Words Cannot Be Chosen Too Carefully

Even though, on this blog, I express opinions that are controversial for some (I am an unapologetic Marxist), I try my best to choose words that not only accurately convey my meaning (which qualifies itself in so many theses, negations, and sublations, it’s like a pendulum swinging perpetually between opposites), but that also convey it as persuasively and fairly as possible.

By “persuasively,” I mean that I try my best to find reliable sources to back up my arguments, which is easier said than done, given that bourgeois Google is bloody awful. (I don’t have time to sift through fifty pages in a search of an appropriate online article, no matter how hard I try to refine my keywords.)

By “fairly,” I mean I try to minimize bias (something never 100% eliminated by anyone), and I try to avoid promoting prejudiced attitudes against any disadvantaged group. Again, I cannot do a perfect job at that, but I try my best.

As a socialist, I want freedom from unfair advantages (often crudely defined as “equality,” but more accurately defined as, “from each according to his or her ability, to each according to his or her needs“), across the board. Social justice isn’t symbolized by a straight, flat line; it’s symbolized by the gentle, up-and-down flowing waves of an infinite ocean.

Still, even my best efforts are opposed by people who won’t read me as carefully as I try to express myself. I’ve had readers who troll me on the basis of only one paragraph, or even just one sentence I’ve written (or even just a part of one sentence!); they have chosen, instead of staying with me and seeing that one problematic passage in context, to jump to conclusions and judge the entire post, or everything on my blog, on that one little fragment.

I’ll give a few examples of such misrepresentations of my writing, starting with some people on the Facebook pages supporting victims of narcissistic and emotional abuse, where I used to share blog posts of my own experiences of that problem…before the ultra-offended began a cowardly campaign of reporting me and putting me in Facebook jail for days, or even a week’s length in time.

What were the usual reasons for this? My occasional criticisms of Trump, for one. My second post on my personal experiences with emotional abuse, which I suffered from my family, titled Narcissism In the Family, while liked by a lot of people, has also generated a lot of criticism, generally from brief comments I made in passing about the Donald, not from the overall content of the post.

Most of this criticism seems to have been centred around my use of Trump as an example of overt narcissism. Now, criticizing him has, for obvious reasons, become a tad political, to put it mildly, and I know we’re not supposed to share political opinions on those Facebook support group pages; so sharing that post–as well as Absence Makes the Mind Go Fonder, which also includes a brief criticism of the Trump administration–is a no-no. Still, let’s be reasonable: is there anything controversial about acknowledging Trump’s most obvious narcissism? In mentioning it, am I going off topic or something?

But even beyond that, let’s consider the politics. How can there be survivors of narcissistic and emotional abuse, in significant numbers, supporting Trump? Do these worshippers of right-wing authoritarianism have Stockholm Syndrome? Why do they think a billionaire narcissist actually cares about them, when they aren’t even in his economic league?

Just because he isn’t part of the Republican/Democratic duopolistic establishment doesn’t make him one of ‘the good guys.’ Trump supporters have no sense of historical materialist, class analysis, something that has been sorely missing in political discourse ever since the rise of neoliberal capitalism and the disastrous dissolution of the Soviet Union.

Trump is merely a dissident member of the ruling class; he’s part of its more nationalistic faction. Like all members of the capitalist class, though, be they conservative or liberal, their main concern is to protect and preserve their class interests, not to care about the common people. One must be willing to acknowledge how narcissistic capitalists are.

Trump speaks out against the wars to gain popularity with the anti-war right, and to be reelected in 2020, not because of his convictions (assuming he has any). His bloated military budget, interventions in other countries’ affairs, expansion of imperialism, bombings, and starvation sanctions are consistent with those of his predecessors.

One doesn’t have to be a pussy-hat wearer, talking nonsense about “Russian collusion,” to oppose him. All one has to do is see him do all the things that the American political establishment approves of him doing. What he says means nothing (except in how it displays his narcissism and lechery); what he does is everything, the same as with other politicians, past and present.

If he truly wanted to “drain the swamp” of corruption, he would never have appointed former Exxon-Mobil CEO Rex Tillerson as Secretary of State, who has hoped for a coup in Venezuela (and has been replaced by the far more charming Pompeo–sarcasm); nor would he have appointed Steven Mnuchin, formerly of Goldman Sachs.

Some survivors of narcissistic and emotional abuse turn to Christianity to give them comfort, which is no one’s business but their own, of course; but some of these will have a more conservative, fundamentalist-leaning faith. With this inclination, they may imagine that God appointed the obviously sinful Trump to the Oval Office, justifying their absurd convictions by citing where Scripture has given instances of God choosing sinners as kings before (“The Lord moves in mysterious ways,” apparently), instead of these fundamentalists just acknowledging how cognitive dissonance has blinded them, and how the real reason they support him is for his pro-capitalist, authoritarian, right-wing policies (e.g., his support for Israel).

I wonder if God has appointed the corrupt popes and hierarchy of bishops in the Vatican for the same mysterious, divine reason? Have the anti-Catholic evangelicals ever thought of that? I doubt it.

Have these Trump-supporting abuse survivors considered the abuse dished out by ICE at all the Latin American families being torn apart, children separated from parents, and put in cages before being deported? The fact that Obama was the deporter-in-chief of “illegal” immigrants (just so we’re clear, people are not illegal in my opinion; I don’t believe in nations or borders–I believe in people, and these people are often apprehended for minor offences, if any) doesn’t make Trump’s continuation of this injustice more acceptable.

If Trump supporters are so infuriated with the influx of Mexicans and Central Americans across the border and into Texas, have they given any thought as to the cause of this influx? The US government has thwarted most of the attempts of Latin American countries to elect left-wing governments and pull themselves out of poverty, violence, and despair; and these frustrations go right back two hundred years, starting with the Monroe Doctrine and the dwindling of the Spanish Empire’s hegemony over the region, continuing with the Roosevelt Corollary, and fully blossoming with American interference with the governments of such countries as Chile and Guatemala.

American overturning of democracy in their “backyard” has continued unabated to the present administration, with such interventions over the years, successfully or not, to remove Noriega, Chavez, Zelaya, Maduro, and currently…Evo Morales!

The purpose of all of these coups, whether successful or not, is not to promote “democracy” (the US does business with the head-chopping Saudi kingdom, for fuck’s sake!). It is done in the interests of capitalist imperialism: Venezuela has the largest oil reserves in the world, and Bolivia has lithium, whose production Morales wanted to nationalize to help his people, which would have stopped German and other nations’ companies from profiting from it.

With so many Latin Americans languishing in poverty and hopelessness, forcing women and children into prostitution, is it any surprise that many Latinos try to build a future for themselves and their families by crossing the Texan border, and trying to stay for as long as they can? Do the abuse survivors who support Trump have the empathy to consider Hispanic suffering?

The same applies to the ban against Muslims till we “can figure out what the hell is going on?” To stop terrorism and the influx of Muslim refugees into the West, we could start by acknowledging the American creation of Al Qaeda and ISIS, and not “bomb the shit out ofMiddle Eastern countries. Abuse survivor supporters of Trump, how about some of that good ol’ empathy?

Finally, let’s consider Trump’s friendship with such abusers of power as the Clintons and sex offender Jeffery Epstein, who no intelligent person believes committed suicide. Now, to be fair to the Donald, we can’t technically prove if he’s guilty of forcibly raping a 13-year-old girl at one of Epstein’s parties, nor can we be sure if he’s guilty of the many, many sexual misconduct allegations he’s been accused of over the years; but given his manifest lechery, the pussy-grabber is probably guilty of many, if not most, or even all, of those allegations.

And yet there are Trump defenders, many female, who comment on those Facebook support group pages. It truly boggles the mind how these people remain wilfully ignorant of the facts.

Of course, it is possible that many, or most, of those Trump supporters aren’t actually victims of narcissistic and emotional abuse, but are just trolls who seek out anyone online who criticizes their beloved leader, and thus found my writing on those Facebook pages. Erich Fromm wrote much about the mentality of group narcissism, and the identifying with and admiring of the authoritarianism of the idealized leader.

One of these haters of mine actually made a baseless accusation of racism on my blog posts. (No, readers, my quoting of racial slurs used in the movies I do analyses of does not indicate an encouragement or endorsement of their use, let alone the offensive attitude behind them; my quoting of them is meant as a commentary on the problem of racism. I don’t censor the words, just as I don’t censor four-letter words, because I don’t believe in censorship. It’s as simple as that.) I soon learned that my accuser was yet another Trump supporter who didn’t like my criticisms of him. Talk about the pot calling the kettle black!

But enough of Trump. On the other side of the political coin, and ironically so, since this next case is also a reaction from Narcissism in the Family, a woman blogger who, from her writing, was clearly in a bad mood, got upset about this passage I wrote: “Though the narcissistic father is a formidable bully, I suspect the narcissistic mother is, in many ways, often much worse, if for no other reason than that she can cunningly exploit the stereotype of the angelic, saintly mother who criticizes her victim only out of ‘concern’.”

If I remember correctly, she quoted “narcissistic mother…much worse” in boldface. She ended her snarky response by most eloquently calling me a “muthafucka.” I gather from her response that she believed my passage was a sexist generalization (her whole blog post was an extended rant about every blogger she found who made remarks she didn’t like about females).

To be fair to her, she quoted my passage in context; but she didn’t seem very interested in that context. I did not say that all narcissistic mothers are worse than all narcissistic fathers because the former are women, as she had implied was my meaning. By saying “in many ways, often much worse,” I was implying that narcissistic fathers are also, in many other ways, often much worse than their maternal counterparts (though I hadn’t bothered to mention how). I imagined my qualification would be sufficient in avoiding a dangerous, sweeping generalization. Apparently, I was wrong.

The “many other ways” qualification included the narc mother’s ability to “exploit the stereotype of the angelic, saintly mother.” This wasn’t meant as a promotion of sexual stereotypes; it was just an acknowledgement of the problem. A narcissistic father, on the other hand, could use the stereotype of the ‘paternal authority figure who must never be questioned, only obeyed,’ making him, in that sense, much worse than a narc mother.

My own father had an authoritarian, conservative mentality that did him little credit; but he didn’t exploit it to play mind games on my siblings and me the way my mom did, so I can’t say I know the experience of being raised by a narcissistic father. He was a grumpy, mindless, bigoted old fool, but he was no narc. For these reasons, and not sexism, my blog post focused on narc moms instead of narc dads.

I suppose I should be grateful to that woman blogger for adding a link to my post, as it may bring me some more readers, who I hope will be open-minded enough to scan for the full context of what I was writing about, and thus realize I wasn’t being anywhere near as unreasonable as she was portraying me. I, however, won’t provide a link to her vituperative post, one she herself in her introduction admitted would be an unpleasant read. She can thus consider my omission of a link a favour I’m doing her.

It’s curious: my blog post criticizes a known narcissistic male chauvinist, and people (many of them women) are offended; a few paragraphs down from my brief critique, and I make another brief comment on narcissistic mothers, and it is I who am the male chauvinist. No matter how carefully you try to choose your words, you just can’t please some people.

To end off, I must discuss a recent reaction to my analysis of Belle de Jour, which is about a woman with masochistic fantasies who decides to become a prostitute by day. The reaction was one of offence, since the commenter believes it is utterly impossible that a woman would ever create such a story, let alone ever choose to be a prostitute herself, outside of poverty and exploitation.

Now, I wholeheartedly agree that the great majority of prostitutes in the world, especially in the Third World, are terribly brutalized and degraded (recall my words above about impoverished Latin American women and children, as well as the girls Epstein paid to be raped); in fact, in my analysis of the film, I emphasize the problem many times!

The socialist society I espouse would transform material conditions so thoroughly that everyone–man, woman, and child–would be adequately employed and provided for, thus reducing prostitution to a near 0%. Furthermore, the lack of alienation caused by capitalism would mean that men would no longer be treating women as objects, but as human beings.

That said, well…I’ll just leave these links here in response to what my commenter deems an utter impossibility. Not that I aim to endorse or promote such ideas, but, well…in the parlance of our time…just sayin’.

Seriously, people are way too easily offended these days. How carefully do I have to choose my words to avoid upsetting people?

Analysis of ‘Belle de Jour’

Belle de Jour is a 1967 French film by Luis Buñuel, based on the 1928 novel of the same name by Joseph Kessel. It stars Catherine Deneuve as Séverine Serizy, a young and beautiful housewife who, unable to be intimate with her husband, Pierre (Jean Sorel), spends her midweek afternoons as a high-class prostitute while he, unsuspecting, is at work as a doctor in a hospital.

“Belle de Jour” (“beauty of the day”), the name Séverine adopts as a prostitute, is a pun on the French expression belle de nuit (“beauty of the night”). She isn’t available at night to satisfy her erotic desires, which involve BDSM, something her mild-mannered, bourgeois husband would never approve of.

Here are some quotes in English translation:

Pierre Serizy: I’d like everything to be perfect too. If only you weren’t so cold.

Séverine Serizy: Please don’t mention that again.

Pierre Serizy: I didn’t mean to upset you. I feel a great tenderness for you.

Séverine Serizy: What good is your tenderness to me?

Pierre Serizy: You can be very cruel when you wish.

“Forgive me.” –Séverine (repeated line)

“Pierre, please, don’t let the cats out.” –Séverine

Henri Husson: You should see a specialist about your obsessions.

Renee: He’s rich and idle. Those are his two main illnesses.

Henri Husson: Don’t forget the hunt. I also have a special weakness for the poor. I think of them when it snows, with no fur coats, no hope, no nothing.

“You go in. The women are there. You pick one. You spend half an hour alone with her and after you leave, you’re depressed all day. But what can you do? Semen retentum venenum est.” –Pierre, to Séverine

Séverine Serizy: I can’t understand women like that.

Henri Husson: It’s the oldest profession in the world. It’s mostly arranged by phone now, but the women in those houses are a special breed.

Séverine Serizy: I’m sure you know them well.

Henri Husson: Yes, I used to go a lot. I enjoyed it. There’s a very special atmosphere. The women are complete slaves. I remember a few around the Opéra. Especially one run by Anaïs. 11 cité Jean de Saumur. I have marvelous memories.

*************

Madame Anais: You’re nice and fresh. Just what they like here. I know it’s hard at first, but who doesn’t need money now and then? We’ll split it fifty-fifty. I have my expenses.

Séverine Serizy: Thank you very much, but I must be going.

Madame Anais: Come on. You’re just a bit nervous. I bet it’s the first time you’ve worked. It’s not really so awful.

**************

Madame Anais: You’re doing fine. You’re a big hit already. Mr. Adolphe is a simple man, so don’t get upset. Do what he wants. That’s all he asks.

Séverine Serizy: No, I want to go.

Madame Anais: What? You about done putting on airs? Where do you think you are? Go on!

**************

Monsieur Adolphe: No, you’re not running off now! Who do you think you are, you little slut?

[slaps Belle de jour]

Monsieur Adolphe: You get me excited and then pull me up short?

[pushes Belle de jour on the bed]

Monsieur Adolphe: You can put on airs for a while, but I’ve had enough!

[Belle de jour lies calmly on the bed]

Monsieur Adolphe: There. See? That’s more like it. So, you need the rough stuff, do you?

**************

Henri Husson: [In Séverine’s dream fantasy, she is wearing a long white, sleeveless dress] How’s your wife?

Pierre Serizy: Very well, thanks.

Henri Husson: Where is she?

Pierre Serizy: Right over there. Want to say hello?

Henri Husson: I’d love to. How are you little slut?

Pierre Serizy: Everything okay, you tramp?

Henri Husson: [throwing mud on Séverine] Old whore!

Pierre Serizy: Maggot!

Henri Husson: Sodomite!

Pierre Serizy: Scum!

Henri Husson: Fellatomane! Tramp! Harlot!

**************

Prof. Henri: I love you. I love you, I tell you. Now walk on me. Spit on me. Stomp on my face.

Charlotte: Dirty old man! Pig! I’ll teach you!

Prof. Henri: But I love you! Marquise, hit me harder!

**************

Duke’s Butler: [Fantasy sequence] Monsieur Duke, shall I let the cats in?

Duke: To hell with you and your cats!

“I’d slit my father’s throat for less, but friendship comes first. We’re not gonna fight over some slut, eh?” –Hippolyte

Marcel: Leave your stockings on. A girl tried to strangle me once. Poor thing.

Séverine Serizy: If you like, I won’t charge you.

Marcel: Naturally. Plenty of girls would love to be in your place.

**************

Séverine Serizy: Don’t tell Pierre.

Henri Husson: Pierre? I admire him more and more.

Séverine Serizy: Please don’t tell him. At least try to understand. I’m lost. I can’t help it. I can’t fight it. I know I’ll have to atone for everything one day. But I couldn’t live without it. Fine! Do as you like with me!

Henri Husson: No. Not now, anyway. I guess what attracted me about you was your virtue. You were the wife of a boy scout. That’s all changed now. I have principles, unlike you.

The film begins with a scene of Séverine and Pierre riding in a coach on a country road covered in autumn leaves. The jingling of sleigh bells is heard. Husband and wife declare their growing love for each other, but she remains cool to his sexual advances. Though normally gentle and sensitive to her wish not to rush into love-making (actually, they’ve already been married for a year, with him never having her…even once!), Pierre suddenly gets angry, orders the two coachmen to stop, and he tries to pull her out of the coach.

When she demands that he let her go, he has the two men grab her and take her out to the trees, where she, resisting all she can, is tied to one. Pierre tears away her top and bra to bare her back, and he orders the men to flog her. She begs him to stop.

During the flogging, she oddly asks Pierre not to let the cats out. When the flogging is finished, he tells one of the men to enjoy her while he smokes a cigarette and watches. The coachman’s kisses, on the back of the neck as he’s about to have her, cause her to close her eyes and sigh with pleasure.

The scene suddenly switches to her in her bed, with Pierre in his pyjamas, approaching. The whole coach scene has been a sex fantasy of hers…not a sexual assault.

In this fantasy, we can glean a number of things about her character. The jingling of the bells, a motif heard many times, and in many forms, throughout the movie during her sex fantasies, symbolizes the vibrating pleasure she feels in her vagina (the ‘bell’); the clappers of the bells (or their ball-bearings inside) can be seen to represent either her hymen–as we assume that her frigidity has made her wish to return to virginity, if it hasn’t kept her a virgin the whole time–or they represent a phallus jerking away inside her.

Either way, in this symbolism we see Séverine’s central conflict: to bang, or not to bang. She is cold to her husband’s passion, yet she fantasizes of wild, transgressive sex with strangers. Her name, a feminine version of Severin, the name of the main character of Venus in Furs, suggests her masochistic tendencies. Yet her beauty, as well as her urges to cheat on her man, suggests cruel, sadistic Wanda from the same novella.

So what we have in Belle de Jour is the sublation of the contradictions of sexual purity vs. licentiousness, of sadism vs. masochism, and of woman’s sexual subservience vs. her sexual liberation. In Venus in Furs, we had Severin’s arousal fuelled by opposites that are never properly reconciled (Sacher-Masoch, page 29); in this film, we see a constant unity of opposites…or at least an attempted unity of them.

‘Not letting out the cats’ seems to be a reference to the exposure of her genitals. While she says chats (cats) instead of chatte (pussy), this seems to be a distortion in her wish-fulfillment, a censoring of her erotic desires that is comparable to Severin’s use of Katzen in Venus in Furs (see my analysis–link above). Séverine says she wouldn’t have “the cats” let out, yet her eyes wish they’d be let out.

The next day, she and Pierre meet with Renée (Macha Méril) and Henri Husson (Michel Piccoli), this latter man being discomfiting to Séverine in how frankly he tells her of how “séduisante” she is. She rejects his sexual advances with a harshness she never uses on her gentle, nice-guys-finish-last husband; but over the course of the movie, we realize that Husson is involved in her dreams and repressed fantasies, too.

Recall her dream, much later on in the movie, of being with him at a table in a restaurant, the two grinning as they look in each other’s eyes: he breaks a wine bottle–symbolic of her broken hymen–and the two of them go under the table, where he gives her an envelope, symbolic of sex (i.e., a phallic letter in a yonic envelope). Pierre and Renée are at the table, too, fairly indifferent to it all, beyond his mild curiosity. Séverine wants Husson, but she’ll never admit to this.

I mentioned earlier the many sublated contradictions in this film; but there is one contradiction that cannot be reconciled, no matter how hard Séverine tries. This is the contradiction between her hypocritical bourgeois morality, her wish to retain her respectable public image, and the satisfaction of her private, transgressive desires.

Exposing bourgeois hypocrisy is a favourite theme of Luis Buñuel, and he pushes this theme to the hilt in this movie. Husson would seem to be Buñuel’s mouthpiece here, in his sardonic wish to expose Henriette’s, and later Séverine’s, wish to be prostitutes; but I suspect insincerity in him when he says he worries about the poor when left out in the cold…especially when we learn that he likes frequenting whorehouses, places where poor women are mercilessly exploited by pimps and madams.

Séverine’s wish to work for Anaïs (Geneviève Page), the madam of a high class brothel, is a strange one, apart from her already-established masochistic tendencies. These tendencies seem rooted in a childhood experience of having been touched inappropriately by a man: did the touching get carried any further…towards penetrative rape? We don’t know. In any case, it explains her frigidity (recall the repulsion towards sex that young Deneuve has acted out elsewhere in cinema).

Given that the film was made in 1967, during the rise of second-wave feminism and its drive to encourage housewives to leave the home and pursue careers, we find it curious that Séverine, a well-provided-for bourgeois housewife, should choose prostitution of all things as fulfilling work. Though she is escaping the patriarchal prison of the house and her husband as her only sexual partner, she is also willingly subjecting herself to the sexual degradation of being objectified and used by lecherous men.

In this contradiction, we see the controversy between anti- and pro-prostitution feminism. In her masochism, Séverine is subjecting herself to exploitation, as an example of the excesses of the pleasure-pain of what Jacques Lacan called jouissance; but unlike proletarian women and girls forced into such exploitation because of the poverty that capitalism creates, Séverine, as a bourgeois woman, freely chooses it.

Naturally, she is conflicted about selling herself at first. She meets Madame Anaïs, but tries to run away, making her procuress force her into yielding to such louts as the porcine Monsieur Adolphe (Francis Blanche). As a bourgeois woman, Séverine could easily leave; her masochistic jouissance, however, forces her to stay and service him. It is her need to preserve her hypocritical bourgeois public image that makes her unwilling to give her body over to male lust, not any feeling of disgust.

When she first learns, through her friend Renée, that a woman they know, Henriette, has been selling herself, Séverine says with a frown that it must be horrifying to have sex with strangers…yet the thought of becoming a prostitute herself is turning round and round in her mind. She later asks her husband about his experiences in brothels, which he says were few and ultimately unsatisfying; but when he says in Latin that semen retained is poison, she is disgusted with him.

This here is an example of the hypocritical bourgeois liberal mentality: her id has all these wild, untamed desires, in her case leading to the excesses of jouissance; but her harsh, overly-judgemental super-ego demands that she live up to the ego-ideal of a proper bourgeois lady. Small wonder her dreams and fantasies include her being either punished or degraded in some way. Her inner battleground is between her conscious and unconscious mind.

Buñuel’s critique of bourgeois moral hypocrisy is personified in Séverine, and expressed elsewhere by Marx: “But you Communists would introduce community of women, screams the whole bourgeoisie in chorus.

“The bourgeois sees in his wife a mere instrument of production. He hears that the instruments of production are to be exploited in common, and, naturally, can come to no other conclusion, than that the lot of being common to all will likewise fall to the women.

“He has not even a suspicion that the real point aimed at is to do away with the status of women as mere instruments of production.

“For the rest, nothing is more ridiculous than the virtuous indignation of our bourgeois at the community of women which, they pretend, is to be openly and officially established by the Communists. The Communists have no need to introduce community of women; it has existed almost from time immemorial.

“Our bourgeois, not content with having the wives and daughters of their proletarians at their disposal, not to speak of common prostitutes, take the greatest pleasure in seducing each others’ wives.

“Bourgeois marriage is in reality a system of wives in common and thus, at the most, what the Communists might possibly be reproached with, is that they desire to introduce, in substitution for a hypocritically concealed, an openly legalized community of women. For the rest, it is self-evident, that the abolition of the present system of production must bring with it the abolition of the community of women springing from that system, i.e., of prostitution both public and private.” —The Communist Manifesto, II: Proletarians and Communists

When Séverine finds the address of Anaïs’ whorehouse and approaches the door, a woman coming down the stairs makes her pretend she’s waiting at the elevator instead of wanting to knock on Anaïs’ door. Immediately before this hiding of her true intentions, another childhood memory of hers runs through her mind: this time, we see little Séverine (about the same age as when that man inappropriately touched her) in church during Mass, refusing to take the Host in her mouth. We hear a man’s voice (that of Pierre?) ask, “Séverine, Séverine, what’s the matter with you?”

Reminded of the memory of the man touching her, we might wonder if there’s a connection between it and the scene during Mass. Is her refusal of the Host symbolic of childhood sexual abuse from the priesthood? Or does her guilt, including a fear of eating the body of Christ unworthily (1 Corinthians 11:27), fuel her masochism?

After a few sexual encounters with men like Adolphe, she seems to have processed the childhood trauma she suffered (or, at least, gotten over her bourgeois inhibitions), and now she feels more comfortable as a prostitute. She enjoys servicing an Asian client, who rings a tiny bell as she grins lasciviously at him, standing next to him without her panties on.

A masochistic professor (François Maistre) wants her to help him act out a fantasy of himself as her grovelling servant; but her failure to act out her part as he wishes causes him to bark orders at her, then demand that Anaïs get Charlotte (Françoise Fabian) to take Séverine’s place, for she apparently is only of use in the kitchen. As we can see, masochistic submission becomes dominance: more sublation of opposites. In fact, we can hear the professor ordering Charlotte to hit him harder.

Recall how Freud once said that every sadist is always at the same time also a masochist. Séverine is disgusted to see the professor lower himself so, yet in her fantasies, she’d lower herself much further. Séverine would never have liked Severin, in spite of herself.

Her dreams, as revelatory wish-fulfillments of her desires, continue. We hear cowbells clinking in the background as Pierre and Husson discuss the names of cows: Remorse and Expiation. Here we see an explicit link between Séverine’s masochism and her guilt feelings over cheating on the husband she’s not even once had sex with. He and Husson sling mud at her, symbolic of shit, while she’s tied up, wearing an angelically white gown; they call her “little slut” and “pig.” Her saintly raiment, sullied with the mud, is the sublation of sinner and innocent.

Remember how any ringing of bells, be they cowbells or jingle bells, symbolizes her sexual arousal; so she unconsciously enjoys Husson’s presence as well as his and Pierre’s symbolic defecating on her, though in her conscious mind, bad boy Husson repels her.

Later, she hears those coach sleigh bells in her dream about the Duke (Georges Marchal), who would have her play the role of his dead love in a coffin. In his passion for her as she lies practically naked in the coffin, wearing only a black see-through garment, we see the sublation of libido (part of Eros, the will to live) and Thanatos, the death drive…or the pleasure-pain of jouissance. (We’d need only hear the Liebestod as heard in the soundtracks of Un Chien Andalou and L’Age d’Or, and the scene would be perfect.) The coldness of her ‘corpse’ before the Duke suggests a displacement onto him of her frigidity towards Pierre.

Cats are heard meowing. The Duke’s servant knocks at the door, asking if his master wants him to let the cats in; again, in my interpretation, the cats are a symbolic reference to Séverine’s genitalia. The Duke curses at his servant about the cats, suggesting more of the hypocritical bourgeois reaction formation to any frank expression of sexuality.

Shortly after this cursing, the Duke slips down under the coffin with a guilty frown on his face. She feels a jiggling of the coffin, suggesting that the Duke is stimulating her genitals or buttocks in a perverse, disturbing way. After the encounter, and when she’s dressed, the servant brusquely kicks her out of the Duke’s mansion, to leave her in the rain: again, in her fantasizing, she must be punished for her jouissance; also, in the servant’s rudeness to her, we see the bourgeois hypocrisy in enjoying the services of a prostitute, but in also treating her as bestial and beneath the upper classes.

More dualities to be sublated are implied in Belle de Jour vs. belle de nuit, the opposition of day and night. Linked with this idea is the Duke’s reference, in his chat with Séverine at an outdoor café before their encounter in his mansion, to the soleil noir (“dark sun”), the sublation of jour and nuit. He also considers his sexually perverse encounter with her “a religious ceremony of some sort.” Sublation of the sacred and the profane.

Jouissance, especially the zesty, almost mystical, feminine kind that Lacan commented on, is a poetically resonant word when applied to Séverine’s sexual excesses. Apart from it meaning such things as “enjoyment” and “orgasm,” jouissance also refers to the enjoyment of property rights, which is instructive given her status as a bourgeois woman. In fact, Lacan’s notion of plus-de-jouir (“surplus enjoyment”) is inspired by Marx’s notion of surplus value, which–when applied to this film–is perfectly personified in the willing bourgeois prostitute.

The surplus value of Séverine’s masochistic pleasure-pain is something she, as a bourgeois woman, can enjoy and give up whenever she wishes to; but a proletarian prostitute is unable to escape her world of exploitation and degradation…herein lies the crucial difference. Having a madam force the girls into sex work is no less oppressive in principle than when a pimp forces them. For Séverine, though, as soon as she sees the danger in Husson finding out her secret (tempting him to tell Pierre), as well as the growing jealousy of her favourite client, Marcel (Pierre Clémenti), she can quit, and Madame Anaïs must accept it.

Séverine’s preference of the crude, violent bad boy Marcel as a lover, over sensitive but boring Pierre–in spite of how she must keep up appearances as his faithful wife–can be seen to symbolize how the hypocritical bourgeois liberal wants to be seen publicly as gentle and respectful of human rights; but when tensions rise in the world, even liberals will embrace violence to protect their class interests.

While Pierre, as a doctor, represents the gentle, liberal bourgeoisie, mafiosi Marcel and Hippolyte (Francisco Rabal) represent the nasty, violent, and even fascist-leaning side of capitalism (note how the mafia can be seen to represent capitalists in other movies). The two men beat up and steal from a man in an elevator, Epstein-like Hippolyte shows a sexual interest in the underage daughter of Pallas (Muni), and jealous Marcel attempts murdering his rival, Pierre, but ends up paralyzing him and putting him in a coma instead.

Séverine, in her overwhelming guilt, allows Husson to tell Pierre about her dalliances. She then sees her teary-eyed husband, emotionally destroyed and unmoving in his wheelchair (reminding us of Wanda’s wheelchair-bound husband before he died–Sacher-Masoch, page 20; recall another line from the novella: “Is there any greater cruelty for the lover than the beloved woman’s infidelity?”–page 4…Severin + Wanda = Séverine). Instead of having another sexy dream, though, she reverses course and has a wholesome one of her husband smiling, getting up from his wheelchair, and embracing her.

The film ends with the sleigh bells heard outside. She looks out the window and sees the coach riding down the road strewn with autumn leaves, as in the film’s beginning; a return to the beginning of the cycle, but without the couple as passengers. The empty seat is symbolic of Lacan’s notion that there is no such thing as a sexual relationship. There is sexual activity between men and women, of course (as we see constantly in this movie), but there is no rapport between the sexes, no harmony, as between her and Pierre. Their love is an illusion: at best, theirs is a Platonic friendship, and this–in combination with her superficially sexual relations with other men–indicates the general alienation felt in capitalist society.

This motif of autumn is important. It symbolizes her growing coolness towards her husband, and the fallen leaves suggest her fall from grace. Before, during the height of her jouissance at the brothel, she fantasized about Pierre and Husson shooting her in the head with phallic pistols out there in the woods, among the autumn leaves, the blood flowing from her head being symbolic, perhaps, of the pleasure-pain of getting a facial. She’s tied to a tree, her wound making her look rather like St. Sebastian: sublation of sinner and saint.

Now, however, having emotionally killed her husband, she can dream only of an unattainable return to innocence. Her shame doubtless will deter her from ever satisfying her desires chez Madame Anaïs. Will Husson finally have her? It’s doubtful, now that he knows she hasn’t the voluptuous virtue he thought she had.

There will be no more sublation of her sex fantasies with the reality of a prostitute’s life. In a futile attempt to assuage her guilt, she is compelled to escape reality and have innocent fantasies, of her restored husband, from now on. Now, she can only have pain sans pleasure. Fate has been most severe with Séverine.

Analysis of ‘Venus In Furs’

Venus In Furs is a novella written by Leopold von Sacher-Masoch and published in 1870. Because the semi-autobiographical story is about a young man, Severin von Kusiemski, who persuades a beautiful woman, Wanda von Dunajew (her real-life counterpart having been Sacher-Masoch’s mistress, Baroness Fanny Pistor), to dominate, whip, humiliate, and enslave him, we derive the word masochism from its author…thanks to Richard von Krafft-Ebing in his seminal text, Psychopathia Sexualis.

Though the novella was originally meant to be part of an unfinished cycle of stories called The Testament of Cain, Venus In Furs is by far Sacher-Masoch’s most famous work, and it is one of the few of his writings to be translated into English.

Here are some quotes:

“Is there any greater cruelty for the lover than the beloved woman’s infidelity?” –narrator of framing story (page 4)

‘”And as a rule it is the man who feels the woman’s foot,” cried Madam Venus with exuberant scorn…’ (page 5)

“Yes, I am cruel–since you take so much pleasure in that word–and am I not entitled to be cruel? Man desires, woman is desired. That is woman’s entire but decisive advantage.” –‘Madame Venus,’ the talking statue in the narrator’s dream (pages 5-6)

“Woman’s power lies in Man’s passion, and she knows how to make use of it if man isn’t careful. His only choice is to be woman’s tyrant or slave.” –Severin, to the narrator (page 10)

‘…my beloved was made of stone…a stone statue of Venus…This Venus was the most beautiful woman I had ever seen.’ –Severin (page 12)

‘Enough: this Venus was beautiful, and I loved her as passionately, as morbidly and profoundly, as insanely as a man can love only a woman who responds to his love with an eternally consistent, eternally calm stone smile. Yes, I literally worshiped her.’ –Severin, of his Venus statue (page 12)

“Nature knows of no permanence in the male-female relationship.” –Wanda (page 19)

‘My love was like a profound, a bottomless abyss, into which I kept sinking deeper and deeper, from which nothing could save me.’ –Severin (page 27)

‘Cold shivers ran down my spine. I looked at her: she stood before me, so solid and self-assured, and her eyes had a cold glint.’ –Severin, of Wanda (page 28)

“…the greatest passions…arise from opposites. We are such opposites, almost hostile to each other. That explains this love of mine, which is part hatred, part fear. In such a relationship, only one person can be the hammer, the other the anvil. I want to be the anvil. I can’t be happy if I look down on my beloved. I want to be able to worship a woman, and I can do so only if she is cruel to me.” –Severin, to Wanda (page 29)

“…sensuality now became a sort of culture in my imagination, and I swore not to squander its holy sensations on an ordinary creature but to save them for an ideal woman–if possible, the Goddess of Love herself.” –Severin (page 32)

“In my mind I always pictured a beautiful female ideal…” –Severin (page 33)

“So a woman wearing fur,” cried Wanda, “is nothing but a big cat…?” (page 35)

“I saw sensuality as sacred, indeed the only sacredness. I saw woman and her beauty as divine since her calling is the most important task of existence: the propagation of the species.” –Severin (page 36)

“Yes–you’ve aroused my most cherished fantasy.” –Severin, to Wanda (page 37)

‘”I’m afraid I’ve already found my ideal!” I cried and pressed my hot face into her lap.’ –Severin, to Wanda (page 37)

“You’ve corrupted my imagination…” –Wanda, to Severin

“Women are neither as good as their admirers and defenders would have it nor as bad as their enemies make them out to be.” –Wanda (page 47)

‘Wanda…was so kind, so intimate, so full of grace.’ –Severin (page 48)

“A woman’s infidelity is certainly a painful stimulus, the supreme voluptuousness.” –Severin, to Wanda (page 49)

“You may always address me as ‘Mistress,’ do you understand?” –Wanda, to Severin (page 60)

‘…from time to time I heard our Mistress enjoying herself, surrounded by admirers…’ –Severin (page 77)

‘Venus in Furs was jealous of her slave. She tore the whip from its nail and struck me across the face. Next she summoned the black maidservants, and had them tie me up and drag me down to the cellar, where they threw me into a dark, dank subterranean vault–a bona fide dungeon cell.’ –Severin (page 84)

‘I felt myself starting to hate that woman.’ –Severin, of Wanda (page 85)

‘…I saw that she was wearing only the fur, and I was terrified–I don’t know why–as terrified as a condemned man who knows he is heading toward the scaffold, yet starts to tremble the moment he sees it.’ –Severin, of half-naked Wanda (page 89)

‘…Wanda threw off her fur coat in a single moment and stood before me like the Goddess in the Tribuna.

‘At that instant, she looked so chaste, so holy in her uncloaked beauty that I knelt before her as I had knelt before the Goddess, and I pressed my lips devoutly to her foot.’ –Severin (page 90)

‘He was a handsome man, by God. No, more: he was a man such as I had never seen in the flesh. He stands in the Belvedere, hewn in marble, with the same slender and yet iron muscles, the same face, the same rippling curls.’ –Severin, of Alexis Papadopolis, his rival for Wanda’s love (page 96)

‘What I felt was fear–a fear of losing the woman whom I loved almost fanatically; and this fear was so violent, so crushing that I suddenly burst out sobbing like a child.’ –Severin (page 101)

“You know what I am,” she retorted nastily. “I’m a woman of stone, Venus in Furs, your ideal–just kneel and worship me.” –Wanda, to Severin (page 103)

“The moral is that I was an ass.” –Severin, speaking to the narrator (page 119)

“The moral is that woman, as Nature has created her and as she is currently reared by man, is his enemy and can be only his slave or his despot, but never his companion. She will be able to become his companion only when she has the same rights as he, when she is his equal in education and work.” –Severin (page 119)

The story begins with a framing device involving the original narrator telling Severin about a dream he’s had of conversing with a living statue of Venus, who has a huge fur wrapped around her marble body (page 3).

This notion of being infatuated with the statues of Venus is a motif recurring throughout the novella, for a man’s willful enslavement to a woman is based on his pagan worship of her (as he sees it) divine beauty.

This beauty is carved into immovable stone: cold, inflexible, hard, and therefore cruel. The immovability of the stone also suggests permanence; combine this unmoving, unchanging permanence with beauty, we have ourselves an ideal.

The notion of ideal feminine beauty is also a recurring theme in the novella. Recall Goethe‘s words: “The Eternal Feminine draws us on high.” Beauty on the outside is seen as a symbol of beauty on the inside…regardless of how unrealistic such ideals are.

Another classic work of art–a painting–has inspired Severin: Titian‘s Venus with Mirror, the goddess’s lower body wrapped in fur, apart from which she is naked. Both Severin and the narrator fetishize her in the fur.

In his paper, “Fetishism,” Freud pointed out that the fur fetish is based on desire for a woman’s pubic hair, a desire traced back to boys’ Oedipal desire for their mother, and their horror, upon seeing her genitals, at realizing she has no phallus. Camille Paglia, in Sexual Personae, believes that Venus In Furs supports Freud’s claim (Paglia, pages 258, 436).

As Freud himself observed: “…it is as though the last impression before the uncanny and traumatic one is retained as a fetish. Thus the foot or shoe owes its preference as a fetish–or a part of it–to the circumstances that the inquisitive boy peered at the woman’s genitals from below, from her legs up; fur and velvet–as has long been suspected–are a fixation of the sight of the pubic hair, which should have been followed by the longed-for sight of the female member; pieces of underclothing, which are so often chosen as a fetish, crystallize the moment of undressing, the last moment in which the woman could still be regarded as phallic.” (Freud, pages 354-355)

If Freud’s explanation seems far-fetched, consider Jacques Lacan‘s more metaphorical version. The mother’s lack of a phallus is, for Lacan, connected with the dissolution of the Oedipus complex and the father’s prohibition against a boy’s having of his mother; the boy cannot be the phallus that his mother desires, because his father won’t allow it. Hence, his father has symbolically castrated him. From this lack–manque–comes one’s desire.

Since a boy can’t have his mother, he must look elsewhere to gratify his unfulfillable desire, the objet petit a, a substitute for the forbidden mother that, in this story, Severin and the narrator can attempt to replace with the fur fetish and the Venus ideal. [For a more thorough explanation of such psychoanalytic concepts as those of Lacan, look here.]

Freud’s thoughts on fetishism seem to anticipate Lacan’s ideas about manque and the objet petit a in this passage: “In the conflict between the weight of the unwelcome perception and the force of his counter-wish, a compromise has been reached, as is only possible under the dominance of the unconscious laws of thought–the primary processes. Yes, in his mind the woman has got a penis, in spite of everything; but this penis is no longer the same as it was before. Something else has taken its place, has been appointed its substitute, as it were, and now inherits the interest which was formerly directed to its predecessor…We can now see what the fetish achieves and what it is that maintains it. It remains a token of triumph over the threat of castration and a protection against it.” (Freud, page 354)

That Titian’s painting has the fur covering Venus’ lower half further supports the symbolic association of the fur with her pubic hair. Cupid, Venus’ son, holds her mirror: the Goddess of Love and Beauty is the Mother.

Now we can see the origin of Severin’s desire to be dominated by a beautiful woman: he has an unresolved Oedipus complex, transferred onto Wanda. She symbolizes his mother, who in his unconscious has been split into Melanie Klein‘s “good mother”–his idealized parental imago whose beauty he desires to enjoy (hence, the furs)–and the “bad mother” who punishes him and is cruel to him.

Freud noted how a spanking can give erotic pleasure to a child: “Ever since Jean Jacques Rousseau‘s Confessions, it has been well known to all educationists that the painful stimulation of the skin of the buttocks is one of the erotogenic roots of the passive instinct of cruelty (masochism).” (Freud, page 111)

Severin, as a boy, must have enjoyed getting swats on his little buttocks from the hand of his pretty mama. Little is said in the novella about his relationship with his mother; the lack of any mention of his (as I suspect) shameful desires for her can easily be attributed to repression. Instead, Severin freely admits to desiring his beautiful but violent aunt–a clear displacing of his Oedipal desires from his mother to his aunt! (pages 32-34)

To return to the beginning of the novella, the narrator is woken from his dream by a hand “as brown as bronze” (page 6), suggesting another hard, cold statue, this time one of a man, the narrator’s “Cossack,” who stands “at his full height of almost six feet.” (page 6)

The Cossack tells the narrator that he must hurry and meet up with Severin, and that “it’s a cryin’ shame” (page 6) that the narrator is asleep when he must be going. This scene is symbolic of the father making a boy give up on his Oedipal dream of having Mother (symbolized by the statue of Venus in the dream). The “bronze” statue of the Cossack represents the father bringing the narrator (symbolic of a boy experiencing the Oedipus complex) into the world of reality.

Severin’s story, of himself also leaving his dreams (page 117) and coming into reality, will help the narrator understand the need to wake up, too; for the narrator is an obvious double of Severin. In fact, both men can be seen to represent the universal Oedipal desirer, the common male masochist. Severin’s story is written in a manuscript called Confessions of a Suprasensual Man. (page 10)

Speaking of writing, it seems prophetic that the narrator has a book by Hegel lying next to him as he sleeps (page 7); in the explanatory notes at the end of my Penguin Classics English translation of Venus In Furs (page 125), it is justifiably assumed that the passage of Hegel that the narrator has been reading before dozing off is the master/slave dialectic section of The Phenomenology of Spirit. In this dialectic, the slave gradually comes to free himself of his master, as Severin will of Wanda, and–one hopes–the narrator will of his slavish devotion to Venus in furs, too.

Before Severin meets Wanda, he–just like the narrator–has been idolizing a stone statue of Venus; only instead of it being in his dreams, Severin’s is in a meadow, in a garden in the small wilderness where his house is. Because of this ideal, he has had very little interest in Wanda…but she will soon embody that ideal for him, in the flesh.

There are numerous passages in the novella that suggest that Severin’s love for Wanda is at least comparable to a boy’s Oedipal love for his mother. To give one example: after kissing her foot, which causes her to run away, leaving her slipper in his hand–because she feels he is “getting more and more indecent,” he returns it to her the next day and stands “in the corner like a child awaiting its punishment.” (page 24)

Another example, suggestive of his relationship with Wanda as being like that of a mother and her little boy, is on page 82: “She started caressing me, cuddling me, kissing me like a child.” Yet another example, symbolically suggestive of a boy’s Oedipal jealousy, is on page 101: “What I felt was fear–a fear of losing the woman whom I loved almost fanatically; and this fear was so violent, so crushing that I suddenly burst out sobbing like a child.”

He remembers having his idolatrous fetishes from as early as the cradle; he “can’t remember ever not having them.” His mother told him he was “suprasensual” from those earliest years, “suprasensual” being his word for describing his desires. (page 30)

I’ve already mentioned his aunt, to whom–I believe–he made his first transference of his repressed Oedipal desires for his mother. Countess Sobol “was a beautiful, majestic woman with a charming smile; but [Severin] hated her, for the family regarded her as a Messalina.” (page 32) This love/hate is the splitting of the mother into her good and bad aspects, but displaced onto Severin’s aunt.

Severin describes his aunt beating him with a switch while wearing “her fur-lined kazabaika.” After the beating, he “was forced to kneel down, thank her for the punishment, and kiss her hand.

“Now just look at the suprasensual fool! The switch held by the beautiful, voluptuous woman, who looked like an angry monarch in her fur jacket, first aroused my desire for women, and from then on my aunt seemed like the most attractive woman on God’s earth.” (page 32)

Since Severin is telling the story, and since he’s clearly addled by his strange passions, it’s easy to believe that he’s an unreliable narrator. (His having been “healed” of the sickness of his masochism at the end of the novella is also unconvincing, especially given how Sacher-Masoch himself, on whom Severin and the narrator are based, carried on with his acting-out of his female domination fantasies years after the publication of Venus In Furs, to the irritation of his wife at the time!) When he admits he incestuously desires his aunt, this could easily be a cover-up for a much more forbidden desire…to have, and be punished by, his mother!

Severin explains his fur fetish to Wanda by speaking of “the bewitching beneficial influence that cats exert on highly sensitive and intelligent people.” (page 35) Yes, Wanda, “a woman wearing fur…is nothing but a big cat.”

Sacher-Masoch uses the word Katzen, in italics in the original German. Now, Katze innocently just means cat, the -n being the plural ending. But consider the context behind the usage of the word in this “erotic” conversation. (page 35)

In English, “pussy” has been used to mean a woman’s genitals as early as the 1870s, and probably earlier. In French, chatte, the feminine for chat, has had the same meaning, so the European association between the feline and the vagina has existed for some time.

Furthermore, Katzen sounds dangerously close to tzchen, the German word for kitten, or…pussy! Given the strict censorship of any lewd ideas back in the prudish late 19th century (Recall the scandal surrounding Oscar Wilde’s Salome, in which the title character would baiser John the Baptist’s mouth!), one should find it easy to believe that Sacher-Masoch was using Katzen as a euphemism for the yoni.

So, in all of this, we see further support for Freud’s idea that furs and velvet are associated with a woman’s pubic hair. If by Katze, Sacher-Masoch had innocently meant cat, what would make Severin’s conversation with Wanda such an “erotic treatise”?

Almost immediately after this discussion of furs and Katzen, Severin mentions his reason for worshipping woman’s divine beauty: “her calling is…the propagation of the species.” (page 36) Human life emerges from female genitals, our uncanny sight of origin (a seeming wound where a phallus might have been, if only in unconscious phantasy). Woman is a goddess because she is a mother, the Giver of Life. Severin’s sexual passions, and his pagan devotions, are at their unconscious root, Oedipal.

He wants to be “the slave of a woman, a beautiful woman,” one who ties him up and whips him, and who kicks him “when she belongs to another man.” (page 37) How similar such a woman is to the Oedipally desired mother who punishes her naughty son with spankings, and who belongs to another man…the boy’s father. Having found his ideal in Wanda, Severin presses his “hot face into her lap” (page 37), an area of her body where he often brings his face (pages 44, 50, 112), where–were her clothes to be removed–her pubic hair would be found.

She tells him he is “mistaken” to “believe that everything lurking in [his] imagination is in [her] nature too” (page 38), but he won’t listen. For such opposites as those of love and hate are what give us our greatest passions (page 29).

His experience of Wanda, as mentioned above, is a transferred splitting of the Oedipally desired mother into absolute good and bad. He likes these extremes because of the arrest in his childhood sexual development, as we saw with his aunt. He won’t learn or grow out of these fixations, what Wilfred Bion would have called -K, a refusal to know; and for this reason, Severin will suffer terribly as the story goes on.

Wanda herself comments on his refusal to know her, to grow in knowledge (-K): “Don’t you know me yet, don’t you even want to know me?” she asks him (page 28). For Bion, another important element in the Oedipus myth is the urge to gain knowledge (K) at all costs, as the Theban king wishes to do in learning the identity of Laius‘ killer; yet Tiresias understands the danger of revealing this identity, and so in his reluctance to tell Oedipus, represents -K.

Severin’s refusal to grow in knowledge (-K) is linked to his repressed, unresolved Oedipus complex, transferred first onto his aunt, then onto Wanda. His growth in knowledge would involve a reintegration of the split good and bad aspects of his mother, a movement from the paranoid-schizoid position (PS) to the depressive position (D).

In the fetishizing of his feminine ideal, Severin stays split: he idolizes the good mother, displaced onto Wanda’s beauty when in the furs; and he suffers the cruelty of the bad mother, displaced onto Wanda when she whips, kicks, enslaves, and–worst of all–cheats on him.

She warns him of the danger of arousing her narcissism by worshipping her and allowing himself to be unconditionally enslaved by her; but he won’t listen (-K, reversible perspective). She would have him integrate the absolute good and bad of femininity: “Women are neither as good as their admirers and defenders would have it nor as bad as their enemies make them out to be…The best woman sinks momentarily into filth, the worst woman rises unexpectedly to great good deeds, putting her despisers to shame. No woman is so good or so evil as not to be capable at any moment of both the most diabolical and most divine, both the foulest and the purest thoughts, feelings, actions.” (page 47)

Still, Severin won’t listen, for he prefers those extreme opposites that arouse passion (page 29), his split state of PS, over the sane moderation of D. He wants to stay in thrall to his ideal imagining of her, which he “both reviled and worshiped.” (page 105)

Now, she agrees to his absurd fantasy of enslaving him while wearing furs, though secretly she plans to cure him of his desires by pushing his fantasy too far. In living out his fantasy of being dominated by a beautiful woman, Severin is experiencing what Lacan called jouissance, a transgressive overindulgence in pleasure, a surfeiting that leads to pain.

In jouissance, one willingly endures this pain as a kind of extension of the transgressive pleasure. This is a shifting past the biting head of the ouroboros (extreme pleasure) to experience the bitten tail (extreme pain). In other posts, I’ve written of the dialectical relationship between opposites as symbolized by the ouroboros’ head and tail, with the coiled length of its body representing every intermediate point on a circular continuum between those extreme opposites.

While Severin thinks Wanda is indulging his jouissance in going past the biting head over to the bitten tail, she’s actually taking him in the opposite direction. She’s taking him along the coiled length of the serpent, further and further away from the biting head of pleasure, and closer and closer to the bitten tail of pain…unbearable pain, unbearable even for him.

By being enslaved by his “Venus in furs,” with Wanda as the replacement for his mother, Severin is using Wanda as his objet petit a, the unattainable object-cause of his desire. He can’t have Mother, in her desirable aspect (i.e., the good mother, who like the Virgin Mary, is “full of grace”–page 48), or in her domineering aspect (the bad mother); so he has Wanda. But Wanda as a symbolic mother introduces a torture that even masochistic Severin can’t accept: the male rival as symbolic father.

In the BDSM community, consensual limits–as to how much pain, erotic humiliation, etc., is given and received–are strictly respected (through safewords, etc.). No such restraint is seen in Sacher-Masoch’s novella or in the Marquis de Sade‘s pornographic novels, in which victims (including children!) are not only tied up and whipped, but also raped, tortured, and murdered–the wealthy, powerful criminals responsible getting away scot-free.

Severin wants to experience the jealous fear of Wanda cuckolding him, but only within a reasonable limit–just the fear of it (page 49). She carries things way beyond his masochistic fantasies, though, in particular with a Greek named Alexis Papadopolis. (page 97)

Normally, the mother/infant relationship involves the mother soothing the baby’s fears, anxieties, and frustrations by absorbing and containing them in what Bion called maternal reverie, then sending those feelings back to the child in a form tolerable to it. This exchange of energy back and forth, through projective identification, is how a baby grows in K.

What Wanda, as Severin’s symbolic mother, is doing, however, is a negative version of this container/contained relationship (the mother, as container, being a symbolic yoni, and the baby’s contained anxieties being a symbolic phallus), so that instead of soothing Severin’s anguish, she is turning it into a nameless dread, driving him mad with jealousy.

In a nightmare, he dreams she has turned into “a huge polar bear drilling her claws into [his] body.” (page 68) He awakens to “hear her diabolical laughter.” This is an example of the negative container/contained relationship: in his dream, it is he who must contain her hostility, symbolized by her phallic claws digging yonic wounds into his skin. When he wakes in terror, she won’t contain his fear; instead, she laughs at it, making him feel worse.

The persecutory anxiety of his PS continues when he dreams of being condemned to death for having “murdered Wanda in a raging fit of jealousy.” (page 80) He is about to be beheaded, but instead of feeling the blade of an ax go beyond touching the back of his neck, he feels a slap. Wanda has woken him up with the slap, and she demands her fur.

She is free to make him feel jealous all she wants, but he is forbidden to treat her the same way. When he looks too long at Haydée, one of Wanda’s African female servants, he is put in “a bona fide dungeon cell.” (page 84)

Freud’s theory about the fur fetish as a covering of the female genitals, the shocking sight of a missing phallus [Freud, page 352: “the fetish is a substitute for the woman’s (the mother’s) penis that the little boy once believed in and–for reasons familiar to us–does not want to give up.”], seems apparent when Wanda is nude before Severin, except for the fur she’s wearing (page 89). He narrates, “I saw that she was wearing only the fur, and I was terrified–I don’t know why…”

He doesn’t know why he’s afraid (one would think he’d simply be aroused) because the root of his desire is a repressed wish to have his mother; but her lack of a phallus, as Lacan observed, is associated with Severin’s having been forbidden to have her, a forbidding from the Name of the Father…and the name of Severin’s symbolic father is Papadopolis.

Severin is afraid to know Wanda’s beauty (-K), so when she throws off her fur coat and stands before him in her glorious nakedness, he doesn’t think about his “Goddess” lustfully, but instead kneels before her, for “she looked so chaste, so holy in her uncloaked beauty” (page 90). Like the Virgin Mary, Wanda is “so full of grace.” (page 48) He would rather have a reaction formation to her, seeing the pure, good mother, than lust after the naked, whorish, bad (symbolic) mother.

Still, she arouses his jealousy with a number of male admirers, including a poor young painter (pages 91-95), and finally, the Greek! (pages 96-97) Severin finds Papadopolis especially threatening, for he knows he cannot compete with him to win Wanda’s love.

Severin feels “seized with that dreadful mortal terror, an inkling that this man could capture her, fascinate her, subjugate her.” Severin feels “inadequate next to his savage virility…envious, jealous.” (page 99) This is the same Oedipal jealousy a little boy feels when he knows only Daddy can have Mommy.

Severin wants to run away from Wanda…but he can’t.

Ultimately, she has him tied up, but Papadopolis is to whip him! (pages 114-117) Since Wanda and the Greek are Severin’s symbolic mother and father, the whipping symbolizes a re-experiencing of the childhood, Oedipal trauma of a boy being punished by his father for wanting his mother. The pain is too much for Severin; in his indignant rage, he demands to be untied. (page 115)

This descent into greater and greater suffering is like moving along the coiled length of the ouroboros’ body to reach the bitten tail of the most excruciating pain, then to reach a state of clarity, to understand the need to give up his Oedipal jouissance, to realize his objet petit a will never be fulfilled. It’s like “awakening from a dream.” (page 117)

After escaping from this ordeal, Severin goes home to help his old and ill father. Along with an unrealized wish to join the army, we can see in this father/son reunion a symbolized identification with the father, which is precisely what happens to a boy after the dissolution of the Oedipus complex.

Wanda, one day long after, writes a letter to Severin, explaining how the excesses of her cruelty were meant to cure him of his strange passion, to send him past the bitten tail of pain and over to the biting head of self-mastery, a return to peace of mind.

Severin, however, is not truly cured; he’s just switched from masochist to sadist. Now, he dominates women instead of submitting to them (page 9). As Freud, reversing Severin’s process, once said, “A sadist is always at the same time a masochist…” (Freud, page 73)

Severin’s submission to, and idolatry of, Wanda has really just been a reaction formation against his wish to rule over women. The Oedipus complex, properly understood, is a narcissistic trauma: a child’s love of his mother is a selfish wish to have her all to himself, never to share her. She, as his ideal, is a mirror reflecting his narcissism back to him as he experiences the Imaginary Order. In worshipping Wanda, Severin has merely been projecting his excessive self-love (disguised as self-abasement in his reaction formation with her) onto her.

Women are wise to resist men who want to worship them. Sacher-Masoch’s wife learned this the hard way. True equality of the sexes will come when men stop deifying women, which dialectically resolves into misogyny, a shift from the ouroboros’ biting head of worshipping women to the bitten tail of despising them. The apotheosis of Woman as Mother, as Giver of Life, easily shifts over to the notion that “a woman’s place is in the home.” Women should be seen as neither goddesses nor slaves, but as human beings.

Severin himself acknowledges that woman “will be able to become [man’s] companion only when she has the same rights as he, when she is his equal in education and work.” (page 119) Still, he bosses around “a pretty, buxom blonde…bringing [him and the narrator] cold meat and eggs for [their] tea.” (page 9) This is Bion’s -K and reversible perspective: Severin can understand the basic principle of supporting equality, but the specific premises–that one must do what one can to promote equality in one’s day-to-day life–are rejected.

Severin is thus still trapped in the duality of the paranoid-schizoid position (PS). He can bear dialectical opposites, Hegel’s thesis and negation, but not the sublation of those opposites, the ambivalent feeling of the depressive position (D). He is by no means cured.

Leopold von Sacher-Masoch, Venus In Furs, Penguin Classics, London, 1870

Sigmund Freud, 7. On Sexuality, The Pelican Freud Library, Penguin Books, London, 1987

Wilfred Bion, Elements of Psychoanalysis, Karnac, London, 1963

Glossary of Psychoanalytic Terms

Introductory Remarks

Whenever I write up something here and I make reference to psychoanalytic terminology, I find myself hitting a wall, so to speak. Many of these concepts are obscure and not well-known to the public, and so I have to explain what they mean…every time I use them, and that meticulous repetition can be tedious.

To explain the terms, I typically add links to various online sources: Wikipedia, Encyclopedia.com–the Free Encyclopedia, etc. The problem with these sources is, what is said in the articles for each psychoanalytic concept is so convoluted, so verbose, and in so roundabout a way, that I feel my readers must be all the more frustrated…as am I.

So I’ve decided, in this blog post, to explain all those concepts myself, in as accessible and down-to-earth a language as I can make it. In future posts, whenever I find myself using a lot of these terms, I’ll add a link to this post, so my readers can have quick and easy explanations of these often abstruse ideas.

When it comes to classical Freudian psychoanalysis, my readers can go here for all the basic concepts, like free association, dream interpretation, parapraxis, the stages of psychosexual development, the id, ego, and superego, the life and death drives, etc. It’s all explained there.

There is much, however, that came after Freud, and it isn’t all that well known to the general public; so I’ll have to go over each concept, one by one, here. I hope this helps.

Glossary

Alpha elements are thoughts, emotional experiences, feelings, etc., that have been processed and converted from beta elements (see below). Alpha elements exist in a form acceptable to the mind, unlike beta elements, and can be used in dreams, waking thoughts, etc. Wilfred Bion devised these terms (see entry below).

Alpha function is what is used to convert unacceptable and unpleasant beta elements into alpha elements. Since a baby doesn’t yet have the developed mental apparatus for doing this converting and processing of agitating external stimuli (beta elements), its mother, usually and traditionally, will do this converting for it until the child can do the alpha function for itself. Again, this concept comes from Wilfred Bion.

Anti-libidinal Ego/Rejecting Object–Originally called the “internal saboteur,” this part of WRD Fairbairn’s endopsychic structure corresponds vaguely with Freud’s harsh, judgemental superego. Put in other terms, it can be called the “anti-wanting-I” (as Lavinia Gomez calls it, p. 63), and it refers to that part of the personality that rejects people (this subsidiary ego is connected with what Fairbairn called the Rejecting Object); it is angry, and it doesn’t want relationships. It’s “anti-libidinal,” because for Fairbairn, libido isn’t about seeking pleasure simply to satisfy drives and neutralize psychological tension, as it was for Freud; instead, Fairbairnian libido is about seeking relationships with other people (objects–see below), in friendship and love.

Attacks on linking occur when the normal building up of knowledge through object relations (i.e., links with other people) is stifled by an unwillingness to link, to learn. Wilfred Bion was concerned with the development of knowledge (what he called the K link, see below) through a sharing and trading, back and forth, of emotional experiences in the form of projective identification (see below), especially between mother and baby.

Through this process of sharing feelings, external stimuli (beta elements–see below) are transformed by alpha function into alpha elements (see above), which can now be used as thoughts to learn by and remember. Originally, a mother does this sharing with her baby, to help it build up a thinking apparatus so it later can do the thought processing for itself.

However, sometimes traumatic experiences, personal biases, prejudices, etc., can close one’s mind to new experiences, and this impedes the ability to do linking, hence “attacks on linking.” Taken to an extreme, these attacks on linking, through -K (a refusal to know–see below) can lead to psychosis, as Bion observed.

Beta elements are external stimuli that haven’t yet been processed into thoughts, or alpha elements (see above). If they are too upsetting to the receiver, as they pretty much always are for a baby, they are ejected and passed on psychically to other people, if possible, through projective identification (see below).

This is why the mother is so crucial to a baby, who isn’t yet capable of processing these agitating stimulations; she becomes a container (see below) for the baby’s beta elements, and for all the baby’s anxieties, fears, and frustration that stem from its inability to process the beta elements. She does alpha function (see above) for the baby through a process called maternal reverie (see below), transforming the upsetting emotional experiences into acceptable ones (alpha elements), and returns them to the baby, soothing and pacifying it.

I imagine beta elements with the metaphor of insects: mosquitoes, ants, horseflies, cockroaches, etc., that come at us, stinging or biting us, or crawling up and down our skin, irritating us. When either our mother uses alpha function for us as babies, or when we learn to do it for ourselves, the ‘insects’ vanish–they have become alpha elements, thoughts we can now deal with and use for learning and growing.

A beta screen is built up when there are excesses of unprocessed beta elements that have been ejected because the receiver of them finds them too troubling or traumatizing to deal with. Perhaps one cannot rid oneself of them by giving them to other people through projective identification (see below). In any case, too much of a beta screen can lead to psychosis, and to bizarre objects (see below), which are hallucinatory projections of one’s inner psychotic state.

Wilfred R. Bion was a British psychoanalyst born in India. Having dealt with psychotics for many years of his career, and having been a member of the object relations school (he was a follower specifically of Melanie Klein, whose notion of projective identification he developed considerably), Bion was concerned with the development of knowledge (K, see below) as conceived as a link between the subject (oneself) and objects (other people, or internalized representations of them in the subject’s mind–see below).

He developed a theory of thinking that originates with what he called “thoughts without a thinker,” and which grows over time, through projective identification (see below) with one’s mother until one can process one’s own thoughts through alpha function (see above) and thus be one’s own thinker of them, unlike a baby…or a psychotic, for that matter.

The bipolar self is a concept devised by Heinz Kohut (see below) for explaining how people can have a healthy, stable sense of self. He discussed it in his book, The Restoration of the Self. The two poles giving this stability are the idealized parental imago (see below) and the grandiose self (see below). If one pole is compromised, a person will rely heavily on the other pole. If both poles are compromised, though, one may develop pathological levels of narcissism as a defence against fragmentation (see below).

Bizarre Objects are what Bion called hallucinatory projections of fragments of a psychotic’s personality. When beta elements (see above) aren’t being processed and converted into alpha elements (see above) useful for thought, an accumulation of them creates a beta screen (see above), blocking out new experience and inhibiting the growth of knowledge (K-see below).

The psychotic’s personality fragments and splits off hated parts of himself, then he attempts to project those pieces outward. In his hallucinatory state, he begins to imagine that those split-off parts of himself have engulfed the objects surrounding him, for example, a phonograph.

As Bion describes it with a few examples here (page 48), if the split-off projection is preoccupied with seeing, the psychotic thinks the phonograph is watching him; if the projected fragment is preoccupied with hearing, the phonograph seems to be listening to him as much as he hears its recorded music. The phonograph is a bizarre object.

The central ego, linked to the ideal object, is one of the three subject/object configurations of WRD Fairbairn’s endopsychic structure. This configuration corresponds roughly to Freud’s notion of the ego.

In a healthy person, the central ego is predominant, because the ideal object represents real people in the external world with whom we should have relationships, as opposed to the fantasied relations that the two split-off, subsidiary egos and their corresponding objects (libidinal ego/exciting object–see below, and anti-libidinal ego/rejecting object–see above) have. As with Freud’s ego, Fairbairn’s central ego is connected with reality.

For Fairbairn, libidinal need is object-need (i.e., the need to form relationships with other people, as opposed to the superficial, empty pleasure-seeking found in Freud’s id and represented in Fairbairn’s libidinal ego/exciting object), so the “ideal object” is a real person to be friends with or to fall in love with.

The capacity for concern is DW Winnicott’s term for when an infant comes to an ambivalent understanding of its parents’ combined goodness and badness. It learns that there is a difference between “me” (the infant) and “not-me” (its mother), who has a life and needs of her own; so it must learn to be responsible. The term “capacity for concern” is Winnicott’s rough equivalent to Melanie Klein’s notion of the depressive position (see below), when a child repents of his or her hostile feelings towards the bad mother/father and seeks reparation (see below) with his or her parents.

A contact barrier is formed between the conscious and unconscious parts of the mind as a result of healthy alpha function (see above). Alpha elements (see above), or processed thoughts made from external stimuli (beta elements–see above), can cross the contact barrier and be used in dreams or in waking thoughts.

When alpha function is impaired, and beta elements are ejected rather than processed for thought, instead of constructing a contact barrier, what ends up being constructed is a beta screen (see above), which–taken to extremes–can lead to psychosis and the projection to bizarre objects (see above). This is another of Wilfred Bion’s concepts.

Container/contained, represented by the feminine Venus symbol and the masculine Mars symbol respectively (therefore making them yonic and phallic symbols), is Bion’s extension of Melanie Klein’s concept of projective identification (see below). It is applied mainly to either the relationship between the mother (container) and infant’s agitation (contained), or to that of the therapist (container) and the patient (contained).

This relationship is how the K link (see below) develops. A baby is assailed with beta elements (see above), and its mother must use alpha function (see above) to process the beta elements and convert them into thoughts, or into an emotional experience the baby can tolerate (alpha elements–see above), because the baby hasn’t yet developed the thinking apparatus needed to deal with agitating external stimuli. A baby therefore needs its mother to do its thinking for it.

Hence, the mother is a container of the baby’s projected agitation, fears, anxieties, anger, frustration, etc. (the contained). Through maternal reverie (see below), the mother soothes her baby and transforms its irritation into something it will find emotionally acceptable. The baby projects its stressful feelings, which result from external excitations (beta elements) it can’t understand or deal with; Mother introjects and contains those feelings, then transforms them into feelings the baby can handle; and finally, she sends these tolerable versions of the feelings back to the baby.

The depressive position is one of Melanie Klein’s concepts. It’s a mental state that comes into being after the splitting (see below) into absolute good and absolute bad of the paranoid-schizoid position (see below). During the first few months of life, a baby is content when the mother’s breast presents itself for feeding. This part-object is called the “good breast”; but when the breast doesn’t present itself to the baby when it wishes to feed, it’s the “bad breast.”

In its frustration over the unavailability of the “bad breast,” the baby engages in sadistic phantasy (see below), vengefully wanting to bite, devour, and destroy the breast. The baby doesn’t yet understand that the available, satisfying “good breast” and the unavailable, frustrating “bad breast” are both part of the same, good and bad mother. These breasts are perceived as separate, black-and-white opposite, part-objects. This splitting is the “schizoid” part of the paranoid-schizoid position.

Later, after much hate has been given by the baby to the “bad breast,” it begins to realize that the mother is one whole object, with both good and bad breasts–or more accurately, with both good and bad aspects in the same person. The baby now feels guilt and remorse for its former hate, and it fears retaliation from the “bad mother” (this being the “paranoid” part of the paranoid-schizoid position), but more importantly, it fears losing the “good mother,” who is now seen as connected with the bad. The baby now enters the depressive position, feels ambivalence towards good and bad Mother, and seeks reparation (see below) with her. Integration of the good and bad aspects of Mother, Father, or anyone, leads to mental health.

Envy, in the Kleinian sense, is something a baby feels towards its mother. It wishes, through unconscious phantasy (see below), to spoil all goodness within her. Wilfred Bion elaborated on Kleinian envy when he discussed why -K (see below), a stubborn refusal to grow in knowledge, should exist (Bion, page 96), as summarized below.

The infant splits off and projects fear into the breast with envy and hate. The breast in K would contain and soothe the baby’s fears through maternal reverie (see below); but in -K, the breast seems enviously to remove what’s good and valuable, and the baby’s fear grows into a nameless dread, a fear of annihilation (see below).

WRD Fairbairn was a Scottish psychoanalyst and a contributor to the object relations school. He broke away from Freud in many ways, especially with respect to drive theory as a basis for libido. For Fairbairn, people are primarily driven by an urge to have relationships with other people, so mere pleasure-seeking represents a breakdown of object-seeking libido (e.g., people turning to drugs, drinking, porn, and promiscuity, out of a failure to have real human relationships–see Fairbairn, pages 139-140).

Fairbairn accordingly replaced Freud’s id, ego, and superego with, respectively, the libidinal ego/exciting object (see below), the central ego/ideal object (see above), and the anti-libidinal ego/rejecting object (see above). Note how each of the three egos is connected with an object, since for Fairbairn, the primary goal of the subject, or self, is to link with objects (other people–see below). Failure to do so leads to either the pleasure-seeking discussed above, or to a rejecting, misanthropic attitude, or to some combination of the two.

Foreclosure, or forclusion in the original French, is Jacques Lacan’s word for the subject’s refusal to leave the dyadic, one-on-one Oedipal relationship of the Imaginary (see below) in order to enter the broader world of society’s shared signifiers, language, culture, customs, and laws as embodied in the Symbolic Order (see below). Lacan claimed that staying in this antisocial, narcissistic state can lead to psychosis.

Thus, forclusion is comparable to Bion’s notions of accumulated beta elements and the beta screen (see above), as well as -K (see below) leading to the projection of fragments of the self into bizarre objects (see above).

Fragmentation is a psychological falling-apart of the personality, a lapsing into a psychotic break with reality as a result of extreme, unprocessed trauma. Hated external stimuli (beta elements–see above) are ejected from the self; rejected parts of the self are split off and projected outwards, leaving a reduced, impoverished self that can no longer distinguish fantasy from reality.

Heinz Kohut was especially concerned with this problem and its relationship with narcissism, as is Otto Kernberg, though their approaches to the problem differed in a number of ways. Both recognized that pathological levels of narcissism are often a defence against fragmentation, generally in the form of constructing a false self, a mask to hide the true self (see below).

Good and bad breasts and/or parents are the result of splitting (see below) when an infant experiences the paranoid-schizoid position (PS–see below). A baby, during the first few months of its life, understands its mother to be only a part-object, the breast, rather than a complete person. When the baby wants milk and the breast appears, this is the “good breast.” When it doesn’t appear, it’s the “bad breast,” against which the baby feels anger, frustration, and vengeful sadism–biting the nipple, etc.

Later, when the baby realizes its mother is a whole person, having both available and unavailable breasts, it can feel ambivalence towards her coexisting good and bad aspects. It is now in the depressive position (D–see above), but it may engage in splitting again and return to PS at any time if she, or its father, behaves in frustrating or withholding ways; for one can oscillate between PS and D throughout one’s life.

A good enough mother (or father), in DW Winnicott’s use of the expression, is as good as a parent needs to be in order to provide small, tolerable levels of frustration to a child to help it learn how to adapt to the external world and do reality testing.

The grandiose self is one of the narcissistic aspects of what Heinz Kohut called the bipolar self (see above), the other pole being the idealized parental imago (see below). Both poles are necessary to form psychological stability.

A child’s grandiose self would say, “I am great, and I need you to validate that greatness for me; I am perfect, and I need you to confirm it,” or to mirror the grandiosity. When such validation is rarely or never given from parents who fail to be empathic, the child will try to compensate by over-relying on parental idealization for his needed stability. If the idealizing pole (“You, Mom and Dad, are my ideal mirrors of greatness! You are perfect, and I am a part of you!”) also fails, one may resort to pathological levels of narcissism to prevent a psychological falling-apart (see fragmentation, above).

A holding environment is what DW Winnicott recommended as a healthy environment in which a baby can grow and thrive with its mother. The idea is to create a facilitating environment that is attuned to one’s maturational needs. The idea is extrapolated from the mother/infant relationship to that of the therapist and patient. The emphasis is on empathy, imagination, and love between caregiver and infant. It can be compared, in some ways, to Bion’s theory of container/contained (see above) in both parent/infant and therapist/patient relationships.

A good enough mother (see above) facilitates the child’s transition to autonomy through the holding environment, allowing the baby to be completely unconscious of its need for a separate individual. Failure to provide holding can result in the child’s developing of a false self; successful holding results in the child’s cultivation of a true self (see below).

The idealized parental imago is Heinz Kohut’s term for one of the two narcissistic configurations of the bipolar self (see above). This pole is about idealizing one’s mother or father as a self-object (see below), and using this parent as an internalized object (see below) within the mind to give a child psychological stability. This pole would say, “You, Mom and/or Dad, are my heroes, my role models! Please, never fail me or disappoint me in embodying the perfection I see in you!” The other narcissistic configuration is the grandiose self (see above).

The idealizing transference is what Kohut used in therapy to repair a narcissistic patient’s damaged idealized parental imago (see above). The therapist (e.g., Kohut) would take on the role of the parent in this transference (see below).

Identification is the taking on of the character traits of someone else in order to emulate him or her. Typically, the term is used to refer to a child adopting his or her same-sex parent’s personality traits as part of the dissolution of the Oedipus complex. For example, a boy fearing punishment from his father (i.e., castration anxiety), because of his wish to take his mother from his rival father, results in him identifying with his father and renouncing his Oedipal desires.

The Imaginary is one of three orders that Jacques Lacan devised to describe differing mental states. The Imaginary is an early state associated with a child’s dyadic, Oedipal relationship with Mother, whose face (metaphorically, a mirror) reflects the child’s narcissism (i.e., his grandiose self–see above) back to him.

The Imaginary also involves a literal mirror reflection, in how a child establishes his ego through seeing and recognizing his reflection for the first time in the mirror stage (see below). Here, one is preoccupied with images: that of oneself in the specular image, and that of the Oedipally desired mother, who looks lovingly back at one, just like a mirror reflection.

Internalization and introjection are terms referring to the taking into the mind of external stimuli or objects, and incorporating them in one’s personality. The external elements, especially when they are one’s conception of other people (objects–see below), thus become internal objects, which live in one’s mind like ghosts haunting a house, and thus influence how one sees the world.

Jouissance, or “enjoyment” in the original French, is a term Jacques Lacan used to describe a transgressive overindulgence in pleasure, a desire that ultimately can never be fully satisfied, since one always wants a little more than can be given. Jouissance can be felt in a child’s enjoyment of his mutually reflective relationship with his Oedipally desired mother; but when Father forbids this dyadic relationship to continue as such, the boy must find replacements for her, which are never fully enough to sate his objet petit a (see below).

In jouissance, pleasure and pain are often intermingled, given the extremes to which one may go to experience something ‘beyond the pleasure principle.’ Indeed, the surfeit of pleasure felt in jouissance was something that Lacan compared to Marx’s concept of surplus value, for this is an excess of pleasure leading to pain, or what I would call passing from the biting head of the ouroboros to its dialectical opposite, the bitten tail. As the Buddhists have always understood, the fire of desire causes the fire of pain.

K/H/L links are part of Wilfred Bion’s terminology for how a subject relates to objects (see below); they refer, respectively, to knowledge, hate, and love, with knowledge being by far the most important, since Bion as a therapist was mainly concerned with how knowledge is accumulated as a means of ensuring mental health.

As Bion himself stated: “I prefer three factors I regard as intrinsic to the link between objects considered to be in relationship with each other. An emotional experience cannot be conceived of in isolation from a relationship. The basic relationships that I postulate are (1) X loves Y; (2) X hates Y; and (3) X knows Y. These links will be expressed by the signs L, H and K.” (Bion, pages 42-43)

In this formulation, X is the subject, or self, and Y is the object, typically another person. What this means is that in “x K y,” where x represents the infant and y the mother, the emotional experience between them results in the infant growing in knowledge, starting with a healthy container/contained relationship (see above) between the two, through mutual love between them (x K y, because x L y).

If the mother/infant relationship is stifled or strained, perhaps because of, or resulting in, x H y, the consequence is -K, or a rejection of knowledge, a refusal to grow and learn. For Bion, knowledge is not something one has, but is rather something one gradually accumulates through linking with others. “As I propose to use it it does not convey a sense of finality, that is to say, a meaning that x is in possession of a piece of knowledge called y but rather that x is in the state of getting to know y and y is in a state of getting to be known by x.” (Bion, page 47)

Furthermore, -L is not H: it is a lack of love. -H is not L, or liking: it’s a lack of hate (Bion, page 52). -K, a denial of knowledge and an aptitude for misunderstanding, can lead to psychosis if taken to extremes, but in other circumstances can be superior to K. Sometimes not knowing, in the form of exchanging emotional experiences through projective identification (see below) is better, if that emotional exchange is too painful to bear, as in the case of abusive relationships.

At other times, the emotional exchange between people is beneficial, even crucial, for growing in knowledge. To illustrate the point with an example from my personal life, I did most of my learning of music in relative social isolation: I would have learned and grown as a musician much better if I’d sung and played guitar in more bands.

Melanie Klein was an Austrian-British psychoanalyst and one of the founders of object relations theory. She did pioneering work with children, giving them toys and observing their playing to determine the nature of their psychological state. There was, however, controversy between her and Anna Freud over how to treat children.

Klein developed the theory behind splitting (see below) and integration, especially as observed in children, and she devised such concepts as the paranoid-schizoid position (see below), the depressive position (see above), and the good and bad breast (see above). Her work had a great influence on such later psychoanalysts as DW Winnicott and Wilfred Bion (see entries).

Heinz Kohut was an Austrian-American psychoanalyst; he conceived self psychology. His focus was on treating narcissistic patients, who, until his and Otto Kernberg‘s work with them, had been considered largely untreatable; there has, however, been controversy between him and Kernberg over how to treat narcissistic patients.

In Analysis of the Self, Kohut wrote about how to treat narcissistic patients, which involves transferences of the grandiose self (see above) and the idealized parental imago (see above). In The Restoration of the Self, Kohut wrote about what he called the bipolar self (see above). Parents, as a child’s self-objects (see below), are supposed to help the child achieve a healthy sense of self by nurturing the grandiose self through empathic mirroring, and by being role models for him or her (idealization).

If the parents, through a lack of empathy, fail as self-objects for the child, he or she is in danger of fragmentation (see above) or of developing pathological levels of narcissism. To develop healthy, restrained narcissism, a child must be let down in tolerable amounts (optimal frustration), little by little, so that he or she gradually learns that the world doesn’t revolve around him or her.

Jacques Lacan was a French psychoanalyst, one of the most influential since Freud. He is known for having incorporated into psychoanalytic theory such diverse influences as poststructuralism, Hegelian philosophy, the anthropological work of Claude Lévi-Strauss, and Ferdinand de Saussure‘s work in semiotics. Critics have thus accused Lacan of having an impenetrable, unreadable writing style, and of reducing almost everything to language.

His work constituted a “return to Freud,” through his emphasis on such things as the talking cure (“The unconscious is structured like a language.”), and through his metaphorical reinterpretation of the Oedipus complex. He conceived of three orders, the Imaginary, the Symbolic, and the Real (see entries), linking them together in a Borromean Knot.

The libidinal ego, connected to the exciting object, is one of the three configurations of WRD Fairbairn’s endo-psychic structure. It corresponds roughly with Freud’s id. It is a subsidiary ego, along with the anti-libidinal ego/rejecting object configuration (see above), as against the central ego/ideal object (see above).

Because of splitting (see below) as a result of faulty object relationships, the libidinal ego seeks out connection through pleasure-seeking; thus, this split-off, subsidiary ego links with an exciting object (celebrities to idolize, porn, prostitutes, etc.) instead of seeking out relationships with people in the real world.

The manic defence has been discussed by such object relations theorists as Melanie Klein and DW Winnicott (see entries). It is a defence against feelings of guilt, sadness, and depression through pleasure-seeking and indulgence in feelings of excitement and elation (or mania).

Though it isn’t strictly a part of bipolar disorder (which used to be called manic depression), the manic defence can be seen as related to it, in the sense that one swings to, and tries to stay with, the manic pole in order to avoid suffering the depressive pole.

Manque, French for “lack” or a “want” of something, is a Lacanian term to describe the feeling of not having a desired thing, such as the feeling of a lack of existence. It can also be related to Lacan’s metaphorical interpretation of penis envy, in the sense of lacking the phallus as a signifier.

The mirror stage is what Jacques Lacan called the first time a small child sees and recognizes his or her reflection in a mirror. This milestone in a child’s development, helping him or her to establish a sense of ego, initiates him or her into the Imaginary Order (see above).

One sees oneself in the mirror, but one is not the specular image. The child sees a whole, unified image in the reflection, but he or she feels him- or herself, all awkward and clumsy, to have a fragmented body. Hence, there’s a sense of alienation from oneself, an estrangement between the ideal-I of the specular image (an ideal one strives to approximate as close as one can, throughout life) and the flawed, real person looking at the mirror reflection.

Maternal reverie is the capacity a mother has to introject her baby’s anxieties, fears, and frustrations (the baby’s contained), and to process them while soothing her baby, or to be a container for those feelings (see above). After processing the baby’s agitation, she transforms those negative feelings into ones the baby can tolerate, and sends them back to it. This process of being a thinker for her baby, done through the passing back and forth of emotional experiences with projective identification (see below), is how a baby develops an ability to do the containing, or the processing of external stimuli (beta elements–see above), and thus thinking for itself.

The mirror transference is part of Heinz Kohut’s therapy for narcissistic patients. The therapist acts as a mirror for the patient’s grandiose self, indulging his narcissism in a way that his parents failed to do when he was a child. Over time, the therapist will let the patient down little by little, in bearable amounts (optimal frustration) so that through transmuting internalization, the patient can develop a cohesive sense of self without the need of his formerly pathological levels of narcissism.

There are three forms of this transference, each involving different degrees of regression and the nature of the point of fixation. They are the merging transference (or fusion, a total immersing of the therapist into the psyche of the patient), the twin-ship/alter-ego transference (in which the therapist is felt to be like the patient–see below), and the mirror transference properly speaking (in which the therapist is felt to be in service of the patient’s needs).

Because of this whole absorption of the therapist into the patient’s identity in the merging transference, the therapist must have a considerable amount of patience and forbearance to endure this giving of himself over to indulge his patient.

A nameless dread is Bion’s term for the fears of annihilation that one may feel if overwhelmed by agitating beta elements (see above) and/or a lack of containment from one’s mother or therapist. Normally, a mother’s capacity for maternal reverie (see above) is used to soothe a baby’s anxieties by being a container for them (the contained–see above). If the baby’s agitation isn’t thus processed and sent back to it in a tolerable form, that agitation, fear, and anxiety worsen, threatening mental illness. The same danger can arise if a therapist fails to be a container of his or her patient’s unease.

The Name of the Father, or nom du père in the original French (punning on Non! du père) is a concept Jacques Lacan devised for describing how a child transitions away from the Oedipal, narcissistic, dyadic relationship with his mother in the Imaginary, and enters the Symbolic Order of society’s shared signifiers (see entries). The name, or nom, suggests the father introducing the signifiers, language, and law to his child. The non! is the father’s prohibition against his child’s desire to have Mother all to himself.

O is what Wilfred Bion called “the deep and formless infinite,” or Ultimate Reality; it’s what Western religion would call “God,” what Eastern religion might call “Brahman,” or “the Tao,” and what I would describe metaphorically as the infinite ocean. O is thus a mystical concept Bion believed is experienced only by abandoning memory, desire, and understanding. One arrives at it through intuition, a looking inwards, not through sensory experience.

Since O is the ineffable, a truth not adequately expressed in words, and because it has both blissful and, paradoxically, traumatic sides (whichever side one experiences depends on one’s openness to it and one’s spiritual maturity), it can be compared in many ways to Lacan’s Real (see below).

An object is anyone or anything in relation to the subject, or self. Usually in the context of psychoanalysis, an object is another person when related to the subject. Thus, objects can be actual people in the external world, or they are internalized representations of such people in the subject’s mind (internal objects–see above), thus subjected to such mental distortions as according to the subject’s disposition.

Object relations theory is about how the personality develops as a result of the subject’s relationship with objects (see above). The personality will take on the traits and disposition it has based on one’s relationship with one’s parents or primary caregivers when a child. So, someone with a friendly, loving disposition probably got this from loving parents, while someone with a harsh disposition probably got his attitude from harsh, abusive parents.

Object relations involves the introjection of traits from others, resulting in internalized objects of those people in one’s mind (see above). These objects live in one’s head like ghosts in a haunted house, influencing the way one thinks, feels, and experiences the world around us.

Important object relations theorists include Melanie Klein, WRD Fairbairn, DW Winnicott, John Bowlby, Wilfred Bion, Michael Balint, and Harry Guntrip.

The objet petit a is Jacques Lacan’s expression for the unattainable object-cause of desire. One strives to find it, to experience jouissance through it (see above), but one can never fully experience it to satisfaction. The petit a is “little a” in French, the a standing for autre, “other.” There is the autre of the mirrored, dyadic relationship with the mother, as well as the projection of the ego into the specular image, in the Imaginary (see above); but after the dissolution of the Oedipus complex due to the Name of the Father (see above), one replaces that autre with the Autre of society (“The unconscious is the discourse of the Other.”). The wish to find gratification of that original petit a continues, never satisfied, throughout life, in failed attempts to replace it with a transference to someone or something else.

The Oedipus complex needs to be dealt with here in a post-Freud context, because in order for it to be convincingly understood as a universal, narcissistic childhood trauma, we must go beyond the limitations of the classical Freudian concept of incestuous desire for the opposite-sex parent, and the murderous phantasies directed against the same-sex parent.

To expand the concept and show its universality, we must consider a number of its variations. First, there’s the negative Oedipus complex, which is an inverse version describing a love of the same-sex parent and a hate of the opposite-sex, rival parent. Then there’s little girls’ pre-Oedipal love of their mothers prior to the castration complex, which is supposed to make them switch to loving their fathers.

On top of all this, Melanie Klein’s description of splitting (see below) the parents into good and bad mothers and fathers (see above) complicates matters, so loving one parent and hating the other isn’t a uniform, unchanging feeling. Though the depressive position (see above) allows for reparation (see below), integration, and ambivalence for one’s parents, the bad parent’s integration with the otherwise Oedipally-desired one, and the integration of the good parent with the otherwise hated rival one, mean we must qualify all this Oedipal love and hate and give it nuance.

Finally, there’s Lacan’s metaphorical interpretation of the Oedipus complex. A child is in a dyadic, one-on-one relationship with the Oedipally-desired parent, represented here metonymically–for simplicity’s sake–as a little boy with his mother. He sits on her lap, and they look in each other’s eyes lovingly as they cuddle; he is surfeited in his jouissance (see above) with her. His narcissism is mirrored back to him in her loving eyes: this is him in the Imaginary (see above), and she is the autre, his objet petit a.

She is his idealized parental imago (see above), complementing and mirroring his grandiose self (see above), to use Heinz Kohut’s terminology. The boy lives with her as if no one else existed, like Norman Bates and his mother between the death of his father and her meeting the man who would inflame his jealousy to the point of poisoning them both with strychnine.

Speaking of men who ruin the boy’s Edenic relationship with Mommy, he soon realizes that she is in a sexual relationship with Daddy, who won’t allow him to stay in that one-on-one relationship with her. This prohibition is the Name of the Father (nom du père, or Non! du père–see above), an opposition to the boy’s narcissistic wishes, an opposition that he is too little to be able to overcome.

The threat of castration, manque (“lack“–see above), is a metaphoric one that forces the child out of the Edenic jouissance of the Imaginary and into the Symbolic Order (see below), from the autre to the Autre (other/Other–see below) of the larger social world, its language, shared signifiers, culture, customs, and laws. Here, the phallus is a signifier of what is lost in the Imaginary, and of entry into the Symbolic, all at the cost of the lost jouissance. Paradise is lost. One must now search in vain for the objet petit a in an attempt to replace the lost Oedipally-desired parent.

So the Oedipus complex, understood in this more nuanced, metaphoric sense, is a universal, narcissistic childhood trauma. One must give up that desired parent, as a mirrored extension of one’s grandiose self, in order to function in society. If one fails, or refuses, to do so, this foreclosure (see above), this refusal of the K-link (see above), can lead to mental illness, as seen in Norman Bates.

Omnipotence is an infantile mental state in which a child imagines him- or herself capable of anything through wishful thinking. He or she thinks this way before reality testing causes disillusion. As DW Winnicott explained, a good enough parent (see above) will indulge the infant’s omnipotence up to a point–i.e., a mother provides her breast quickly enough so the baby will imagine it has made the breast appear by his or her own power–then the parent will disillusion the infant little by little, in tolerable amounts, until the child can accept reality as it is.

Lacan’s notions of other and Other (autre and Autre in the original French) address how other people are experienced by the subject. The autre is another person as experienced as a mirrored reflection or extension of oneself in the Imaginary (see above). Typically, this other is the infant’s mother in the dyadic, narcissistic, one-on-one relationship.

The Other, on the other hand, indicates radical alterity. Such another person is not assimilable with the self, but is another subject in his or her own right. This sense of otherness results from the Name of the Father‘s prohibition (see above) of the child’s Oedipal indulgence, requiring the child to enter the Symbolic (see below) and accept the unconscious world of signifiers, societally-shared symbols, culture, and law. (“The unconscious is the discourse of the Other.”)

The paranoid-schizoid position (PS) is Melanie Klein’s expression for a baby’s experience of splitting (see below) its mother into good and bad breast part-objects, then a good and bad mother whole object (see above entries). When the baby is frustrated from the unavailable “bad breast,” it projects rage and sadism onto that breast (e.g., biting the nipple).

But what goes on without also goes on within, so a mother split into good and bad results in the baby’s internal world being split into good and bad, too. Furthermore, the baby fears reprisals from the mother whom it has injured in phantasy (paranoid anxiety). It also fears how its splitting may have annihilated the good mother (i.e., when she is absent for an indefinite period of time).

Several months later, the baby comes to realize that the good and bad aspects are part of the same mother, and the depressive anxiety of the depressive position (see above) drives it to seek reparation (see below) with its mother.

Phantasy (deliberately spelled this way) refers to unconscious imaginings one has in order to deal with the frustrations of the external world. One usually thinks of an infant’s violent phantasies directed against the “bad mother.”

Projective identification is Melanie Klein’s extension of regular psychological projection. With projection, one merely imagines one’s own personality traits, good or bad, to be seen in other people; but projective identification takes this idea one step further, in actually manipulating others to manifest those traits in the real world, not just in one’s imagination.

Wilfred Bion took Klein’s concept even further than that, using it to explain how a baby acquires the ability to think “thoughts [originally] without a thinker” and to process emotional experiences by trading these feelings (the contained) back and forth with its mother (the container–see above), whose capacity for maternal reverie (see above) uses alpha function (see above) to process the baby’s beta elements for it (see above) and turn them into alpha elements (see above).

Lacan’s Real is what cannot be symbolized, expressed, or processed through language (i.e., the network of differential, interrelated signifiers of the Symbolic–see below). The Real Order is undifferentiated; “it is without fissure.” The inability to process or verbalize experience in the Real is what gives it its traumatic quality. The Imaginary (see above) is a narcissistic world of reflected images (the mirror, Mother smiling back at her baby, etc.); the Symbolic is the social world of shared language, culture, custom, and law; and the Real is what one has no way of relating anything to–it’s the thing-in-itself, thoughts without a thinker, in many ways, like Bion’s O (see above).

Reparation is a Kleinian term for a baby’s reconciling with its mother (as an internalized object–see above) after realizing she encapsulates both good and bad aspects. In the paranoid-schizoid position (PS–see above), the baby split Mother into good and bad, because sometimes she was frustratingly unavailable (e.g., not providing the breast); accordingly, the baby in its rage attacked Mother in unconscious phantasy (see above). But now, through its fear of losing her as a complete internal object including both good and bad, it wants to make amends with her, as it were, in its mind.

A selected fact is what Wilfred Bion called any idea that one could use to link a patient’s ideas together in the process of psychotherapy. The patient, because of his attacks on linking (see above), has made a psychotic break with reality. In science, the notion of a selected fact, as used by Henri Poincaré, is to give coherence to a group of scattered data, and therefore to give order to the world’s complexity; whereas Bion’s use of the term is to give order and coherence to a patient’s scattered thoughts, to bring the patient from the paranoid-schizoid to the depressive position (see above).

A self-object is the self’s use of and relationship with an object (see above) for the purpose of establishing psychological stability or structure. The earliest and most basic self-objects are those an infant has with its parents, hence the idealized parental imago (see above). The analyst will be an important self-object for his or her patient in the narcissistic transference. Other possible self-objects can be one’s allegiance to a political ideology, to one’s nation, one’s admired writers, artists, etc.

Heinz Kohut coined this expression, using it as a key element in self psychology.

Splitting, or black-and-white, all-or-nothing thinking, is a defence mechanism one uses to deal with the frustrating aspects of people and the external world. Splitting happens when one cannot reconcile the good and bad sides of people and things. Splitting the object also involves a splitting of the self.

Object relations theorists like Melanie Klein and WRD Fairbairn (see above entries) developed our understanding of splitting with Klein’s notion of the paranoid-schizoid position (PS–see above) and Fairbairn’s notion of splitting the Central Ego/Ideal Object (see above), resulting in two subsidiary egos, the Libidinal Ego/Exciting Object, and the Anti-libidinal Ego/Rejecting Object (see above entries).

The Symbolic is one of Jacques Lacan’s three orders, along with the Imaginary and the Real (see above entries). One enters the Symbolic when the Name of the Father (see above) causes the dissolution of the Oedipus complex (see above) and its dyadic mother/infant relationship, bringing one into society and its shared symbols, language, culture, customs, and law. Engagement with the Symbolic Order is essential for mental health, freeing one from the narcissistic Imaginary Order. Failure or refusal to enter the Symbolic, what Lacan called foreclosure (see above), leads to psychosis.

Transference is the shifting of feelings from a relationship with one person (typically one from childhood, as with a parent) to one with another person (often, as in a patient with his or her therapist). These can be such feelings as love or hate. Freud found the transference useful as a crucial part of the treatment; for him, it wasn’t a resistance, but was rather the very work needed to be done.

Since transference in a therapeutic context involves the feelings the patient has for the analyst (e.g., the doctor reminding the patient of his or her Mom or Dad), countertransference refers to the analyst’s feelings about the analysand; it can give the therapist valuable insights into what the patient is trying to elicit in him or her.

A transitional object is what DW Winnicott called a comfort object (like a teddy bear, a doll, or Linus’s blanket), used to help a child make the transition–from having Mother as an extension of him- or herself–to recognizing the difference between “me” and “not-me,” to accepting that Mother cannot always be there for the child, that she and the child are separate entities. Thus, being disillusioned about not having omnipotence (see above) is bearable for the child.

The True Self and False Self are what DW Winnicott called different personality states of a healthy or unhealthy sort. For Winnicott, the False Self is a defensive façade causing one to lack the spontaneity, energy, and vitality of the True Self; accordingly, the False Self leaves one feeling dead and empty.

Elsewhere, the False Self is often used to describe the façade of excellence that a narcissist presents of himself to the world, in an attempt to impress others and thus trick the narcissist into thinking his False Self is his True Self.

The twin-ship/alter-ego transference is a narcissistic transference that Heinz Kohut used in his therapy for patients with a narcissistic personality disorder. It involves establishing a sense of similarity between the analyst and analysand, seeing the one as a “twin” or “alter ego” of the other; this likeness is without the sense of the analyst’s ego feeling engulfed and absorbed into that of the analysand, as felt in the merging transference (see mirror transference above).

Donald Woods Winnicott was a British psychoanalyst, and an important theorist in the object relations school (see above). He started as a paediatrician in the 1930s, but then came under the influence of Melanie Klein (see entry above). He helped develop such concepts of hers as the manic defence (see above), and he came up with a number of his own original ideas, such as the transitional object (see above) and transitional phenomena, the “me” vs. “not-me” relationship between an infant and its mother, and the True Self/False Self (see above).

Winnicott hosted a popular BBC radio program from the 194os to the mid-1960s, giving advice to mothers on how to raise healthy children. His concept of the “good enough mother” (see above) was a reaction against the excessive tendency he saw at the time to seek psychotherapeutic help for problem children.

Conclusion

Anyway, that’s all for now. As I learn more about psychoanalysis, I’ll make changes to this wherever I’ve said anything inaccurate. Remember that I’m no trained expert in the field; I’m just somebody who reads a lot. If anyone out there knows better about these topics and feels I could do with a better explanation here or there, pointing out my mistakes kindly in the comments will be appreciated. Thanks!

Further Reading

Melanie Klein, Love, Guilt, and Reparation and Other Works 1921-1945, The Free Press, New York, 1975

Melanie Klein, Envy and Gratitude and Other Works, 1945-1963, The Free Press, New York, 1975

W. Ronald D. Fairbairn, Psychoanalytic Studies of the Personality, Routledge, London, 1952

D.W. Winnicott, Through Paediatrics to Psycho-Analysis: Collected Papers, Brunner-Routledge, London, 1992

D.W. Winnicott, Playing and Reality, Routledge Classics, New York, 1971

D.W. Winnicott, Holding and Interpretation, Grove Press, New York, 1972

Lavinia Gomez, An Introduction to Object Relations, Free Association Books, London, 1997

Sean Homer, Jacques Lacan, Routledge Taylor & Francis Group, London, 2005

Heinz Kohut, The Analysis of the Self: A Systematic Approach to the Psychoanalytic Treatment of Narcissistic Personality Disorders, The University of Chicago Press, Chicago, 1971

Heinz Kohut, The Restoration of the Self, The University of Chicago Press, Chicago, 1977

Stephen A. Mitchell and Margaret J. Black, Freud and Beyond: A History of Modern Psychoanalytic Thought, Basic Books, New York, 1996

Wilfred R. Bion, Learning From Experience, Maresfield Library, London, 1962

Wilfred R. Bion, Elements of Psychoanalysis, Karnac Books, London, 1963