By Hanna Segal

Hanna Segal's paintings, in particular on symbolism, aesthetics, goals, and the exploration of psychotic considering, has demonstrated her as an exceptional determine in psychoanalysis, fairly in psychoanalysis of the Kleinian culture. In Dream, Phantasy and artwork she reworks her rules on those themes and brings them vividly alive in a brand new integration which hyperlinks them afresh to the paintings of Freud, Klein, and Bion. during the ebook, the medical illustrations the writer has chosen brilliantly highlight the idea, touching the mind's eye, and solving even the main tough principles completely within the reader's brain. In a jointly improving dating, concept and scientific instance are mixed, after which utilized, to create the author's new and unique theories of paintings and aesthetics. As Betty Joseph notes in her foreword, Segal's writing, and particularly this e-book, does a lot to counterpoint psychoanalysis not just as a result readability and intelligence but in addition a result of intensity and breadth of her pursuits and her medical mind's eye.

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Dream, Phantasy and Art (The New Library of Psychoanlysis, 12)

Hanna Segal's paintings, specifically on symbolism, aesthetics, desires, and the exploration of psychotic pondering, has proven her as a superb determine in psychoanalysis, rather in psychoanalysis of the Kleinian culture. In Dream, Phantasy and paintings she reworks her principles on those subject matters and brings them vividly alive in a brand new integration which hyperlinks them afresh to the paintings of Freud, Klein, and Bion.

Extra info for Dream, Phantasy and Art (The New Library of Psychoanlysis, 12)

Sample text

Klein at that time had not yet worked out the actual interplay of projection and introjection. I think that in her later work her concept of projective identification threw a new light on the whole problem of symbolism. It struck me in my work that concrete symbolism prevailed when projective identification was in ascendance. This also seems logical. Symbolism is a tripartite relationship: the symbol, the object it symbolizes, and the person for whom the symbol is the symbol of the object. In the absence of a person there can be no symbol.

This process was linked with a variety of hypochondriacal complaints: fear of vomiting, of expelling poisonous gases, and so on. But the phantasies that she expressed in the stones and marbles and in the drawing of them became gradually clearer, showing, for instance, a clear split between blue marbles (the analyst has blue eyes), which represented her love and an ideal breast; and the red and the black marbles, into which she projected violence, hatred, or despair. The drawings were still so concretely felt as part of herself and containing her feelings and thoughts that it was impossible for her to leave the room without taking them with her, which the analyst allowed since it seemed that if she left the room without them she appeared to feel completely empty of any thought, feeling, or capacity for movement.

Words, for instance, whether the analyst’s or the patient’s, are felt to be objects or actions, and cannot be easily used for purposes of communication. Symbols are needed not only in communication with the external world, but also in internal communication. Indeed, it could be asked what is meant when we speak of people being well in touch with their unconscious. It is not that they have consciously primitive phantasies, like those which become evident in their analyses, but merely that they have some awareness of their own impulses and feelings.

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