2018 年 69 巻 1 号 p. 85-
Alfred Kubin (1877-1959) was once called “dream artist” on the art journal Kunstblatt in 1903. In fact, dream was a subject of importance for him; he made several drawings, and wrote a novel and some essays with the theme of dream, such as Traumland I and II (1922), 2 bands of picture books consisting of lithographs capturing what he saw in his dreams, and his famous novel Die andere Seite (1909). However, he came to take a negative attitude toward dream after 1922, instead, his main interest seems to have been shifted to memory. Taking notice of such a change of his position, this paper investigates Kubin’s thinking of dream and memory, and how he applied his understanding of them to his work. Also, I would compare his methodology and psychoanalysis in terms of the concepts “secondary revision” and “screen memory” in order to clarify the uniqueness of Kubin’s image composition. In conclusion, his change of interest from dream to memory is not a break with his previous way of creation but rather a continuous development, which was resulted from the internalization of the mechanism of dream. In brief, he took advantage of the unconscious psychic mechanism of memory to generate new visual images.