By Paula Heimann
About teenagers and Children-no-longer is the lengthy awaited number of Paula Heimann's released and unpublished papers.
From the printed paintings it contains the seminal paper 'On Countertransference' (1950); 'Dynamics and Transference Interpretations' (1956); 'Some Notes on Sublimation' (1959); and 'Notes at the Anal degree' (1962). moreover, newer works are released the following in English for the 1st time, describing the author's specific integration of concept and technique.
Paula Heimann's rules on an undifferentiated early section of toddler improvement and its implications for analytic strategy, with her distinctive wisdom of either Kleinian item family members and classical thought and strategy, make her paintings very correct either to present-day perform and the knowledge of the historic improvement of a few important psychoanalytic ideas.
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Extra info for About Children and Children-No-Longer: Collected Papers 1942-80 Paula Heimann (New Library of Psychoanalysis)
1975a). 1 A contribution to the problem of sublimation and its relation to processes of internalization (1939/42) This paper is an expanded version of Paula Heimann’s membership paper which she read to the British PsychoAnalytical Society in July 1939. It was published in the International Journal of Psycho-Analysis 13(1) (1942), and was her first psychoanalytic publication. In this paper my aim is to point out and discuss certain aspects of the sublimatory processes which in my opinion have not so far been investigated or perhaps sufficiently described.
The persecution by the woman driver, ‘the road-hog’, assumed such an intensity, moreover, because the woman with her red ‘beery’ face also reminded my patient of her father, whom she had often seen in an intoxicated state. Along with the conscious feeling of triumph at having successfully attacked the bad woman went an unconscious feeling of guilt. This woman who was her rival and who compelled her to follow a way she did not want to go—to the ‘right’—is also identified with her mother and me whom she, at the same time, loved and admired.
Moreover, the devils were a cover for her own sadistic and destructive impulses, which she disowned and personified in them. I will now endeavour to explain how this world full of devils inside her had come about. The memory-traces of psychical experience, past and present, are not static imprints like photographs, but moving and living dramas, like never-ending scenes on a stage. These inner dramas are composed of the subject and her instinctual impulses towards her original objects (father, mother, brother, and their later substitutes, up to and including the analyst), who are seen as they had been felt and are felt to be under the impact of her impulses; in addition, the objects also display her own impulses.