Subject(s)
Anxiety Disorders , Anxiety , Disease Susceptibility , History, 20th Century , Humans , Psychoanalysis/historyABSTRACT
As a prelude to describing the form and content of Winnicott's 1968(a) presentation to the New York Psychoanalytic Society and Institute, the author first outlines some crucial contextual background of that group and of the three psychoanalysts who discussed Winnicott's paper at that event. Summaries are presented of the paper itself and the discussants' responses. The author elaborates on Winnicott's highly idiosyncratic way of presenting his ideas, which may lead the unwary reader astray. In conclusion, some of Winnicott's most original contributions, both to theory and on their application to technique, are reviewed.
Subject(s)
Academies and Institutes/history , Psychoanalysis/history , Self Psychology , Societies, Medical/history , Child , Child Development , History, 20th Century , Humans , Interprofessional Relations , Models, Psychological , New York , Object AttachmentABSTRACT
This paper examines The Art of Painting, by Johannes Vermeer, to demonstrate how a great artist portrays the realm of imagination and creativity. The crucial points of entry for psychoanalysis reside in two sets of details in the painting that have generally been neglected by art historians: first, the contrast between the realistic rendering of certain parts of the work and the fuzzy, ambiguous nature of other elements; and second, the pervasiveness of the theme of absence in the manifest content. The author refers to some of Winnicott's and Lacan's concepts, particularly the connection between absence and desire as a spur to creativity.
Subject(s)
Art , Creativity , Paintings/history , History, 17th Century , Humans , Male , Netherlands , Psychoanalytic TheoryABSTRACT
The authors understand the work of André Green as addressing unresolved and uncharted issues in Freud's views on the earliest phases of development, particularly as those issues concern the evolution of psychic structure, the development of drive components, and the internalization of object representations. The authors describe Green's conceptualization of primitive conflict and its most deleterious result, absence, or the failure to represent the object. These ideas lead to an original way of imagining the analytic setting and to a modification of the classical stance of analyst with patient. Two clinical vignettes are presented.
Subject(s)
Borderline Personality Disorder/psychology , Borderline Personality Disorder/therapy , Conflict, Psychological , Narcissism , Psychoanalytic Theory , Psychoanalytic Therapy/methods , Adult , Female , France , Freudian Theory , History, 20th Century , Humans , Male , Professional-Patient Relations , Psychoanalytic InterpretationABSTRACT
Los autores se proponen en este ensayo, pensar en la dinámica inconsciente que guiaba los actos de Emma Bovary, la heroína descripta genialmente por G. Flaubert. Para ellos, la desmedida hostilidad y sentimientosvengativos, tienen su origen en que ´Emma siente inferioridad y envidia´. Sus conductas extravagantes estarían dando cuenta de una venganza dirigida hacia los hombres, en este caso centrada en la figura de su marido,por haberla desflorado. Experiencia ésta vivida como mutilante y de ´violencia sangrienta´ según sus propias fantasías. Señalan los autores, que ´una reacción como la suya debe ser comprendida en términos de la estructura general de la personalidad, el resultado de conflictos originados en la niñez´
Subject(s)
PsychoanalysisABSTRACT
Los autores se proponen en este ensayo, pensar en la dinámica inconsciente que guiaba los actos de Emma Bovary, la heroína descripta genialmente por G. Flaubert. Para ellos, la desmedida hostilidad y sentimientosvengativos, tienen su origen en que Emma siente inferioridad y envidia . Sus conductas extravagantes estarían dando cuenta de una venganza dirigida hacia los hombres, en este caso centrada en la figura de su marido,por haberla desflorado. Experiencia ésta vivida como mutilante y de violencia sangrienta según sus propias fantasías. Señalan los autores, que una reacción como la suya debe ser comprendida en términos de la estructura general de la personalidad, el resultado de conflictos originados en la niñez (AU)
Subject(s)
PsychoanalysisABSTRACT
Flaubert's Emma Bovary is one of the most convincingly realized characters in modern literature. Her husband, Charles, a rural doctor, loves her dearly, but he is dull, ineffectual, and boring. Emma seems to hate him with a fury that knows no bounds. She betrays him sexually, ruins him financially, and ultimately destroys his very life. What drives her to such unmitigated rage? The authors identify evidence in the novel suggestive of a dynamic thrust for revenge along the lines described by Freud (1918) in "The Taboo of Virginity." Elements of narcissistic rage and a sense of entitlement intensify Emma's anger and vengefulness.
Subject(s)
Emotions , Medicine in Literature , Female , Humans , Male , Marriage/psychology , Personality Development , Pregnancy , Psychoanalytic TheoryABSTRACT
The process by which Gustave Flaubert created the character of Emma Bovary is examined, as are various of the author's sources for the heroine and their transformation in the course of composing the novel. Certain aspects of the authors psychic makeup, including his bisexuality, are discussed in this light, as are Flaubert's early traumatic losses and their influence on his way of working. Finally, it is suggested that writing had multiple functions for the author and that the creation of Emma Bovary served as a partial solution to unmet needs.
