Jahrbuch der Psychoanalyse: Band 44

Vorwort:

• Friedrich-Wilhelm Eickhoff: Rückblick und Ausblick des Herausgebers Buy article

Klinische Beiträge:

• Léon Wurmser: »Ein bedeutendes Stück fehlt«. Ein Beitrag zur Psychoanalyse der Charakterperversion
  Abstract

  The detailed description of the analysis of a patient serves to illustrate some of the major dynamic issues of character perversion and their treatment. The term refers, in Arlow’s words (1971), to »the distortion of behavior or character [that] takes the place of what had once been a perversion or a perverse trend« (p. 334). Just as it is the case in sexual perversion itself, the focus is on the denial of a traumatic perception and the fixation on a reassuring detail in the external world which seems to refute that danger, and just as it specifically applies to fetishism, a screen reality is magically being created to counteract the traumatogenic anxiety. My experiences I stress the following criteria for character perversion.
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• Marilia Aisenstein: Von der Medizin zur Psychoanalyse und Psychosomatik
  Abstract

  The psychoanalytic approach to somatic disorders was not explicitly dealt with by Freud, although he did investigate the distribution and modalities of the libido during somatic illness. A sick body was long considered a bar to treatment by psychoanalysis, although the body as such, through the expression of sexuality, has always been at the heart of psychoanalytic thought. The question psyche/soma is resolved by Freud by shifting this duality onto the duality of drives. Through the presentation of a clinical case, the author seeks to show how the Psychosomatic School of Paris is a logical outcome of the strictest Freudian reading of the two theories of drives. The second theory and the death drive can be extremely fruitful in thinking through the treatment of a limiting case such as that of borderline patients.
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• Claudia Frank: Mains tenant le vide – Maintenant le vide: Überlegungen zu Giacomettis Skulpturen (von ca. 1947 bis ca. 1952) und zum analytischen Prozeß
  Abstract

  The author suggests that research in the traditionally so-called applied psychoanalysis and psychoanalytical research in the clinical situation can supplement each other. The methodological link consists in the analysis and reflection of countertransference manifestations. The starting point was the fascination and alarm by Giacometti’s sculptures (1947 - 1952). It is shown that they transmit something of the precarious balance of »Mains tenant le vide« (hands holding void) and »Maintenent le vide« (now the void). This is expressed by the sculpture »Mains tenant le vide« (1934), but not yet transmitted by the corresponding experiences. Giacometti’s working characteristics (destroying the sculptures again and again and recreating them) which are still to be felt in the structure of the sculptures seem to demonstrate Segal’s understanding of art, i.e. that in great work of art the death instinct is expressed and curbed to the needs of the life instinct. By further analysis of countertransference manifestations and by examining a parallel dynamic in a clinical situation the author suggests, that more specifically these sculptures transmit the experience that on the one hand the object’s impermeability hinders growth and that on the other hand an impermeable nucleus (in a permeable object) is a condition for feeling alive.
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• Hanna Segal: Über den klinischen Nutzen des Todestriebskonzepts
  Abstract

  Freud’s concept of the death instinct is often considered as a purely biological speculation, and very few psychoanalysists consider it useful in clinical work. Yet Freud was led to it by purely clinical problems. Klein used Freud’s concept of the duality of instinct in her clinical work, but mainly she addressed herself to the conflict between love and hate of the objekt, considering hate as an expression of the deflected death instinct. The author contends that the death instinct from the beginning is direkted at both the perceived object and the perceiving self, resulting in such phenomena as pathological projective identification, described by Bion. The defences against the death instinct create vicious circles leading to severe pathology. The author tries to show in some clinical examples how analysing those vicious circles, and confronting the death instinct in the stable setting of analytic work, can lead to a mobilisation of the life forces in the patient.
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Theoretische Beiträge:

• Michel de M’Uzan: »Wenn ich tot wäre« Buy article
• Rudolf Bensch: Freud und Wittgenstein – Eine asymmetrische Beziehung? Buy article
• Peter Kutter: Fragen zur Aggressivität: primäre Destruktivität, sekundäre Reaktion auf Traumatisierung, Todestrieb, Seelenmord?
  Abstract

  The author questions the theoretical conceptualisations of destructiveness as there are aggressive drives, reactions to frustration, effects of a death instinct, soul murder. He refers to the relevant literature and to own preliminary publications. First of all, destructiveness is, according to the drive theory, understood as a consequence of instinctual drives. However, destructive wishes and actions may also be a reaction to frustration of elementary needs. It is also possible that destructiveness is a reaction to primarily destructive wishes or actions of parental figures against the child’s self. In the oedipal drama it is not only Oedipus who kills his father but also Laios and Iokaste who try to destroy Oedipus. The theoretical possibilities are then illustrated by impressive case vignettes. Two of them confirm drive theory. The destructiveness of a third case, however, seems finally understandable as a reaction to severe frustration of elementary needs. Two cases seem also to confirm the hypothesis of a death instinct. A forth case fits the hypothesis of soul murder. In conclusion the hypothesis is formulated that what seems to be the result of a death instinct may be seen as the result of deeply defended destructive wishes by parental images against the child’s self.
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• Helmut Hinz: Wer nicht verwickelt wird, spielt keine Rolle. Zu Money-Kyrle: ›Normale Gegenübertragung und mögliche Abweichungen‹
  Abstract

  The theoretical introduction into the area of involvement in counter-transference wants to describe, that these processes are inevitable and necessary. They lead into impasses but they might also open up a new way out, which, up to now, was not available mentally and affectively. Then two clinical sequences of an analysis are depicted to make vivid and comprehensible how this special countertransference-involvement can lead to a reenactment and a new production of an archaic object relationship. After working through the hostility which was hidden behind pseudo-cooperation, the patient was more open and softer, a development which in this moment was stabilized by splitting off into the analyst a state of paralysis by feelings of guilt. Integrating this can lead to a new experience, which at the same time in statu nascendi is good, true, deeply longed for, and therefore is shaking, painful and threatening and which makes highly vulnerable.
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• Viveka Böök: »Negative Capability« bei Keats und bei Bion
  Abstract

  Keats created the term negative capability, which was adopted by Bion. What roots and what function the term had in the thinking of the poet Keats is shown. Bion used the concept in order to describe an attitude of the psychoanalyst in the therapeutic situation, an attitude which serves observation. The difference in usage does not exclude common ground; both Keats and Bion wished to force back with this notion the unique dominance of critical judgement.
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Beiträge zur Zeitgeschichte:

• Hans-Heinrich Otto: Editorial zu Miroslav Borecky’s Aufsatz ›Die Partei, die Liebe un der Haß in der Gegenübertragung‹
• Miroslav Borecky: Die Partei, die Liebe und der Haß in der Gegenübertragung – einige Überlegungen zu einer Psychoanalyse Buy both articles

Psychoanalyse und Literatur:

• Peter Dettmering: Das Drama als Märchen – Zu Shakespeares ›Romances‹
  Abstract

  Shakespeare’s late dramas Pericles, Cymbeline, A Winter’s Tale and The Tempest have much in common with the so-called tragedies, but they form a group of ist own -- ›the four romances‹ -- characterized by a fusion of tragic with fairy-tale elements. The reader or spectator is led to the assumption that there may have been an oral tradition of fairy-tales in Shakespeare’s England from which Shakespeare took those motives and which are in a way congruent with our own (German) fairy-tales. Among the constellations of these plays the double figure of a manifest or latent incestuous father-daughter or mother-son couple is used by Shakespeare as the embodiment of malignity and evil.
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• Ludwig Haesler: Der Mythos des Orpheus und seine literarische Gestaltung im ›Tod in Venedig‹ und im ›Zauberberg‹ Thomas Manns
  Abstract

  The two novels The Death in Venice and The Magic Mountain written by Thomas Mann explicitly as two complementary literary works reveal, within their most basic layer of meaning, a fundamental reference to the Greek Myth of Orpheus which is dealing with one of the most central problems of occidental thought: The antagonism between Mythos and Logos, i.e., basically, between emotio and ratio, between feeling and rational thought. Accordingly, this allows both literary works to be understood as two variants of the Myth of Orpheus. This paper attempts to unfold this basic mythological layer of meaning along the lines of the Orpheus Myth in both complementary literary works whose protagonists both finally end, like their mythical model Orpheus: In spite of his powerful appollonic instrument he helplessly becomes prey to his irresistable longing and thus perishes in the hands of the dismembering Maenads.
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• Rolf Tiedemann: Klassische Walpurgisnacht – Goethes Maskerade seiner Familie und einiger Erlebnisse im Elternhaus
  Abstract

  The Classic Walpurgisnacht appears as Goethes masquerade of his family and some experiences in the parental home. Furthermore the scene contains Goethe’s description and representation of the Oedipus-complex that he was preconscious of. We can recognize this in the separate ways of Faust, Homunculus and Mephisto. Faust is a man driven by the Oedipus-complex, Homunculus a small boy driven by the Oedipus-complex and Mephisto represents the pathology of the unsolved Oedipus-complex of the adult man on the stage mainly symbolically. The scene contains also Goethe’s discovery of the unconscious and some functions of it (Mephistos visit to the Phorkyadens). Goethe was aware of the originality of this realization.
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Beiträge zur Geschichte der Psychoanalyse:

• Ernst Federn: Einige Bemerkungen zur Geschichte der Ausbildung von Psychoanalytikern Buy article