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Despite his reputed indifference to music, Freud sometimes refers knowledgeably to it. This paper suggests that the Freudian unconscious is partly modeled on the music of late Romanticism in association with representations of feminine desire. Freud’s Dora case and Richard Strauss’s opera Salome converge on a fin-de-siecle concept of a musical unconscious.

Ena kašlja, druga pleše: Freud, Strauss in sprevrženost sodobnega življenja