting Problem. The film will deal with only ten years of Freud's life, the early era of professional discovery, and center on three main characters: Freud; his teacher, Dr. Josef Breuer; and an attractive young patient called Cecilie, a part drawn from the histories of several early Freud patients but mainly from the famed Anna O., a patient of Breuer's in whose case Freud became interested. She liked to talk about her symptoms because somehow that relieved her. Anna O. described the process as "chimney sweeping"; for Freud it was the foundation of the concept...
...plot now planned, Dr. Breuer first analyzes Cecilie and she falls in love with him. Breuer meets that little transference with an enthusiastic countertransference-until Mrs. Breuer finds out about it. Freud takes over, solves the dilemma and resolves the case.* This leads him into the marathon of self-probing-mainly into the causes of his antagonism toward his father and his deep love for his mother-that he eventually generalized as the Oedipus complex...
...real Mrs. Breuer was indeed very jealous of Anna O., causing her husband to give up the case. Anna O., writes Freud's Biographer Ernest Jones, thereupon entered "the throes of an hysterical childbirth, the logical termination of a phantom pregnancy that had been invisibly developing in response to Breuer's ministrations." But no one succeeded in freeing her from the basic source of her trouble-the fact that her beloved father had died of a heart attack in a Neapolitan brothel...
Percussive Vaudeville (Harry Breuer and Orchestra; Audio Fidelity). A sentimental treatment of Gay Nineties songs is mixed with Spike Jonesian horn and whistle exclamations. The "separation of sound" here is greater than that between the far ends of a vaudeville pit. and the effect, while startling, ultimately cancels out the melody...