By David Bell
This publication, a part of the Tavistock health center sequence offers along-overdue view of the connection of psychoanalysis to tradition. Uniquely located to bridge the space that exists among medical and educational psychoanalytic reviews, it really is devoted to the paintings of Hanna Segal. With contributions from top foreign psychoanalysts, philosophers and sociologists.
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Extra resources for Psychoanalysis and culture : a Kleinian perspective
Example text
Whereas Reason and Passion centred upon Segal's influence on psychoanalytic theory and practice, this volume reflects her broad influence on fields of enquiry far removed from the privacy of the consulting room. I have already had cause to mention the four 'literary' papers (Britton, Sodri, Bell and Steiner) and will now turn to the other contributions. Michael Rustin discusses the relation of psychoanalysis to the 'modernist project', firstly clarifying the different meanings of the term 'modernist'.
Segal's 'literary' papers span all the above categories. Her paper on Conrad (Segal, 1984) uses his work to illustrate the relation between the working through of the conflicts of the depressive position and creativity in general, most especially as it applies to the mid-life crisis. In addition she gives a psychoanalytic account of the novel itself and relates its themes to critical biographical aspects of Conrad's life. The paper on William Gelding's The Spire, already referred to, is more a meeting between a psychoanalyst and an author who, coming from different perspectives, have made the same discoveries.
Following this outburst of poetry there is a long silence in the Elegies followed by the isolated production of the bitterest of them all, written in November 1915, now numbered the fourth and known as the 'Marionette Elegy'. This emerged in a period of despair. For I no longer doubt that I am sick, and my sickness has gained a lot of ground and is also lodged in that which heretofore I called my work so that for the present there is no refuge there. This is from a letter to Lou of June 8th 1914; in it he accuses himself of destructiveness for which in the past he has always blamed others and he makes clear that he can no longer entertain a sense of persecution.