By Paula Heimann
About young ones and Children-no-longer is the lengthy awaited selection of Paula Heimann's released and unpublished papers.
From the broadcast paintings it contains the seminal paper 'On Countertransference' (1950); 'Dynamics and Transference Interpretations' (1956); 'Some Notes on Sublimation' (1959); and 'Notes at the Anal level' (1962). furthermore, more moderen works are released right here in English for the 1st time, describing the author's specific integration of conception and technique.
Paula Heimann's principles on an undifferentiated early part of baby improvement and its implications for analytic strategy, with her distinctive wisdom of either Kleinian item family members and classical idea and procedure, make her paintings very suitable either to present-day perform and the certainty of the old improvement of a few principal psychoanalytic ideas.
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Extra resources for About Children and Children-No-Longer: Collected Papers 1942-80 Paula Heimann (New Library of Psychoanalysis)
I will recall Freud’s original concept of sublimation as an activity in which the sexual impulse is deflected from its direct aim but does not succumb to repression, which leads to achievements serving a social or higher interest and involves an adaptation to reality, that is, the progress from the pleasure principle to the reality principle. Gratification on the part of the ego is also an essential element in sublimation; since the ego does not have recourse to repression, it is not restricted and impoverished but enriched by the sublimatory activity.
When the subject distorts the parent’s sexuality into destructiveness, he is thereby inhibited from obtaining gratifications for himself, whether of a direct or of a sublimated nature. My patient could not enjoy the symbolic intercourse with her crayons nor give birth to a child-picture, because her fear and guilt about her ageing and deprived mother were too intense. There is a great difference between wanting to paint Victorian family scenes and being unconsciously compelled (by an internal Victorian mother) to paint in a Victorian fashion.
We can neither prove nor disprove it by direct observation. What we can do is to present an interpretation of the facts which we observe. Such interpretation will include some speculation, which, naturally, is open to doubt. Science cannot be pursued, however, by the mere collection of observable material. If we never leave the ground of facts, we give up scientific procedure, which arrives by means of abstraction and inference—speculation—at the discovery of the principles of which the observed facts are a manifestation.