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This article tackles one of the timeliest issues for both practitioners and patients today: sentiment, psychodynamics, and the stock market. Economic bubbles and crashes have occurred regularly through history -- from Holland's 17th century tulip mania, to America's 19th century railway mania, to the 1990s high-tech obsession. Though most investors regard themselves as investing rationally, few do. Instead they react collectively, buying high and selling low in crowds. Being subject to the illusion of control, they follow regressive behavior patterns and irrational, wishful thinking. They are victimized by their own emotions of hope, fear, and uncertainty. Crises happen often in economics. Indeed, the market itself may be quantified as a conglomeration of human sentiment. The relationship between magical thinking and the pictorial language of the market will be explored. Psychodynamic conceptualizations about risk and speculation are discussed, as are the interplay of affects versus judgment, rational thinking, and the knowledge of one's own capacity for stress tolerance.

This article deals with one of the most notable artists of 17th century Italy: Artemisia Gentileschi. Gentileschi holds a unique place in art history, both as a woman artist and as the first female member of the Academy of Design in Florence. Brought up to be an artist by her father--the painter Orazio Gentileschi--she was allowed to work in his studio, use models, receive instruction and collaborate with well-known artists. Artemisia Gentileschi became a follower of the school of Caravaggio--the school's only Caravaggista. She began public life in a notorious way; her father had his colleague Tassi--her painting instructor--charged with raping her. The relationship between historical and art historical events in Gentileschi's lifetime and creative processes are explored. Special attention is given to those vicissitudes of Gentileschi's personal life that may be reflected through her work. Popular psychoanalytic conceptualizations about Gentileschi are discussed, as are mythological and biblical themes in her art.

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