By Paula Heimann
About youngsters and Children-no-longer is the lengthy awaited selection of Paula Heimann's released and unpublished papers.
From the broadcast paintings it contains the seminal paper 'On Countertransference' (1950); 'Dynamics and Transference Interpretations' (1956); 'Some Notes on Sublimation' (1959); and 'Notes at the Anal level' (1962). additionally, more moderen works are released the following in English for the 1st time, describing the author's specific integration of conception and technique.
Paula Heimann's principles on an undifferentiated early part of youngster improvement and its implications for analytic process, together with her designated wisdom of either Kleinian item relatives and classical idea and process, make her paintings very proper either to present-day perform and the knowledge of the old improvement of a few imperative psychoanalytic ideas.
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Extra resources for About Children and Children-No-Longer: Collected Papers 1942-80 Paula Heimann (New Library of Psychoanalysis)
Here phantasies were worked out more fully; more objects and more events occurred, and details which offered a possibility of variation and differentiation supplied more life and movement. The painter derived great relief and pleasure from these pictures; she made her name by them in the artistic world, and she even set a fashion. But there was an obsessional element in this form of restoration which interfered with its sublimatory value. She herself became aware of it as an anxiety that she might not be able to paint in any other manner but this, and that if she was compelled to go on with this type of painting her possibilities of self-expression would be gravely restricted; if she had no other function in life but that of restoring her childhood objects, she would not attain the full range of a boundless territory in which to develop herself.
Concurrently with the process of understanding her internal world in childhood and its relation to the external world, the craving for morphia diminished. She arrived at a ‘gentleman’s agreement’ with herself of a monthly allowance of four morphia tablets, usually taking part of them during her intense menstruation pains, the other part a fortnight after the menstruation. I cannot here go into the problems relating to the menstruation pains and the phantasies determining their gravity; they were principally determined by cruel and frightening phantasies connected with her penis-envy.
She had to go to a public house and have three sherries. (7) Later she found ulcers in her mouth. It is important to know that the fault of her drawing was that ‘it looked as though it was fifty years old’, ‘out of a Victorian family album’. It seems to me that the various symptoms, (1) the unintentionally old-fashioned painting, (2) the need to drink alcohol, (3) the appearance of the ulcers, point clearly to what had been going on in the patient’s unconscious. She had carried out her impulse to hurt the woman and was consciously pleased with her success.