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To
Arthur Hyatt Williams
and
the late John Derg Sutherland
CONTENTS
Part I
The Origins of Object Relations Theory
1. The Major Trends in Object Relations Theory
and Practice 3
Part II
Sigmund Freud
2. Three Essays on the Theory ofSexuality* 27
3. Mourning and Melancholia* 31
4. The Ego and the Id* 34
Part III
W. R. D. Fairbairn
5. "Schizoid Factors in the Personality"* 43
6. "A Revised Psychopathology of the Psychoses and
Psychoneurosis"* 50
7. "Endopsychic Structure Considered in Terms of
Object Relationships"* 64
8. "Observations on the Nature of Hysterical States"* 78
9. ''The Nature and Aims of Psychoanalytic Treatment"* 98
*excerpt or abridgement
X CONTENTS
Part IV
Melanie Klein
10. ''The Psychoanalytic Play Technique: Its History and
Significance"* 113
11. "Some Theoretical Conclusions Regarding the Emotional Life
of the Infant"* 130
12. "Notes on Some Schizoid Mechanisms"* 136
13. ''The Origins of Transference"* 156
14. "A Study of Envy and Gratitude"* 161
PartV
D. W. Winnicott
15. "Primitive Emotional Development"* 179
16. "Hate in the Countertransference"* 187
17. "Aggression in Relation to Emotional Development"* 194
18. '"'i'ansitional Objects and Transitional Phenomena"* 197
19. "Metapsychological and Clinical Aspects of Regression
within the Psycoanalytical Setup"* 211
20. "Clinical Varieties ofTransference"* 216
21. ''Primary Maternal Preoccupation"* 221
22. ''The Theory of the Parent-Infant Relationship"* 225
23. "Ego Distortion in Terms of True and False Self'* 236
24. ''The Use of an Object and Relating through
Identifications"* 248
25. "Playing: Its Theoretical Status in the Clinical
Situation"* 256
26. ''The Location of Cultural Experience"* 262
27. "Mirror-Role of Mother and Family in Child
Development"* 265
28. Therapeutic Consultations in Child Psychiatry* 271
CONTENTS xi
Part VI
Wilfred Bion
29. Experiences in Groups: "Group Dynamics: A Re-View"* 279
30. Secor.d Thoughts: "The Development of Schizophrenic
Thought" and "Attacks on Linking"* 289
31. Summary of''The Differentiation of the Psychotic from
the Non-Psychotic Personalities (1957) and "A Theory of
Thinking" (1962) 303
32. Learning from Experience "The K-Link"* 306
33. Attention and Interpretation: "Reality Sensuous and
Psychic," "Opacity of Memory and Desire," "Container and
Contained Transformed," "Prelude to or Substitute for
Achievement"* 309
Part VII
Klein's Theory Elaborated
34. Susan Isaacs' ''The Nature and Function of Phantasy"* 321
35. Hanna Segal's "Notes on Symbol Formation"* 332
36. Herbert Rosenfeld's "A Clinical Approach to the
Psychoanalytic Theory of the Life and Death Instincts"* 341
Part VIII
Early Contributions of the Independent Group
37. Michael Balint's The Basic Fault* 353
38. Harry Guntrip's ''The Schizoid Problem, Regression, and the
Struggle to Preserve an Ego"* 366
39. John Bowlby's ''The Role of Attachment in Personality
Development"* 381
Part IX
Transference and Countertransference
40. Paula Heimann's "On Countertransference"* 393
41. Heinrich Racker's ''The Meanings and Uses of
Countertransference"* 400
xii CONTENTS
Part X
Advances in Theory
44. John Steiner's "A Theory of Psychic Retreats"* 421
45. Elizabeth Bott Spillius's "Varieties of Envious
Experience"* 427
46. Esther Bick's "The Experience of the Skin in Early Object
Relations" 432
47. Thomas Ogden's "On the Concept of an Autistic-Contiguous
Position"* 438
48. John D. Sutherland's ''The Autonomous Self'* 450
Part XI
Advances in Clinical Concepts
Contributions to the 'Ireatment of Splitting
and Projective Identification
49. James Grotstein's Splitting and Projective Identification* 460
50. Jill Savege Scharff's Projective and lntrojective Identification
and the Use ofthe Therapist:r Self* 465
51. Otto Kernberg's ''Transference and Countertransference
in the Treatment of Borderline Patients"* 471
THE ORIGINS OF
OBJECT RELATIONS
THEORY
1
Jules Emile Frédéric Massenet was born on the 12th of May, 1842, at
Montaud, in the department of the Loire, and was the eleventh child
of his parents. His musical talent developed at an early age. When
only eleven years old he was sufficiently acquainted with the
theoretical elements of the art to take his place in François Bazin’s
harmony class in the Conservatoire. It is by no means uncommon for
a professor to mistake the capacity of his pupils. Unfortunately Bazin
failed to foresee the splendid future reserved for his young pupil
Massenet: on the contrary, he believed him to be destitute of all
musical talent and requested that he might be dismissed from his
class. The poor little musician felt so deeply humiliated by this insult
that he was almost inclined to renounce music forever. It was five
years before he reappeared at the Conservatoire, but luckily, at the
end of that long term, he returned to study under the learned Henri
Reber in the harmony class.
One day, shortly after Massenet joined this class, Reber addressed
him thus in presence of his fellow-pupils: “Monsieur, I urge you, for
your own welfare, to quit my class and go into a higher one, a class
where fugue and composition are taught. You understand as much of
harmony, so called, as I can teach you, and you will waste your time
if you remain with me. Follow my advice, for if I am a true prophet,
you will make your mark.”
Thus it was that, dismissed from Bazin’s harmony class as a dunce,
Massenet was advised to leave Reber’s class because he learned too
rapidly. The youngster followed the advice given by the composer of
“Le Père Gaillard” and “La Nuit de Noël,” and studied fugue and
composition with Ambroise Thomas, the composer of “Mignon” and
“Hamlet,” who had been appointed director of the school after the
death of Auber.
In the composition class young Massenet so distinguished himself
by his ardor and application to study, that he won, and ever after
retained, the friendship of Ambroise Thomas. At each lesson he
submitted to his master, in addition to fugues and exercises in
counterpoint, instrumental and vocal works of various kinds, each
bearing witness to his lively imagination and to his instinct to
produce something new. Of course all these efforts of the future
composer of “Manon” were not irreproachable, and sometimes his
comrades rallied him on what they called his fits of musical
intoxication. “Let him sow his wild oats,” said Ambroise Thomas,
“and you will find that when he has sobered down and become more
reflective he will achieve something. He is a genius.”
The time was close at hand when Massenet was to fulfil this
flattering prophecy. In the very same year, 1863, he obtained the first
prize in counterpoint and fugue at the Conservatoire and the Grand
Prize for musical composition (Grand Prix de Rome) at the Institut
de France. He was then, we believe, already married, although
physically he did not look more than fifteen years of age.
As he had an annual allowance accorded him by the State, he set
out for the Eternal City and made a tour in Italy, proceeding thence
to Germany to seek inspiration from the masters of symphony. The
winner of the Grand Prix de Rome is expected during his sojourn
abroad, to send at least one work to the Institute as a proof that he
has turned his time to good account and has made due progress.
Whether or not young Massenet left his light-heartedness behind
him when he crossed the French frontier we cannot say; but the
composition he sent from Rome was a Requiem. Massenet wrote a
large work for solo voices, chorus and orchestra, entitled “Pompéia,”
which in form as well as in instrumentation showed the influence of
Berlioz. This indicated an inquiring and meditative mind in the
young composer, who was thus feeling his way through the boldest
and most modern school of music.
Massenet sent a second envoy from Rome, which was his first
orchestral suite. With this suite is associated an event of great
importance in the musical career of the composer. Massenet tells the
story himself.
The composer had just returned to France, after passing in Italy
and Germany the regulation period accorded the laureates of the
Institute. While walking in the street, he met Pasdeloup, the founder
and director of the celebrated “Popular Concerts.” Pasdeloup was
one of the best men in the world, but he had the habit of treating
young composers in a brusque and patronizing manner. He had only
seen Massenet once, and that was during the performance of the
cantata for which he was awarded the Grand Prize. As has already
been stated, Massenet always looked much younger than he really
was, and from his twentieth to his twenty-fourth year he had the face
and air of a boy of sixteen. Pasdeloup accosted him with a frown, as
though he had something disagreeable to tell him, and speaking in
an offensively familiar and condescending manner, said:—
“Ah, so you have returned to France. What have you been doing
during your absence?”
“I have been writing music, M. Pasdeloup.”
“That is all very well; but it is not sufficient to write music; you
must write good music. Is your music really good?”
“Sir, it is not for me to pass judgment upon it.”
“You have written, I believe, an orchestral suite?”
“Yes sir.”
“Well, but everybody writes orchestral suites. Is yours a good one?
Are you satisfied with it yourself?”
“Well, Monsieur Pasdeloup, I feel obliged to admit that it pleases
me when I play it on the piano, but I have not yet heard it performed
by an orchestra.”
“Of course it pleases you. But how much music is there that pleases
its composer, and yet is not worth a button. Can I see your
manuscript?”
“You do me too much honor, Monsieur Pasdeloup. I will send my
score to you this very evening.”
“Good. I will tell you what I think of it and whether it pleases me as
much as it pleases you. Let me say that I think very little of the music
of young men who win the Prix de Rome. They only know how to
imitate the faults of the masters they study. However, we shall see.”
And Pasdeloup quitted Massenet with an air of utter
dissatisfaction.
The young composer hastened home and told his family of the
interview and of the faint hope he cherished that his suite might
possibly be performed at the famous Popular Concerts. He then
rolled up his score, took it to Pasdeloup’s residence, and left it with
the concierge. Ten days later Massenet received, by post, a gift which
filled him with equal joy and surprise. It was a ticket admitting him
to a rehearsal. He was invited to the Cirque d’Hiver, where the
Popular Concerts were given, to hear a rehearsal of his orchestral
suite.
Next day, full of excitement, he set out for the rehearsal. On
arriving at the door, however, he had not sufficient courage to enter,
so overcome was he by his emotions. “Perhaps,” thought he, “the
orchestral effect may not be what I intended,” and he felt that he had
not strength to brave the severe criticisms of Pasdeloup and the jeers
of the members of the orchestra.
Massenet returned home without having dared to listen to the
rehearsal of his work and wholly discontented with himself. He
called himself a coward and a pretender, and as he passed along the
boulevard, his eye mechanically seeking the announcement of the
performances at the theatres and concerts, he was suddenly
astounded to see his own name on the programme of the Pasdeloup
Concert to be given on the following Sunday. They were really going
to play his suite! He ran rather than walked home to announce the
glorious news.
“They play—my suite—Sunday—Popular Concert!—Oh! how my
heart beats!”
And the great composer, as the memory of the beginning of his
musical career came back to him, bowed his head on my breast and
burst into tears. I wept with him.
“Ah!” said he, “I was happier then than I am to-day. Anticipation is
better than the reality.”
MASSENET IN HIS STUDY.
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