Listening to Hanna Segal

Jean-Michel Quinodoz provides the reader with a comprehensive overview of Segal’s life, her
clinical and theoretical work, and her contribution to psychoanalysis over the past sixty years by
combining actual biographical and conceptual interviews with Hanna Segal herself or with col-
leagues who have listened to Segal in various contexts.
Listening to Hanna Segal explores both Segal’s personal and professional histories, and the inter-
action between the two. The book opens with an autobiographical account of Segal’s life, from her
birth in Poland to her analysis with Melanie Klein in London where she became the youngest
member of the British Psychoanalytical Society. Quinodoz goes on to explain Segal’s contribu-
tions in various fields of psychoanalysis including:
• the psychoanalytic treatment of psychotic patients
• the introduction of the “symbolic equation”
• aesthetics and the creative impulse
• the analysis of elderly patients
• introducing the work of Melanie Klein.
Quinodoz concludes by examining Segal’s most recent contribution to psychoanalysis – exploring
nuclear terror, psychotic anxieties, and group phenomena.
Throughout the interviews Segal speaks of her close relationships with prominent colleagues such
as Klein, Rosenfeld, and Bion, making this book both a valuable contribution to the history of
psychoanalysis and an indication of the evolution of psychoanalytic ideas over the past six dec-
ades. This clear summary of Hanna Segal’s life and her contribution to psychoanalysis will be an
essential guide to anyone studying Segal and her contemporaries.
Jean-Michel Quinodoz is a Psychoanalyst in private practice in Geneva. He is a member of the
Swiss Psychoanalytical Society and Honorary Member of the British Psychoanalytical Society.
Jean-Michel Quinodoz is author of The Taming of Solitude, Dreams That Turn Over a Page and
Reading Freud.
 THE NEW LIBRARY OF PSYCHOANALYSIS

General Editor Dana Birksted-Breen

The New Library of Psychoanalysis was launched in 1987 in association with the Institute of
Psychoanalysis, London. It took over from the International Psychoanalytical Library, which
published many of the early translations of the works of Freud and the writings of most of the
leading British and Continental psychoanalysts.
The purpose of the New Library of Psychoanalysis is to facilitate a greater and more
widespread appreciation of psychoanalysis and to provide a forum for increasing mutual under-
standing between psychoanalysts and those working in other disciplines such as the social sciences,
medicine, philosophy, history, linguistics, literature and the arts. It aims to represent different
trends both in British psychoanalysis and in psychoanalysis generally. The New Library of Psy-
choanalysis is well placed to make available to the English-speaking world psychoanalytic writings
from other European countries and to increase the interchange of ideas between British and
American psychoanalysts.
The Institute, together with the British Psychoanalytical Society, runs a low-fee psycho-
analytic clinic, organizes lectures and scientific events concerned with psychoanalysis and pub-
lishes the International Journal of Psychoanalysis. It also runs the only UK training course in
psychoanalysis that leads to membership of the International Psychoanalytical Association – the
body which preserves internationally agreed standards of training, of professional entry, and of
professional ethics and practice for psychoanalysis as initiated and developed by Sigmund Freud.
Distinguished members of the Institute have included Michael Balint, Wilfred Bion, Ronald Fair-
bairn, Anna Freud, Ernest Jones, Melanie Klein, John Rickman and Donald Winnicott.

Previous General Editors include David Tuckett, Elizabeth Spillius and Susan Budd. Previous and
current Members of the Advisory Board include Christopher Bollas, Ronald Britton, Catalina
Bronstein, Donald Campbell, Sara Flanders, Stephen Grosz, John Keene, Eglé Laufer, Juliet
Mitchell, Michael Parsons, Rosine Jozef Perelberg, Richard Rusbridger, David Taylor and Mary
Target.
 ALSO IN THIS SERIES
Impasse and Interpretation Herbert Rosenfeld
Psychoanalysis and Discourse Patrick Mahony
The Suppressed Madness of Sane Men Marion Milner
The Riddle of Freud Estelle Roith
Thinking, Feeling, and Being Ignacio Matte-Blanco
The Theatre of the Dream Salomon Resnik
Melanie Klein Today: Volume 1, Mainly Theory Edited by Elizabeth Bott Spillius
Melanie Klein Today: Volume 2, Mainly Practice Edited by Elizabeth Bott Spillius
Psychic Equilibrium and Psychic Change: Selected Papers of Betty Joseph Edited by Michael
Feldman and Elizabeth Bott Spillius
About Children and Children-No-Longer: Collected Papers 1942–80 Paula Heimann. Edited by
Margret Tonnesmann
The Freud–Klein Controversies 1941–45 Edited by Pearl King and Riccardo Steiner
Dream, Phantasy and Art Hanna Segal
Psychic Experience and Problems of Technique Harold Stewart
Clinical Lectures on Klein and Bion Edited by Robin Anderson
From Fetus to Child Alessandra Piontelli
A Psychoanalytic Theory of Infantile Experience: Conceptual and Clinical Reflections E. Gaddini.
Edited by Adam Limentani
The Dream Discourse Today Edited and introduced by Sara Flanders
The Gender Conundrum: Contemporary Psychoanalytic Perspectives on Femininity and Masculinity
Edited and introduced by Dana Breen
Psychic Retreats John Steiner
The Taming of Solitude: Separation Anxiety in Psychoanalysis Jean-Michel Quinodoz
Unconscious Logic: An Introduction to Matte-Blanco’s Bi-logic and Its Uses Eric Rayner
Understanding Mental Objects Meir Perlow
Life, Sex and Death: Selected Writings of William Gillespie Edited and introduced by Michael
Sinason
What Do Psychoanalysts Want? The Problem of Aims in Psychoanalytic Therapy Joseph Sandler
and Anna Ursula Dreher
Michael Balint: Object Relations, Pure and Applied Harold Stewart
Hope: A Shield in the Economy of Borderline States Anna Potamianou
Psychoanalysis, Literature and War: Papers 1972–1995 Hanna Segal
Emotional Vertigo: Between Anxiety and Pleasure Danielle Quinodoz
Early Freud and Late Freud Ilse Grubrich-Simitis
A History of Child Psychoanalysis Claudine and Pierre Geissmann
Belief and Imagination: Explorations in Psychoanalysis Ronald Britton
A Mind of One’s Own: A Kleinian View of Self and Object Robert A. Caper
Psychoanalytic Understanding of Violence and Suicide Edited by Rosine Jozef Perelberg
On Bearing Unbearable States of Mind Ruth Riesenberg-Malcolm
Psychoanalysis on the Move: The Work of Joseph Sandler Edited by Peter Fonagy, Arnold
M. Cooper and Robert S. Wallerstein
The Dead Mother: The Work of André Green Edited by Gregorio Kohon
The Fabric of Affect in the Psychoanalytic Discourse André Green
The Bi-Personal Field: Experiences of Child Analysis Antonino Ferro
The Dove that Returns, the Dove that Vanishes: Paradox and Creativity in Psychoanalysis Michael
Parsons
Ordinary People and Extra-Ordinary Protections: A Post-Kleinian Approach to the Treatment of
Primitive Mental States Judith Mitrani
The Violence of Interpretation: From Pictogram to Statement Piera Aulagnier
The Importance of Fathers: A Psychoanalytic Re-Evaluation Judith Trowell and Alicia
Etchegoyen
Dreams That Turn Over a Page: Paradoxical Dreams in Psychoanalysis Jean-Michel Quinodoz
The Couch and the Silver Screen: Psychoanalytic Reflections on European Cinema Edited and
introduced by Andrea Sabbadini
iv    

In Pursuit of Psychic Change: The Betty Joseph Workshop Edited by Edith Hargreaves and Arturo
Varchevker
The Quiet Revolution in American Psychoanalysis: Selected Papers of Arnold M. Cooper Arnold M.
Cooper. Edited and introduced by Elizabeth L. Auchincloss
Seeds of Illness, Seeds of Recovery: The Genesis of Suffering and the Role of Psychoanalysis
Antonino Ferro
The Work of Psychic Figurability: Mental States Without Representation César Botella and Sára
Botella
Key Ideas for a Contemporary Psychoanalysis: Misrecognition and Recognition of the Unconscious
André Green
The Telescoping of Generations: Listening to the Narcissistic Links Between Generations Haydée
Faimberg
Glacial Times: A Journey Through the World of Madness Salomon Resnik
This Art of Psychoanalysis: Dreaming Undreamt Dreams and Interrupted Cries Thomas H. Ogden
Psychoanalysis as Therapy and Storytelling Antonino Ferro
Psychoanalysis in the 21st Century: Competitors or Collaborators? Edited by David M. Black
Recovery of the Lost Good Object Eric Brenman
The Many Voices of Psychoanalysis Roger Kennedy

TITLES IN THE NEW LIBRARY OF PSYCHOANALYSIS TEACHING SERIES

Reading Freud: A Chronological Exploration of Freud’s Writings Jean-Michel Quinodoz
Listening to Hanna Segal: Her Contribution to Psychoanalysis Jean-Michel Quinodoz
 THE NEW LIBRARY OF PSYCHOANALYSIS:
TEACHING SERIES
2

General Editor: Dana Birksted-Breen

Listening to Hanna Segal

Her Contribution to Psychoanalysis

Jean-Michel Quinodoz

Translated by David Alcorn

 First published 2008
by Routledge
27 Church Road, Hove, East Sussex BN3 2FA
Simultaneously published in the USA and Canada
by Routledge
270 Madison Avenue, New York, NY 10016
Routledge is an imprint of the Taylor & Francis Group, an informa business

This edition published in the Taylor & Francis e-Library, 2007.

“To purchase your own copy of this or any of Taylor & Francis or Routledge’s
collection of thousands of eBooks please go to www.eBookstore.tandf.co.uk.”

Copyright © 2008 Jean-Michel Quinodoz

Translation (selected material) © David Alcorn
All rights reserved. No part of this book may be reprinted or reproduced or
utilized in any form or by any electronic, mechanical, or other means, now
known or hereafter invented, including photocopying and recording, or in
any information storage or retrieval system, without permission in writing
from the publishers.
This publication has been produced with paper manufactured to strict
environmental standards and with pulp derived from sustainable forests.
British Library Cataloguing in Publication Data
A catalogue record for this book is available from the British Library
Library of Congress Cataloging in Publication Data
Quinodoz, Jean-Michel.
Listening to Hanna Segal : her contribution to psychoanalysis /
Jean-Michel Quinodoz ; translated by David Alcorn.
p. ; cm. – (New Library of psychoanalysis teaching series)
Includes bibliographical references and indexes.
ISBN 978-0-415-44493-4 (hbk) – ISBN 978-0-415-44085-1 (pbk) 1. Segal,
Hanna. 2. Psychoanalysis. I. Segal, Hanna. II. Title. III. Series.
[DNLM: 1. Segal, Hanna. 2. Psychoanalysis. 3. Psychoanalysis—
Interview. WM 460 Q7L 2008]
RC438.6.S44Q56 2008
616.89′17–dc22
2007020597
ISBN 0-203-93757-0 Master e-book ISBN

ISBN 978-0-415-44493-4 (hbk)

ISBN 978-0-415-44085-1 (pbk)
 CONTENTS

Introduction – Hanna Segal: The Teacher and Her Teaching ix

Acknowledgements xi

1. Hanna Segal: A Psychoanalytic Autobiography 1

2. Psychoanalysis and the Aesthetic Experience 21
3. The Psychoanalytic Treatment of Psychotic Patients 42
4. From Symbolic Equation to Symbolic Representation 62
5. The Fundamental Conflict between the Life and Death Drives 78
6. Presenting the Kleinian Approach to Psychoanalysis 90
7. Interpreting the Function of Dreams along with Their Content 116
8. The Analysis of Elderly Patients 124
9. Seminars and Supervisions 131
10. Nuclear Terror, Psychotic Anxieties and Group Phenomena 142

Notes 159
Bibliography 160
Name Index 165
Subject Index 167
 INTRODUCTION
HANNA SEGAL: THE TEACHER AND HER TEACHING

In the seminars and supervisions that Hanna Segal conducted in Geneva from 1979 until 1989,
I was able to appreciate the perspicacity of her clinical approach, as well as the clarity and
concision with which she communicates her thinking. How could that invaluable teaching be
conveyed to the reader in a sufficiently lively manner? I had the idea that a series of live interviews
with Hanna Segal in which she would discuss her creativeness as a psychoanalyst and the part she
has played in the history of psychoanalysis – she herself, after all, has been one of its outstanding
representatives for some sixty years now – could perhaps go some way to doing just that.
She welcomed the project all the more enthusiastically, she told me, because it corresponded
exactly to one of her dearest wishes: to bear witness to the decisive influence that certain events
in her own early childhood had had on her vocation to be a psychoanalyst. Although such factors
are readily acknowledged as being decisive for understanding how someone’s personality has
developed, she added, they are hardly ever mentioned in biographies – almost never, indeed, in
those of psychoanalysts.
On several occasions between 2004 and 2006, I travelled to London to interview Hanna Segal.
Our discussions were mainly in English, with some sequences in French, a language that Hanna
Segal speaks fluently. The interviews were recorded on cassette tapes, which were subsequently
transcribed by Mary Block, her private secretary, and later supplemented in a few brief telephone
conversations.
Here, then, verbatim, is almost the entire series of interviews. Some editorial changes have been
made, without, of course, altering the original text to any significant degree. I have, for example,
brought together certain ideas relating to topics discussed in various chapters; a few minor stylistic
corrections make the text easier to follow; and I decided on my own initiative to eliminate some
material of a more personal nature that did not add anything to the overall content of the
interviews. Any such cuts in the transcribed text are shown in the usual manner, viz..: [. . .]. Hanna
Segal authorized me in writing to publish the transcripts in extenso; in addition, she asked me to
deposit the original tapes and transcripts with the Melanie Klein Archives once I no longer needed
them. They can be consulted there, under certain conditions. At the end of each transcribed
section I have indicated on which tape the relevant extract can be found.
My original plan was to publish these interviews as they stand, with no accompanying editorial
comment. It soon became obvious, however, that some presentation of Segal’s main contributions
to psychoanalysis would have to be added to the interviews themselves so as to shed a little more
light on what she says. I realized that those readers who were not particularly familiar with Hanna
Segal’s work might well feel frustrated if they did not have some guidelines to help them on their
way. I was thinking particularly of readers from outside the English-speaking world, to whom
Hanna Segal is known more perhaps for her role as an ambassador of Melanie Klein’s work,
rather than in her own right, in spite of the fact that her own work amounts to a highly original
contribution.
In order to have a contemporary perspective on Hanna Segal’s ideas, I contacted a number of
psychoanalysts in various parts of the world, asking them what relevance Segal’s ideas have to
present-day psychoanalysis, what criticisms have been levelled at them, and what, if any, new
developments they have encouraged. It is true, of course, that several British psychoanalysts who
have known Hanna Segal for many years have already put what they think into writing, in a book
x 

under the general editorship of David Bell (1997). I wanted, all the same, to have the opinion of
psychoanalysts who are not native English speakers; in addition, this would give the reader some
indication of the influence she has had outside the English-speaking world. The diversity of their
points of view is really quite impressive, as are their stylistic differences. Their comments go to
show also that Hanna Segal, no doubt too modest to have founded a “school of thought” of her
own, has nonetheless had an enormous impact on contemporary psychoanalysis.
With the idea of sketching out a vivid and lively portrait of Hanna Segal and her work, I have
chosen a multifocal approach in order to illustrate not only the content of her teaching but also the
personality of the teacher. Some may be surprised by this choice, with its seemingly non-academic
perspective that goes beyond traditional textbook material. I would argue, however, that the
standpoint I have adopted enables the reader to know more about Hanna Segal as a teacher and
invites him or her to discover the papers and books she has written, while at the same time
preserving the mystery of Hanna Segal as a person. With that in mind, I have quite deliberately left
unfinished this portrait of Hanna Segal.
Hanna Segal is famous for the outspoken way in which she asserts her beliefs and says what she
thinks, whether in her lectures or in her written papers. That is why, in this book, I have chosen a
mixture of oral discussions and written work, with the hope that the reader will be able to “read”
Hanna Segal more easily after having “listened” to her. I trust that the way in which I approach
the person and her work will make some contribution to highlighting the originality of Segal’s
thinking in the midst of the many voices that characterize contemporary psychoanalysis. In my
view, a constructive dialogue can be built up if we all start to listen to one another with the aim of
acknowledging our similarities and clarifying our differences. From that perspective, the contro-
versies that arose within the British Psychoanalytical Society, far from being simply a source of
discord, have demonstrated their potentiality for mutual enrichment – an example, indeed, for
us all.
Jean-Michel Quinodoz
Geneva
February 2007
 ACKNOWLEDGEMENTS

My thanks go firstly to Hanna Segal herself for giving me the opportunity of carrying out this
series of interviews with her (and granting copyright to me) and for her support all through the
preparation and completion of the initial project; those colleagues who agreed to be interviewed
must also be thanked. I am grateful too to Dana Birksted-Breen, editor of the Teaching Series of
the New Library of Psychoanalysis, for the warm welcome she and her husband Jan gave me each
time I visited London to work on this book. Special thanks must go to Mary Block, Hanna Segal’s
private secretary, for her work in transcribing the text of the interviews and for her help in
researching the bibliography. The advice offered by the readers of the initial manuscript of this
book proved invaluable – first of all my wife Danielle, who is usually indeed the first person to read
my work; Augustin Jeanneau, Juan Manzano and Francisco Palacio-Espasa, together with Marie
Bridge, Christoph Hering and the three anonymous readers of the British Psychoanalytical Soci-
ety whose suggestions helped me shape this final version. I am grateful also to David Alcorn for his
admirable translation into English of the sections of this book which were originally in French and
for his work on the text of the Hanna Segal interviews. This research was partly funded by a grant
from the Research Advisory Board of the International Psychoanalytical Association chaired by
Robert S. Wallerstein. I am grateful also to all those at Routledge, and in particular to Kate Hawes,
Nicola Ravenscroft and Jane Harris, for their support and for the care which they brought to
preparing this volume for publication.
Jean-Michel Quinodoz
 Chapter 1

HANNA SEGAL: A
PSYCHOANALYTIC AUTOBIOGRAPHY
FROM BIRTH IN POLAND TO PSYCHOANALYTIC TRAINING IN LONDON
(1918–1947)

Hanna Segal has always emphasized the dominant influence of early childhood experiences on the
individual’s subsequent development. In this, she follows the example of Melanie Klein; Hanna Segal
is, indeed, one of the most noteworthy representatives of Klein’s thinking. However, she does not
content herself simply with applying these ideas to her work with her patients and in supervision,
she applies them also to herself and to her own past history. That is why she insisted on beginning
this series of interviews by narrating the experiences which, from a psychoanalytic point of view,
had a significant impact on her as a child, as an adolescent and as an adult. More than a mere
biographical account, these ideas make up a true psychoanalytic autobiography in which Segal shares
with us not only the new perspectives she was able to construct in the 1940s thanks to her analysis
with Melanie Klein, but also the links she made afterwards during her uninterrupted and ongoing
self-analysis.
Here, I have briefly noted the main biographical landmarks in Hanna Segal’s life, starting with her
birth in 1918, until her marriage and her accreditation as a member of the British Psychoanalytical
Society in 1947. The reader will find in the chapters that follow the autobiographical details she
shared with me as regards later stages in her life and in her work up to the present day.

Some landmark dates

Hanna Segal was born on 20 August 1918 in Lodz, Poland. Her parents, Czeslaw Poznanski
and Isabelle Weintraub, both came from well-assimilated Jewish families and lived for the
most part in Warsaw, where her father was a practising lawyer.

1918: When she was 3 months old, Hanna was abruptly weaned and separated from
her mother, who had fallen ill during the epidemic of Spanish flu. Although her
mother survived the epidemic, Hanna rarely saw her parents throughout her
early childhood in Warsaw – most of the time she was looked after by nannies
or maids.
1921: Death of Wanda, Hanna’s sister, at 4 years of age from scarlet fever. Hanna
was approximately 2 years old when her sister died. It was a deeply traumatic
event. Hanna can remember a dream she had just after her sister’s death – an
exceptionally early childhood memory. Hanna would henceforth remain her
parents’ only child.
1925: At 6 years of age, Hanna rebelled after having been left on her own for much of
the summer. She asked her parents to take her with them in future and not
leave her behind. The first family holiday she had was spent in Biarritz – where
she discovered the sea. That was to be the beginning of a love story between
Hanna and the sea, one that would last all her life.
2  :   

1925–1930: Hanna’s parents began to show more interest in their daughter. Her father,
who had a vast humanistic culture, encouraged her to read and introduced her
to literature and to art. Hanna discovered school life and made friends of her
own age.
1930: Her father tried to kill himself. This was a terrible disillusion, especially for
Hanna, who admired him so much. Completely bankrupt and about to be
prosecuted for gambling away his clients’ money, he left Poland with his family
to settle in Switzerland.
1931: The family settled in Geneva, where Hanna’s father found work as editor of the
League of Nations Journal. Hanna began attending the International School.
She became interested in French literature, and particularly in Proust. One of
her parents’ friends was Eugenie Sokolnicka, a Polish psychoanalyst who was
a pupil of Freud’s. That was the first time that Hanna heard her father mention
psychoanalysis.
1934: When she was 16, Hanna, feeling nostalgic about her native Poland, asked to
be allowed to return to Warsaw to finish her schooling there. While in Poland,
she became aware of how dramatic the social and economic problems were;
she became an activist in the Student Section of the Polish Socialist Party and
had Trotskyist leanings. After her Baccalaureate, Hanna decided to study
medicine as a first step to becoming a psychoanalyst.
1938: The League of Nations Journal, considered to be too anti-fascist, was shut
down. Hanna’s father thus lost his job and found himself stateless, the
Polish authorities having withdrawn his passport. He therefore had to leave
Switzerland. He and his wife settled in Paris.
1939: When Hitler invaded Poland in September 1939, Hanna happened to be in
Paris, holidaying at her parents’ home. Unable to return to Warsaw, she con-
tinued her medical studies in France. In Paris she met once again Paul Segal,
her future husband, whom she had known when they were children.
1940–1943: Fleeing the invading German army, Hanna and her parents embarked on the
very last Polish ship to leave for Great Britain. The family settled in London.
Hanna sat the examinations required for admission to medical school first in
Manchester, then in Edinburgh. While still a student, Hanna continued to
explore psychoanalysis. In Edinburgh, she met Ronald Fairbairn, who spoke to
her about Melanie Klein and Anna Freud. Hanna spent one year in analysis
with David Matthew, one of Klein’s pupils. She graduated as a doctor in 1943
and returned to London; Fairbairn wrote for her a letter of recommendation
addressed to Winnicott.
1943–1946: Hanna began her formal psychoanalytic training at the Institute of Psycho-
analysis in London. After making it clear that she wanted Melanie Klein to be
her analyst, Hanna thereupon began analysis with her. She worked as a sur-
geon in Paddington Green hospital. Six months later, she began working as a
psychiatrist in Long Grove psychiatric hospital, Epsom; she worked there until
the war ended. At the same time, she continued her psychoanalytic training
in London, where her supervisors were Joan Riviere and Paula Heimann.
Hanna’s mother died of cancer at 54 years of age, shortly before the end of
the war.
1946–1947: Hanna completed her training as a psychoanalyst and married Paul Segal.
While she was pregnant with their first child, she presented her first paper, “A
psycho-analytical approach to aesthetics”. At the age of 29, she became the
youngest member of the British Psychoanalytical Society.
  :    3

“I think I had a very traumatic childhood”

“I think if I had turned out to be schizophrenic, people would have said: ‘No
wonder, with that childhood!’ ”
Hanna Segal: I like talking about my early childhood, not only because old people like to
reminisce but also because I find that in the biography of great analysts (and other people as
well) information about their early childhood is always missing. We know a few things about
Freud – that he was his mother’s favourite and how he, I think out of jealousy, threw shoes out
of the window, things like that, but nothing consistent. I am rather lucky in that way in that I
have very clear memories of my childhood and of a number of things, thanks to Mrs Klein’s
approach, linked with it. What I can tell you is partly memory, partly what I discovered in
analysis – certain links – and partly, let’s say, my speculations about it. A good memory for
one’s childhood usually means more integration. Well, I consider my childhood decisive in the
formation of my character and eventually in what took me to analysis. I think I had a very
traumatic childhood. I think that if I had turned out to be schizophrenic, people would have
said: “No wonder, with that childhood – mother not containing and so on”, but things are not
quite as simple as that. A trauma can make a good analyst out of you, but so can good
experiences.

Weaned and separated from mother at 3 months

I know that I had a bad start because – that’s not memory, it’s what’s been told to me – until the
age of 3 months I screamed incessantly. I don’t know what it was – perhaps my mother didn’t
have enough milk, or maybe it was what they call the three months’ colic. And then suddenly I
was weaned, because my mother had Spanish flu. But apparently I thrived on the bottle. I
immediately put on weight. So, it was either three months’ colic or something wrong with the
feeding, but I know that I didn’t see my mother. The loss of the breast was combined with the
loss of the person because my mother disappeared, I think. She survived [the epidemic], but she
had a very severe flu.

Death of her sister when Hanna was 2 years old

I remember very little of my parents from my early childhood, but my older sister died when she
was 4 years old and I was a little over 2. I have very clear memories of my sister, so I must have
been even younger than 18 months when she first fell ill. And I remember the dream I had soon
after her death – it was a very amusing dream and it was important to me because ours was a
sort of rich bourgeois household where children were in the hands of nannies.
I hardly ever saw my parents, I think, and basically my sister was my good object. I have a
photograph of her holding my hand and I remember the occasion it was taken. The mythology
is that she loved me very much – I’m sure that’s true – but the amusing thing is that one day she
stuffed my mouth with chocolate and I nearly choked, so it must have been ambivalent. I
remember a blue carpet on which she was pretending to teach me to swim. She died of scarlet
fever, and I remember her standing by my cot with my father feeding her. I remember the place I
went to when the diagnosis was made – I was sent away immediately, of course.
Then the rest is very much what I reconstructed in analysis. I have a memory of my mother
all in black and looking terribly detached and me running to her and getting no response. But
what I worked out – certain things clicked – is that my mother’s way of dealing with depression
was always to travel, so she must have left me and travelled and that was her return. [. . .] So I
was left with a very depressed father and a lot of stories from maids about what a pity it was
that my sister had died rather than me, because she was the favourite and prettier and cleverer
and so on. I think some of the comments must have been true, because she was a very bright
and pretty child. Of course my parents didn’t know that I was being fed all those stories. So that
was the big trauma of my childhood.
Jean-Michel Quinodoz: Those are very early memories.
Yes, very early memories. I’ll tell you the dream.
4  :   

Memory of a dream at 2 years of age

The dream was that the window flew open and angel “thieves” (that’s what I called them in the
dream) rushed into the room and I woke up afraid. Now, I must have been told by some silly maid
that the angels took my sister to heaven, but to my mind that wasn’t such a good thing – so it was
angel “thieves” that rushed into the room. I don’t know if it was to take her or to take me.
Now, I think the trace that this left for me was very much a great attachment and protect-
iveness to sister figures, particularly younger sister figures because, although my sister was 4
when she died and therefore older than I was, to me she was always a younger sister. I was very
taken up in analysis with being very inhibited in my ambition whenever I found myself in a
situation of competition with sister figures. I can remember running in races, getting towards
the head of the file and then just falling back as soon as I got nearer the finishing line. So I was
always a very good team-player because for me it was brothers and sisters against the others.
And I think there was a lot of survivor guilt.

Early years: feeling abandoned

Hanna’s parents: “Jews who lived in Poland” or “Poles who happened to
be Jewish”?
Now, with my parents. I was born, I always say, by mistake in Lodz because – it was the
beginning of Polish independence – my father, who was an adviser to Pilsudski, was asked to go
to Lodz to take over for the new Polish government the municipal organization of gas, elec-
tricity and so forth from the Germans. I always say that I was born there by mistake because I
detested Lodz – which is an industrial town, a sort of Polish Manchester – whereas I adored
Warsaw. My birth was actually registered in a church in Warsaw. At that time, there was no
Public Records Office in Poland. My mother, whose maiden name was Weintraub, became a
Christian in order to have their marriage registered. As for my father, whose name was Czeslaw
Poznanski, he had converted to Catholicism in 1905 more in order to manifest his attachment
to Poland than out of any real religious fervour.
My mother came from a Jewish family. I know very little about her parents. I met them a few
times, but they lived in Wiesbaden and there were nine sisters, all of renowned beauty, particu-
larly my mother. They were the sort of nine muses around that area, particularly in Lodz. My
father also came from a Jewish family, one hundred per cent Jewish but very assimilated, very
patriotic. His great-great-grandfather was a tailor during the first Polish insurrection against
the occupation; his name was Rotblatt, and the Poles decided he was too good a patriot to have
such a German name, so they called him Poznanski, someone who comes from Poznan. My
father came from a line of jurists: his father was an eminent lawyer. His uncle was such a
famous gynaecologist that when the wife of one of the French Presidents was pregnant she
called on him to come from Warsaw to assist her. So my father came from this kind of assimi-
lated family.
In 1905 there was a strike (you may remember that in 1905 there was a sort of miners’
revolution). Nearly all the Jews broke the strike so my father, to identify with his Polish friends,
converted to Catholicism. He was an atheist – he didn’t care two hoots about religion, but he
wanted to emphasize the distinction between a Jewish Pole and a Polish Jew. My mother’s
parents were Polish Jews in the sense that they felt they were above all Jewish. When they were
in Russia they were Russian Jews, when they were in Poland they were Polish Jews. That kind of
Jew would not take part in any strike against the Russian government. On the other hand,
Jewish Poles are Poles, and Poles can be Jewish or Christian or Muslim – religion is secondary
to national adherence. Of course, it had very much to do with the advent of Hitler and the rise
of anti-Semitism. But nominally I’m Catholic: since in Poland there were no secular schools
and no secular registration, you had to be born a little Muslim, or Protestant, or Jew or
Catholic and the simplest was to register with the dominant religion, especially since it is the
minority groups that are always fanatic.
JMQ: What memories do you have of your parents at that time?
Bad ones. Before I was analysed, I didn’t realize just how much I hated both of them for having
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neglected me in my early years. I remember my father playing with me a little, but my mother
hardly at all. We lived in a town apartment so I had no other children to play with and I was all
day with maids. [. . .] I was always left in that flat unending Polish landscape, you know, that
long valley which starts in the Ukraine and runs down to Germany. There was nothing.

“Take me with you, always!”

At the age of 6 I had a particularly bad holiday when I fell ill and had actually a lot of boils on
my behind – my parents were away. That was when I told them that I didn’t want to be left
behind and I remember that I promised to be good if they’d take me with them.

JMQ: You already had quite a strong character!

No, I think that if I had protested at 3 or 4 – they were quite kind people, it was just that they
didn’t understand small children at all. So once I put my foot down and said “you’re not to
leave me any more”, they didn’t. And also by then of course I could talk, I could express myself
and my father particularly was very verbal. So from then on they took me on holiday, and that
was wonderful because that’s when I discovered the sea – even to this day, swimming in the
Mediterranean is the aim of my life, so to speak. I made friends and so on and also, soon after, I
went to school – which I adored because I was very lonely. I had a few little cousins – I had a lot
of cousins of course on my mother’s side – but the main ones were little cousins of about my
age; one was a girl whom I didn’t like very much but she was older than me and lived in Warsaw.
The other two, Johnnie and George, lived in Lodz but then they came to Warsaw – I don’t know
what age I was then – and we played games, usually very sexual games. For me, Freud’s
discovery about infantile sexuality was no discovery at all. I knew it very well indeed! And no
associated guilt, actually. All part of exploration or fun. But apart from meeting my cousins I
was a very lonely child until I went to school. So school was paradise for me.

From 13 to 16: Hanna’s family live in Geneva

Her father’s attempted suicide

JMQ: In 1931 your parents left Poland and moved to Geneva. What brought that about?

Things were complicated with my father and my mother. Up until adolescence, I very much
idealized my father because he played with me more. When I was older I remember him
teaching me art history and showing me things when we were travelling. He was the one who
chose books for me when I was a child. He took much more interest in me and he was a real sort
of Renaissance man with a lot of knowledge and interests. So I idealized him and I had a
tendency to look down on my mother as not being a very intellectual person, and also I found
her rather unapproachable. She didn’t relate much to children. It was very much better after I
was 7; she became very close to me.
Well, my father was a gambler and he gambled away his clients’ money. He attempted
suicide and that brought about a big sort of breakdown in the family. By the way, I don’t know
if telepathy exists or if it’s just some kind of belief, but he suddenly disappeared and we had a
friend called Osowiecki who was what he himself called a clairvoyant – but I am sure that it was
telepathic communication mind to mind, because he told us that my father was in a hospital in a
province somewhere after attempting suicide. We rang the hospital and, sure enough, we found
him. So all this meant a tremendous collapse of my idealization, particularly the suicide
attempt because I was very contemptuous of that. My mother, however, showed extraordinary
resourcefulness and courage, she who had been so completely spoiled – she never even used to
make so much as a cup of tea at home. When we went to Geneva, we were penniless – now-
adays, it’s quite common but in those days it wasn’t common at all. She learned to cook, she
learned to sew, she learned to run the house. She arranged for the gradual repayment of my
father’s debts. And it was the same during the Second World War – she had tremendous
resources whenever there was a major change in our circumstances.
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Opening up to the world at large

So I went to Geneva and I got very fat and depressed – I used to be such a skinny child. . . .

JMQ: It was very difficult to adapt – a change of language, a change of country.

Very difficult. French I knew a little because some of my bloody governesses were French (they
were the worst – can you imagine what kind of girl would want to go to Poland to be a nanny!).
So I had some French and the language therefore was not a problem. The problem was being
separated from my friends. We were in a small flat and we missed Warsaw terribly. I never
missed Poland as such, but all my life I have missed Warsaw. It was a wonderful city. Ugly as
hell, but a beautiful city in every other way. And also being for the first time in a co-educational
school – boys and girls. Being fat was quite an impediment.
On the other hand, I learned to love school because it was a real eye-opener for me. I think
it’s been taken over by Americans now, but in those days the International School was run by
the daughter of a former professor of an Ecole Normale Supérieure in France; she was the
headmistress. She was an inspiring person, very much on the lines of, you know, international
culture, co-operation. One thing that is now common in all schools but was very new then – it
was a very democratically run school. We had a Students’ Council which was responsible for
discipline, for running the shop – we made a lot of money in the co-operative shop – for
running all sorts of student affairs. The teaching was very stimulating and very liberal-minded.
There were two language streams, one French, the other English. Religion was taught as “com-
parative religion” and geography as “international culture”. As I say, now it’s quite a common
thing, but in those days it was very revolutionary. I made a lot of friends and acquired an
international outlook. There was a Lithuanian girl in the school and I ran up to her with sort of
open arms – “Oh, hello, we come from the same country” – and she threw an inkpot at me! The
point was that from the Lithuanian point of view the glorious period of the Polish/Lithuanian
Empire was not that at all – they felt they were under Polish occupation! So I suddenly realized
that, you know, there’s always another outlook on everything.
JMQ: I wonder if the contacts you had at the Geneva International School with so many lan-
guages and so many people from different countries influenced you later, because you are an
analyst who has travelled a lot.
Oh yes, I think it did a great deal. I think my earliest childhood did form my character a lot
both in relation to depressive anxieties and reparation and with a certain delayed heterosexual
development. Physically, I was always attracted to boys but my emotional life was much more
connected with girls – I never had crushes on schoolmistresses, for example, but always on sister
figures – and for a long time my friendships with girls were more important and meant a deeper
commitment than my relationships with men. These were not good, quite naughty in fact in my
adolescence. But the International School gave me, I think, the deepest conviction of tolerance
and curiosity – non-voyeuristic curiosity – about how things happen. I stayed there from about
late 13 to about 16.
Being rebellious in that school, for a short time I went through a Catholic phase. I met a
very intelligent Thomist priest with whom I had many philosophical conversations and I tried
for a year or so to be a practising Catholic. It didn’t take, because it was only a rebellion – in my
case, against the school.

Discovering water sports and literature

JMQ: Where did you live in Geneva?
In Champel, Chemin de Champendal. What saved my sanity to begin with was the Lake. My
parents bought me a boat. They were very, very poor but there was a chap called Condeveau –
we knew of him because he was the Swiss champion of single rowing and he advertised his
practice boat for sale. My parents couldn’t afford to buy it outright, but when he saw how keen
I was he allowed them to pay for it in instalments. So before starting school I would just spend
my time on the lake swimming and rowing. Once when I was older I nearly rowed to the far side
of the lake, but I didn’t quite manage to complete it. My hands were torn to pieces.
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Also, literature drew me to analysis because I fell in love with Proust very early . . . and that
must have been before I was 16 because I remember reading Proust already in French. It was
also the germs of a certain duality in me, which was helped by analysis. On the one hand I
was tremendously attracted to art, literature, mental functioning, things of that kind, and on
the other hand – and that would go back probably to my sister – I had a very acute social
conscience, so I had to do something that would be socially useful. Not easy to reconcile.

An early interest in psychoanalysis

My father always had a big library and I had started reading some things about Freud. Then we
had a visit from Madame Eugenie Sokolnicka. The French like to think that I was influenced by
her to become an analyst, but if anything she would have put me off analysis. All the same, it’s
in connection with her that my father explained something to me. She was a very unhappy
woman, desperately vain and always in search of a man. I first met her in Paris. She had seven
black cats which I loved but which my mother was a bit phobic about, so that made me feel very
superior. Then I remember Sokolnicka visiting us in Geneva and she was mad about men –
terribly unhappy – and she always had with her a patient who went on holiday with her. I think
it was Gaston Gallimard, the great publisher, and obviously terribly in love with her. So I asked
my father, “Look, if she is so mad on men why doesn’t she marry that man who’s running after
her?” Then my father explained to me about transference and why doctors are not allowed to
marry one of their patients. My father was very good in that way – he opened my eyes to many
things – and he said that when you have a psychoanalyst you get very attached to that person.
He read everything that an enlightened and intelligent man would read in those days.
JMQ: You were between 13 and 16 at the time – isn’t that exceptionally young to be interested in
psychoanalysis?
That’s when I first heard of it. It is young, but then I started reading Freud when my father
explained it to me. So that’s how I first heard about analysis and became interested in it. I was
enthralled by Freud’s Beyond the Pleasure Principle (1920g) and Civilization and its Discontents
(1930a [1929]). And my father was more rehabilitated in my eyes, if you like, because the journal
he was working for took up a very clear anti-fascist stance.

At 16, Hanna returns to Warsaw then begins her medical studies

Back to Warsaw
By 16, I was back in Poland. I had a couple of friends, one of whom later became an analyst too
– her name is Lisa – and we read Freud avidly; we discussed his work and applied it to literature,
quarrelled about him and so on. When it came to choosing a profession I was very much torn
because my interests were literary, artistic and so on, but my conscience told me that I had to do
something useful – and I was very politically engaged too. I started reading psychoanalysts on
literature, for example a book on Baudelaire by René Laforgue, and I thought that this was
really the answer to my prayers – becoming an analyst. I then realized that what interested me
was human manifestations in all sorts of ways – in literature, for example, and in illness – and
that analysis was an entry to that. I wanted to study psychology and law and work in the prison
service, because I was working also as a volunteer in a home for delinquent girls when I was in
Warsaw.
JMQ: You left Geneva and your parents in 1934 – at 16 years of age – to go back to Warsaw?
Well, it was a very civilized kind of adolescent rebellion. My father, who was a great patriot,
was very open to the argument that I wanted to have a Polish qualification. But mostly I missed
Warsaw, my friends – even though I had made very good friends in Geneva.
So, I went home alone and there I learned a lot. [. . .] I did two years at the Lycée for
Catholic Polish Girls. [. . .]
In Warsaw I mixed mostly with the bourgeoisie and the intelligentsia. There was a
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tremendous cultural life, with many high-quality theatres – they were subsidized, so it was easy
for penniless students to attend. The government was more and more right-wing, but political
opposition was gaining in strength. When I joined the Polish Youth Movement I got in touch
with what real poverty is and saw for myself the social problems and the restrictions on civil
liberties. I was quite close to the Trotskyists. So those were my schooldays, if you like.

Hanna decides to study medicine

Then I had this choice – what to do in life? I wanted to do psychology and law and go into the
prison service. I sought the advice of a Polish psychoanalyst, Dr Bychowski, who was later to
become very well-known in the United States; he advised me to go to Vienna – which, given the
circumstances of the time, would not have been a good idea at all! My father gave me good
advice. He said: “Look, if you want to reform things, never depend on a salary from any kind
of organization. Have an independent profession, so that you can do things on your own
authority.” I think that was very good advice, and I have followed it all the way through. Except
while training to be an analyst, I have never worked for the NHS, even though I was very
supportive of it. I have never worked for any organization – except, once, towards the end of the
war, when I had a medical director in the hospital where I worked.
JMQ: Was it in Warsaw that you chose your future profession?
That’s right. In a way I tossed a coin. It was very difficult to get into the Polish medical school –
not only a competitive examination, but they were also very biased against women and even
more so against people with a Jewish name. So I thought: “If I get in, I’ll be a doctor; if I don’t,
I won’t.” And I did get in. So I started studying medicine, which I don’t regret – it’s a good
preparation for analysis; I did three years of medical school in Warsaw before the outbreak of
war.

Hanna’s father is forced to leave Switzerland

JMQ: Why did your parents move from Geneva to Paris in 1938?
What happened to my parents was this. The Journal des Nations was mainly funded by the
Italian [anti-fascist] opposition. There were two editors – my father and an Italian called Carlo,
a lovely man. But Carlo was stateless, so Giuseppe Motta1 kicked him out. He then went to the
Zone Libre between Switzerland and France and he rang the Journal every day. My father
wasn’t stateless, so he was all right – until the Polish government decided to call all holders of
what were called Consular Passports – a passport that allowed you to live abroad – to return to
Poland for a review of their situation. My father didn’t go back because by then Poland had
become so fascist that they would certainly have refused him a passport. As a result, he lost his
Polish passport, and two months later Motta kicked him out too. That meant that the Journal
had to shut down, because with both Editors being out of Geneva it just couldn’t go on.
My parents went to Paris in 1938. My father had a very hard time even though he was a very
respected journalist. The Journal des Nations was a very serious paper read by everybody who
was interested in international affairs. There was such an influx of émigrés and doctors that
they had a very hard time. Some of my father’s friends in the press helped them out financially.

From 21 to 22: a reluctant refugee in France

Stranded in Paris at the outbreak of war in September 1939

By the time I returned to France for the 1939 summer holidays, my family had settled in Paris.
The declaration of war in September of that year prevented my going back to Warsaw – I’ll tell
you what happened in a moment. I found myself stuck in France for the rest of the year.
My parents were living partly off the international grant I had been awarded in order to
continue my medical studies. In addition, I earned a little money by giving private tutorials for
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exams and French lessons. But it was a really difficult time. Round about then, I joined an
illegal group of Trotskyist friends, but in spite of my pacifism I soon came to realize that I was
playing a dangerous game – so I left the group.

Meeting Paul again

And that’s where I met Paul again, my future husband; we used to know each other as children
– we didn’t like each other at all in those days – but when I met him in Paris in 1940 . . .

JMQ: What was he doing in Paris?

He had enlisted in the Polish Army. He too had a political history. He was a member of the
Young Communists, a party that was illegal in Poland, and he was arrested for “shouting out
anti-State slogans”. In fact, he told me that he never raised his voice at all. I can quite believe
that, because Paul wasn’t the kind of chap who would go out and raise his voice! Anyway, they
nabbed him and he spent nine months in prison awaiting trial. Then he was let out on licence
pending appeal. One of his uncles was working in a tourist agency and he managed to get Paul
on one of those tourist buses heading for Czechoslovakia. From there he went to Paris and he
was studying physics when I met him. Later he changed to mathematics. And you see with my
luck – of course, I didn’t know then that it was luck – the pair of us fought like mad to get on
the last train back to Warsaw, but to no avail, it was so full up. So, you see, I had more luck than
reason.

JMQ: Did you understand the risk you were taking?

Oh yes, I understood. But, look, I had just turned 21, Hitler was invading Poland – how could I
not be there!

JMQ: Were you to some extent attracted by the sheer dangerousness of the idea?

No, not by the dangerousness, by duty. But since I didn’t manage to get on that train, I had a
year in Paris. I think I’ve studied to become a doctor in more universities than anyone else I
know!

JMQ: So you went on with your medical studies in Paris?

And I was already trying to find out how one becomes an analyst. That’s what I went into
medicine for.

JMQ: Did you meet any psychoanalysts during your stay in Paris?

Well, I knew a name – René Laforgue, whose book on Baudelaire I’d liked. So, I rang Laforgue
and he said he had no time to see me: he was just about to evacuate Paris. That was a stroke of
luck, really, because I learned later that he used to take his patients swimming every weekend in
his pool. I would have fallen for it immediately – I love swimming. Later I met an English
analyst who had been in analysis with him and she told me all the horrible things. And sub-
sequently I learned also that he had collaborated with the Nazis. The French Society never
accepted him. So, after that, I eventually reached England . . .

The last boat for England

JMQ: In what circumstances did you leave France?

Well, we stayed in Paris until the German army began marching on the city, in the spring of
1940. After crossing almost the whole of France, my parents and I managed to get on the very
last Polish boat that was heading for England. It was transporting the Polish First Division, and
accepted some civilians on board.
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Survivor guilt
Hanna Segal: One of the main obstacles I had to overcome while I was growing up was
my “survivor guilt” relating to various dramatic circumstances, long before the Shoah.
Unconsciously, of course, it started with surviving the death of my sister when I was just
2 years old, but consciously it centred on three events in which I had the feeling of having failed
in my duty.
The first was in 1936: the Spanish Civil War. While I was on holiday in Geneva, I had
arranged with a friend, who knew people in the Spanish government, to go to Spain. But my
parents caught me trying to sneak out of the house one night. I just could not ignore the
distress they felt when they learned of my plan, especially since I was their only child.
It is difficult for the younger generation to realize the crucial importance, both symbolic and
real, of that war. The fall of republican Spain was the real beginning of the Second World War.
The second time I failed in my duty was when I didn’t go back to Poland at the beginning of
September 1939, when war was declared. This time, my parents were not against my return-
ing, because they understood my motives; but the last train to Warsaw was so overcrowded
that I couldn’t even fight my way in. Of those of my friends who did make it into the train, none,
as far as I know, survived. Much later I would say that I have always had more luck than sense.
The third occasion was just before I left France for England, when I accompanied a schizo-
phrenic girl to a mental hospital near Lourdes. I was offered a post as a house doctor in that
hospital. This was also a great honour, and the hospital director was quite taken with me – and,
of course, would have been only too glad to have another practitioner on his staff. I really did
want to stay; I could have joined my comrades in the Resistance. But again, it was my attach-
ment to my parents that held me back. They said that if I stayed in France, so would they – and,
given the fact that they were Jews in addition to my father’s political activities, that would
have meant certain death. So, reluctantly, I followed them to England.
(Hanna Segal, autobiographical notes, February 2001)

Once in England, Hanna takes up her medical studies again

In London during the Blitz

JMQ: Once you reached England, were you able to go on with your medical studies?

In England, one university accepted me provided I took the university entrance exam, so I
started swotting for that. Then I went to Manchester. By the way, it may be important to say
that the year I spent in London made me love England, because I think I would have hated
England before. Remember, this was the time of the “Blitz”. England used to be tremendously
reactionary, but the war brought about such a change. People never used to talk to one another
in trains and so forth, every Englishman would be behind his newspaper. This was especially
true of class divides – there were no bridges – but somehow the Blitz brought everybody
together in a much more open society. Also, something that was really admirable: everywhere
on the Continent food was in the hands of the black market, but in Britain most food was
rationed and the black market was marginal – that meant that during the war there was less
poverty in Britain than ever before. The birth weight of children almost doubled because
everybody was fed the same rations.

JMQ: A big social and political change?

An enormous political and social change. And it’s interesting when you compare it with the
panic that occurred after 11 September 2001; during the Blitz, London was bombed every
night, every single night. I used to move around a lot because I lived in Chelsea and I was
teaching Polish colonels English way up past Regent’s Park, so every evening I was on a man’s
bicycle that I inherited, a big one, trundling along right across London – this was just at the
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beginning of the Blitz. But I wasn’t the only one. I never saw panic. Never. Because people
helped one another. The ambulances worked. The fire service worked. Not like in England
today. There was solidarity. There was much more democracy and of course after the war they
chose a very reformist government in the early 1950s. So this is really what got me attached to
England. When we first went to an air-raid shelter in Paris people started complaining that
“those foreigners are taking away our oxygen”.

Medical studies in Manchester

JMQ: And afterwards you went on with your medical studies?

I had a very interesting term in Manchester because Manchester medical school offered to take
me provided I took the second Medical Board. I met a student counsellor, Miss Dorothy
Emmet, and told her that I had a thirty-shillings-a-week scholarship – how could I live in
Manchester on that? She replied, “Well, actually I’ve got a free room!” For a nominal rent she
took me in, and she had another German girl staying with her, Elsa, who was supposed to work
a bit in the house. What the work consisted of was – Miss Emmet liked her porridge made the
night before for the next morning, so every other day either Elsa or I would do her porridge.
That was the work we had! And through her I met the Manchester intelligentsia. She was a
marvellous person. She produced a very beautiful book about Kafka’s last love; when I read
that book, I discovered also the marvellous things she did for Kafka’s widow and child. She was
a terrific person. She was only the second woman to be appointed a Professor. So I stayed with
Dorothy Emmet, and she remained a friend until her death. She died in her late nineties, and
produced her last book in her early nineties – about her reminiscences of philosophers who had
influenced her. She was a fantastic person. She was a Quaker, and her whole life was Philosophy
– and also social work and helping people. And she had a great sense of fun. So the time I spent
in Manchester was quite happy.

With Fairbairn in Edinburgh

That wasn’t the case in Edinburgh. What was excellent there was that they had opened a Polish
section of the medical school, so that we were taken into our proper year which for me was
Fourth Year. So I had only a year and a half to make up. They gave us an extra summer term to
catch up. But, God, Edinburgh was very unpleasant in those days. It was what Glaswegians call
West Endy and East Windy. They were so cold. If you had no money you could get nothing. At
the weekend every shop, every coffee shop, every tea shop was closed. The free golf courses
were shut. There was nothing. But if you were rich and belonged to a club, everything was
open. They had their own golf course, they had their own bar . . .

JMQ: But wasn’t meeting Fairbairn in Edinburgh decisive for your future?

Yes, but that is where my “trying to find out how to become an analyst” ended. I went to work
as an unpaid helper in the Davidson Clinic which was one of the early sort of Tavistock
extensions – it was actually terrible. What I learned from them, I learned from their mistakes.
But I did meet Fairbairn and he was very fair because he told me how to become an analyst;
you didn’t even have to be a doctor. And he told me of the Institute, and that there was a split
between Miss Freud and Melanie Klein – two names I didn’t know at all. He gave me two books
to read – Mrs Klein’s The Psychoanalysis of Children and Anna Freud’s The Ego and the
Mechanisms of Defence. Well, it didn’t take me long to make up my mind. I found The Ego and
the Mechanisms of Defence quite boring really. But when I read Klein I was absolutely over-
whelmed. I wanted to start analysis with Fairbairn, but his fee was £1 a session, that’s £5 a
week, and my whole scholarship amounted to just half of that sum, two-and-a-half pounds a
week.
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Meeting Melanie Klein

Why Melanie Klein?

JMQ: But what attracted you to Klein?

I tell you what – one of the things that happened. At one point in our evacuation from Paris, my
parents and I took a train and, on this train, a young girl had an acute schizophrenic break-
down. The only person anywhere near being a doctor on the train was me. So the girl’s parents
asked me to look after her. I did so and got her to hospital and so on; and she was talking non-
stop and one of the things she was talking about was “I lost my lover in the loo, I lost my lover
in the loo”. I wondered what the hell that was all about. Later, when I started reading The
Psychoanalysis of Children, I thought to myself “this is a language one can understand”. After I
read what Klein said about children’s phantasies and devouring mother and all that, I thought,
“God, I could have understood that girl!” It hit me so much because I think it must have
reverberated with my own depressive experience and my interest in the human mind (including
my own, presumably), but anyway with this discovery of the language of children I thought,
“God, if I’d read Klein, I could have talked to that girl on the train . . .”

JMQ: Loss and depression were very much part of your life as a very young child. Could that go
some way to explaining why you found Klein’s ideas so attractive?

Well, I found reading Freud very exciting too. What I loved best was one of the first papers in
which he speaks of the death instinct, the major one, Beyond the Pleasure Principle – that was
my favourite, even though it has no clinical material. It brought back the excitement of the life
and death instinct and, as you say, the mourning. So it was both the richness of the internal
world and the seeing of this language that one can understand – and the whole experience, as
you say, of touching on somebody who could understand, who could understand me.
It so happened that Fairbairn had a friend who was an analysand of Mrs Klein, a Dr
Matthew, who was an associate member. He took me in analysis as his clinic patient for the year
I spent in Edinburgh. Finally I came back to London, shortly before the end of the war.
London was again being bombed, this time with what we used to call “doodlebugs”, which were
flying bombs. Without my knowing anything about it, my arrival was preceded by a letter of
introduction – Fairbairn had written to Winnicott!

Beginning analysis with Mrs Klein

Winnicott at that time was still quite close to Mrs Klein and I had an interview with him. It was
he who recommended me to Mrs Klein, but initially she wanted to send me to Paula Heimann.
She said a younger training analyst would be very good for me. But I didn’t want that. I told her
I would wait until she was able to take me on. She took me as a patient in her clinic consultation
until I managed to find a job in which I would be earning a bit more. At that time, all psycho-
analysts – not just those in training – were required to have a clinic patient. I was a house doctor
in Paddington Green Hospital, earning £10 a month. Shortly after this, however, both the NHS
and the Polish Government-in-Exile appointed me as a consultant psychiatrist, and that helped
finance my analysis. I think too that at that time Mrs Klein was particularly keen on having
students who were both young and brilliant – that must have played a part, I think.

(Tape 4, side A, 1 February 2004)

First interview – and quite a surprising one – with Edward Glover

The first interview with a view to training as a psychoanalyst was with Glover. He absolutely
astounded me because I had read the war things he had written – for example War, Sadism and
Pacifism (1933). I admired him very much and I was very much looking forward to seeing him.
Well, I arrived and he asked me the usual questions, whether I wanted to be an analyst for
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personal reasons as well as for scientific reasons. I said yes, as I had problems of my own to
solve. He was a very impressive-looking, white-haired man. Then he asked me if I had thought
about the person I wanted to have analysis with. I said yes, I’ve just started with Mrs Klein. He
jumped out of his chair at that and said “Oh, they’ve got the wrong people. We’ve got our own
people. I don’t want to have anything to do with that!” It was like a bombshell to me. I
remember telling Mrs Klein when I went the next day. I said: “Look, somebody’s mad in this
outfit and I’m sure it’s not me.” She didn’t say much. She said something along the lines of,
well, there are difficult changes in the Society and I’ll get another interview – because Glover
was still Education Secretary. He was at that time in an absolutely spiteful rage against Klein.
Why? I didn’t know anything about it at that time. Then I had an interview with Dr Payne. All
that took place while the “Controversial Discussions” were going on, but since I was still in
training, most of it went over my head.

Keeping clear of the Controversial Discussions

JMQ: But while the Controversial Discussions were going on, you must have heard that your own
analyst was coming under attack. Did that affect you in any way?

Well it did hurt me. But Mrs Klein didn’t say anything to me about it, nor about the difficulties
entailed by the whole thing.

JMQ: People like Glover were quite openly attacking her . . .

Well, Melitta – Klein’s daughter – attacked her own mother in that way. I had no idea what it
was about. I was very disappointed because as I say I was looking forward to seeing Glover, and
his early writings, I think, were still very Kleinian. Another thing that happened to me is that in
my first year I made friends with a young colleague called Ruth Thomas. Thereupon, she fell ill
with pneumonia, and when she came back she dropped me like a hot potato – she just wouldn’t
talk to me any more. Later I found out – Moses Laufer told me this – that her analyst had
forbidden her to have anything to do with the Kleinians because that would only confuse her.

The “A” seminars and the “B” seminars

Well, anyway, Herbert Rosenfeld was a year above me and he told me much more about what
was going on at the time I started my training. To begin with we were all in the one crowd, but
when I started my clinical seminar we had already an “A” stream and a “B” stream . . . We had
some theoretical lectures in common and an agreed curriculum, but others had different clinical
seminars. The “B” section was Miss Freud, who didn’t want her candidates to be “infected”.
The “A” section comprised all those who later became the Independents and the Kleinians. So,
anything that wasn’t “B” was “A”. In fact, there were a lot of Independents who actually
started as Kleinians – Winnicott or Scott would have been considered Kleinian. Scott had his
first analysis with Klein.
I don’t remember very much about the teaching. Actually, the students there – well, our life
– were quite different from nowadays. There were many more parties, many more contacts
outside, a lot more drinking . . . so I remember it as quite a good student time! You know, we’d
go out a lot and drink illicit stuff and things like that. But I didn’t have many more clinical
seminars. Some of them were interesting, like Money-Kyrle’s. I had Ella Sharpe too, but I
found her not at all interesting, I must say – very disappointing in her clinical seminars. But she
wrote a well-known book on dreams.
(Tape 4, side B, 1 February 2004)

Some thoughts on the underlying wish to be a psychoanalyst

I’ve just had a new idea about that. Elizabeth Spillius once made a survey, and she found that
the majority of analysts are people who have been “displaced” in some ways – it’s as though
they were in search of a home somewhere.
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JMQ: Well, that’s true of Geneva and probably of a lot of other places too . . .

If I look at myself, I would say that what is perhaps important is a variety of good and bad
experiences. If all your experiences were so continuously bad, it’s probably very, very difficult to
go beyond that; but, on the other hand, if they were always good, why – as Freud would have
said – should you want to be an analyst? As you know, Freud says that the mature person has a
combination of bad experiences that have been overcome and good experiences that have been
regained; that may be the stimulus for trying to solve how a bad experience turns into a good
one.
The second thing, even though Freud warned against therapeutic zeal, I think that some
basic good disposition is necessary if you want to be an analyst; I speak often of absurd
counter-transference and the unconscious counter-transference that the analyst must have in
his internal world.
Sufficient good experience and good identification with the parental couple are the basis of
a positive counter-transference. I think that what Freud calls therapeutic zeal probably has to
do with manic reparation: “Either I’ll get you better or I’ll wipe you out.” There is a kind of
basic wish to have benevolent neutrality, but I don’t think analysts are neutral; that’s not true,
they can’t be neutral, they are committed to something – so it’s “neutralized” rather than
“neutrality”. But the analyst is objective, in the sense of being able to look objectively.

JMQ: Would you say that for most psychoanalysts reparation is a significant factor?

Basically, a more depressive constellation than a narcissistic schizoid one probably makes for a
better analyst, I think. It may be narcissistic on my part to say that you and I experience being
drawn to Mrs Klein by depression, reparation and so on, so maybe that’s why I think that. But
from my experience of others what destroys analytical progress is narcissism. Somebody makes
a discovery which is of some value and immediately wants to out-Freud Freud and out-Klein
Klein. We are terribly ridden by a sort of narcissistic ambition.

JMQ: Perhaps there are many ways of being ambitious

On the question of ambition, people think that the British Society never split because of the
English character being always ready to compromise. I don’t believe that. I think our Society
didn’t split because neither Klein nor Anna Freud was motivated mainly by personal ambition.
They were both ambitious, of course, but I think that for Melanie Klein – her work, her
discoveries – and for Anna Freud – the memory of her father, preserving his inheritance – these
were more important than private ambition. All the other Societies split not really on account
of theoretical differences but on mad ambitions.

JMQ: That’s exactly my impression. There are psychoanalysts who are very ambitious and seek
power and others who are ambitious not for their own work but for the development of psycho-
analytic knowledge. The former often think that the latter have the same narcissistic aim as they
themselves do: they are in projective identification, often without realizing it . . .

I would say that neither Klein nor Anna Freud was primarily narcissistically ambitious. Within
the Independent group, there were early Independents like Sylvia Payne and Marjorie Brierley
who also were not motivated by personal ambitions . . . quite simply, they had their own views.

Donald W. Winnicott
JMQ: What memories do you have of Winnicott?

Well, my history with Winnicott is complicated. First of all, I’m really quite grateful to him
because he gave me a job in Paddington Green: it was near to Mrs Klein and he gave me time
off. . . . It was a very flexible job. Also, I was very deprived of books at that time. My father had
an enormous library, but when we moved to Geneva he didn’t bring his books with him. But he
went on buying books, and I was always buying books. Winnicott lent me all the past issues of
The International Journal of Psychoanalysis, so I could read everything. I was terribly impressed
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by what Melitta Schmideberg had written – I didn’t know about the split with her mother [i.e.
Melanie Klein] – and Winnicott himself has some lovely articles. Otherwise, however, I didn’t
like him and he didn’t like me. [. . .] Winnicott was adored in Paddington Green . . . he was a
kind of God-figure . . . “Oh, Dr Winnicott’s coming!” But he never once stood up to change the
hospital regulations and allow parents to visit more than for just two hours twice a week. [. . .]

JMQ: Later on, you disagreed also with Winnicott’s technique?

I could go on for hours about that. It’s part of the same thing. For example, with regressed
patients he tended to act out. In his technique, if you like, he was the Ideal Mother, the all-
giving mother [. . .]. But if patients didn’t respond or became aggressive, he couldn’t handle the
negative transference. [. . .] But when you were with him it was very hard to dislike him, because
of his smile.

JMQ: He began by working with Mrs Klein, then distanced himself somewhat – is that correct?

He had quite a strange relationship with Mrs Klein. You see, for him, she was so good. Mrs
Klein herself was all right. But of course he was challenging her technique. He always said it
wasn’t Mrs Klein, it was the Kleinians.

JMQ: She never criticized him even though she disagreed?

What Klein did was to have big controversies with Margaret Little, but she never took on
Winnicott directly. She attacked his technique through Little, because Little was very open
about what he was doing (Little 1990). The point is, I think, that Klein always felt terribly guilty
towards Winnicott because he asked her for an analysis and she told him: “Look there are many
people who could analyse you our way, like Joan Riviere for instance.” So he went to Joan
Riviere. [. . .] I think he never forgave her for that, and she felt very guilty towards him. Mrs
Klein liked him till the end.

(Tape 2, side A, 31 January 2004 and tape dated 6 February 2007)

Disagreements between the Middle Group and the Kleinians

The psychoanalytic approach in the case of “regressed” patients: a
controversial topic
When Hanna Segal speaks of her memories of the early 1950s and of the controversies that
followed the modifications to psychoanalytic technique introduced first by Balint then by
Winnicott, Masud Khan and other members of the Middle Group, it is not surprising to note
that, even today, she sometimes gives vent to some of the passion with which, in those far-
off days, she defended the traditional psychoanalytic setting. From the end of the 1940s
on, she was personally involved in the debates that opposed the Middle Group – made up of
psychoanalysts who were followers of Balint and Winnicott and subsequently known as the
Independents – and the two other groups within the British Psychoanalytical Society: the
Contemporary Freudians, who were followers of Anna Freud, and the Kleinian group, led by
Melanie Klein. The differences between these groups focussed mainly on the psychoanalytic
treatment of so-called “regressed” patients – a controversy that came up against an initial
stumbling-block in that the very concept of “regression” had no place in Kleinian thinking.
The debate in itself was not a new one. It goes all the way back to the one between
Freud and Ferenczi in the 1920s. That controversy was reopened by Balint, when he took up
Ferenczi’s doubts about the validity of the classical psychoanalytic technique. Drawing
on his clinical experience, Balint argued that, with a certain type of patient, the atmosphere of
the analysis changed – interpretations no longer seemed to have any impact and were even
felt to be persecutory or seductive. In his view, this regressed phase was a return to a primitive
state of harmony with the object – “primary love” – from which the dynamic structure of conflict
is absent; he called this phase the “basic fault” (Balint 1968). For Balint, this kind of object
16  :   

relation resembled similar states that had been described under different names by other
psychoanalysts, as would be the case later with Winnicott and Kohut in particular.
As regards technique, Balint recommended that the analyst accept this regressed state
and refrain from interpreting the patient’s material in terms of the transference. He argued that
the analyst should not present him- or herself as a separate and distinct object and should
refrain from offering interpretations aimed at bringing the patient out of that regressed state.
What was important in Balint’s view was that the patient should discover his or her own way to
a “new beginning”. He thought also that there could be some degree of physical contact
between analyst and patient – certain gestures such as holding the patient’s hand during a
session are necessary enactments if non-verbal communication is to be maintained when
verbal communication is no longer possible. According to Balint, accepting the experience of
regression and acting-out meant that the emphasis was placed on the mutual sharing of
the experience in the analysis; he argued that this was an important therapeutic agent in its
own right.

Kleinian objections
The psychoanalytic approach in the case of regressed patients which was adopted by Balint –
and even more so by Winnicott – therefore differed substantially not only from the classical
technique but also from the Kleinian approach, which found itself challenged on several points
of technique. It could be said that the whole basis of the Kleinian approach lies in establishing
a strictly-defined psychoanalytic setting, the essential prerequisite, Kleinian analysts would
argue, for a complete unfolding of the transference. It is therefore necessary for the psycho-
analyst to restrict him- or herself to the work of interpretation, without seeking to give any kind
of reassurance – reassurance comes from the psychoanalytic situation itself and from the
analyst’s attitude, stability and capacity for relieving anxiety through interpreting the patient’s
material.
The disagreements between the two approaches had also to do with the interpretation of
aggressiveness, destructiveness and envy. According to Balint and Winnicott, hate and sad-
ism are secondary to the emergence of feelings of frustration, when the object is perceived to
be separate and different. For Melanie Klein and her followers, however, the object is per-
ceived from birth onwards, and from the very beginning there is a conflict between the life and
death drives. Accordingly, hate and sadism are primary drives which must be interpreted
directly in the transference relationship. As regards the idea that transference interpretations
as such should be avoided, Kleinian psychoanalysts would argue that in cases of severe
pathology the analyst must offer interpretations in order to open some doors that may help the
patient move out of the impasse, because the patient alone will not be able to do so.
The differences between these two groups spring also from the fact that they have a
different conception of narcissism, as I have pointed out in my discussion of interpreting
separation anxiety in the course of the psychoanalytic process (Quinodoz 1991). For those
psychoanalysts who follow Balint and Winnicott, narcissism is a normal developmental phase;
it is therefore quite normal for narcissistic phenomena to emerge during analysis, so that, in
their interpretations, they pay little attention to the conflictual aspects of the narcissistic trans-
ference. On the other hand, Klein’s followers see narcissism in a context of aggressiveness,
destructiveness and envy; these psychoanalysts consider narcissism to be the outcome of a
set of drives and defences that can be interpreted in all of their detail in the here-and-now of
the transference relationship, in particular when breaks in the analytic encounter take place.
If the disagreements between the Middle Group and the two other groups – and in particu-
lar the Kleinians – had simply involved questions that did not amount to challenging the
clearly-defined psychoanalytic setting (Little 1990), the debates would probably not have
taken on the kind of contentious and personal turn that at times became endemic. However,
given that Balint, Winnicott and above all Masud Khan did not always follow the precepts of the
classical setting, those analysts who belonged to the other two groups were in no mood to
compromise; that issue, they argued, went to the very heart of the technique of psycho-
analysis. Accordingly, they felt that enactments of that kind could well lead to damaging ethical
transgressions on the analyst’s part (Sandler 2002).
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From the Middle Group to the Independents: opposing points of view

In his in-depth study of Balint’s technique, Stewart (1992) expresses his reservations about
Balint’s approach to regressed patients – and that very fact highlights the extent to which
opinions changed as the Middle Group evolved into that of the Independents. In Stewart’s
opinion, Balint underestimated the transference violence that is sometimes hidden behind the
outward attitude of patients who have regressed to the basic fault stage. “In my experience,
this description is not strong enough as it does not encompass the sheer malice, destructive-
ness and extreme envy that is also behind the lack of co-operation” (Stewart 1989: 223).
Stewart goes on to discuss the difficulties that the analyst encounters in deciding which
requests coming from the patient can be accepted and which cannot – one example being the
patient’s wish for the analyst to hold his or her hand during the session. Stewart’s own experi-
ence, as well as that of some of his colleagues, taught him that although physical contact may
at times have a positive therapeutic effect, at others the patient will subsequently have a
frightening dream of being raped or sexually assaulted. “The inference is that the unconscious
experience of the patient had been very different from that of an innocent physical contact”
(ibid: 226). Stewart goes on to point out that the apparently calm atmosphere typical of this
kind of regression may be due to the fact that persecutory sexual anxieties have been split
off and evacuated. In spite of his reservations with respect to Balint – which show that he has
moved away somewhat from his original position – Stewart still believes that, if the circum-
stances warrant it, there is room for a psychoanalytic technique that accepts regression
(Bridge 1992).

But why so much passion?

Why did the controversy over these issues generate so much passion? André Haynal (1987)
has attempted to answer that question. He says that part of the explanation for the intensity
and at times tragic impact of debates among psychoanalysts lies in the intimate nature of the
teacher–pupil/analyst–analysand relationship that is established in the course of analytic train-
ing, especially when the groups involved have a limited number of members. That emotional
intensity is due also to the fact that the instrument which analysts – like artists – use in their
work is their very own person (Haynal 1987: 153).
As I write, those passions of former days have somewhat subsided. It is important to note
that very few Independents actually practise that particular kind of “holding”; most of them
follow a strictly-defined (classical) psychoanalytic protocol. The Independent Group is no
longer what it used to be – many of its members consider themselves to be “non-aligned”
rather than direct followers of Winnicott or any of the other main protagonists. Also, the
“gentleman’s agreement” that governed relationships between the groups in the British
Psychoanalytical Society is no longer in force. I would go as far as to say that those who
belong to any one of the three groups that make up the Society today – Contemporary
Freudians, Independents and Kleinians – would never have become what they undoubtedly
are had they not been able to learn so much from one another.

Joan Riviere
JMQ: You were in supervision with Joan Riviere and Paula Heimann . . .

. . . and John Rickman of course. Joan Riviere had an enormous influence on me. She was an
extremely impressive lady. Very very tall. Very beautiful. Very severe. It was said that in her
lifetime she only wrote two good reports on students, one on Rosenfeld and the other on me! I
know that isn’t true. I know she wrote a good report on Henri Rey as well. She had a devastat-
ing wit. Students were very, very frightened of her and I’m not surprised. But she got on with
me very well because we had interests in common, particularly in literature. She introduced me
to a lot of English literature I didn’t know. She let me have the run of her library – I was very
deprived of books – and I introduced her to Guillaume Apollinaire. And so we had a lot of
exchanges.
When I was in supervision with her she was extremely acute. You know, long before Mrs
Klein described projective identification, advising not to interpret too directly to the patient
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because it would be like pushing back his or her projections, Joan Riviere said: “Don’t be in a
hurry to interpret the paranoid projections so much, just take them up in the material because
the patient will tell you a lot more about his phantasies as long as they are safely lodged inside
you, and that way you’ll learn more.” So, she had that intuition – don’t just put the thing back.
It was much later that we discovered the underlying reason.
Joan Riviere could be pretty cynical about things. She once told me: “You should always
have one or two patients as a pot-boiler.” I said: “What’s a pot-boiler – is it to keep you
thinking?” What she meant was for financial reasons – one or two patients who paid well! – as
the English put it, “for the pot”.
I wasn’t married at the time but Paul was on leave and he stayed with me that first Christ-
mas. Joan Riviere’s husband had died shortly before, and she invited me along for Christmas
day. I said I was sorry but I had a young soldier staying with me, and she said: “Well, bring him
along.” And they got on terribly well together because they had exactly the same sense of
humour – normally, she didn’t take to many people. She was quite a difficult person but she
became very fond of Paul. It was a very good sign. They had similar cultural backgrounds. Very
well read, and a similar, very sharp, very cynical wit which I’m completely deprived of! All my
family has it, all Paul’s children, but I don’t. So she had a very deep influence on me.

JMQ: Did she have an influence on your clinical approach, for example on your acuteness in
detecting the main issues for the patient?

Well, one’s capacity to see that is more internal really. But she did develop it very much.

Paula Heimann
With Paula Heimann I learnt a lot too because I knew nothing, how to begin an analysis, etc.
but it was a much more equal relationship. She was much more of a chum. Paul thought her
very naïve which I didn’t. I admired her, but I think he was right. [. . .] She was such an idealizer.
You know, she would fall for things and not be able to deal with the consequences of what
happened later. But he liked her and we got on quite well, but she never was the admired object,
more like a senior colleague – and a good friend. We had good times together. It makes me
think of some good Kleinian seminars, including with Paula Heimann, and Mrs Klein’s child
analysis seminar that I attended.

John Rickman
Certain things remain with me from other people. Two things about Rickman. One an anec-
dote: He was crossing a hospital garden to go to see a patient and a very disturbed patient,
obviously murderous, rushed out at him, under some delusion or other. All Rickman said was:
“Don’t be afraid” and the chap stopped and just fell down.

JMQ: That reminds me of what my wife, Danielle Quinodoz, has described – interpretation in
projection – mirroring what the patient says.

That’s right. But now we have all the theory to back it. The other thing I remember of Rickman
is his saying that when the patient keeps talking about one parent or has a transference of one
parent – father or mother – always ask yourself: “Where is the other parent?” Otherwise I learnt
mainly from my own work, from Mrs Klein and from Joan Riviere and Paula Heimann.

(Tape 4, side B, 1 February 2004)

  :    19

Hanna Segal and Geneva

In 1955, Hanna Segal returned to Geneva in order to participate in the Congress organized
that year by the International Psychoanalytical Association. Spurred on by Raymond de Saus-
sure and Marcelle Spira, the small group of psychoanalysts in French-speaking Switzerland
was expanding and becoming more international in outlook. Raymond de Saussure had lived
in New York during the Second World War, and when he returned to Geneva he had many
ambitious projects for developing psychoanalysis there – his active support and initiative were
instrumental in enabling Geneva to host the IPA Congress in 1955. Marcelle Spira had just
returned to her native Switzerland from Buenos Aires, where she had trained as a child analyst
with the Kleinian group in Argentina.
The contacts that Raymond de Saussure and Marcelle Spira built up during that Congress
no doubt provided the impetus for the current growth of psychoanalysis in that region of
Switzerland. De Saussure was one of the founder members of the European Psychoanalytical
Federation, and was elected its first President.
It was in 1955, at the International Congress in Geneva, that Marcelle Spira met Melanie
Klein for the first time. As a result of that brief encounter, Marcelle Spira began to invite to
Geneva several London-based psychoanalysts belonging to the Kleinian group – Melanie
Klein herself and Hanna Segal, for example. After their meeting, Klein and Spira wrote to each
other on a more or less regular basis between 1955 and 1960; the last letter is dated just a few
months before Klein’s death. In all, Melanie Klein wrote some 46 letters to Marcelle Spira and
there are extant six rough drafts of letters from Spira to Klein. Their correspondence was made
available to me after Marcelle Spira’s death in 2006 at the age of 97.
My initial reading of that series of letters has encouraged me to make a much more
detailed study of them. They contain discussions of several themes. Their content has mainly
to do with the translation of Klein’s The Psychoanalysis of Children; Marcelle Spira translated
the footnotes into French. The work lasted many years, and in her letters Mrs Klein often asks
how it is progressing. The exchange of letters mentions also the difficulties that Marcelle Spira
was encountering in her attempt to spread Klein’s ideas both in Geneva and more widely in
Switzerland. Klein regularly encourages Spira to continue in this vein, and shares with her the
difficulties with which she (Klein) had to contend in her own career. Here is an extract from
a letter written by Melanie Klein to Marcelle Spira on 13 February 1956:
I always thought it would be a very hard task to try to introduce into Switzerland and in
particular Geneva where now de Saussure reigns, actual psycho-analysis, but I thought
that you had not only the pioneer spirit to do that, but also the means to hold out for a longer
time. Though difficult, I would not have thought it an impossible thing to do, but the pre-
condition would be that you could wait until patients turn up, which I believe they would do
in time.
A few months later, there seems to be rather better news of psychoanalysis in French-
speaking Switzerland. Melanie Klein sent this reply to Marcelle Spira on 3 May 1956:
I need not tell you how delighted I am that the Swiss are at last going to learn analysis, and
my own experience has shown me that one person who has the perseverance, the capacity
and the personality to stand up can produce the most far-reaching effect.

In her letters to Marcelle Spira, Melanie Klein mentions Hanna Segal

In the historical context of psychoanalysis as it was in 1956, Raymond de Saussure took the
initiative of organizing an International Symposium in Lausanne devoted to the psycho-
analysis of children. He invited, inter alios, Serge Lebovici and René Spitz. He invited Melanie
Klein too, but she declined the invitation because she was unable to leave London at that time.
Marcelle Spira wrote to Melanie Klein suggesting that Paula Heimann attend the Symposium
since Klein herself could not be there. The following is an extract from the letter that Melanie
Klein wrote to Marcelle Spira on 8 May 1956, in which she speaks very highly of Hanna Segal:
In the meantime, we have had the Freud Centenary celebrations, and de Saussure, who
was very friendly, approached me straight away and asked who could attend that special
20  :   

meeting in Lausanne to represent my group. [. . .] I told him that I knew somebody more
suitable and more capable to do this, and that is Dr Segal, who is also the one amongst us
who can speak the best French.
[. . .]
I feel very happy indeed about this development and I was delighted that Dr Segal
agreed to do it. I really think she is by far the best person both to explain my work succinctly
and also not to be provocative, and de Saussure was very pleased when I told him that her
way of presenting things was not provocative.
My impression is that he is quite determined to have her there, and when I remember
his attitude one or two years ago it seems to me a tremendous achievement on your part.
He was really very friendly and interested.
[. . .] I was delighted about Dr de Saussure’s invitation to Dr Segal and also about her
being so willing to accept it: the whole thing is the best news I have had for some time, and
your part in it is fully appreciated by me and my friends [. . .]
With love,
Yours,
Melanie Klein

What struck me about Klein’s letters was the warm and highly sympathetic manner in
which she encouraged Marcelle Spira. It is a far cry from the emotional coldness and aloof-
ness that is sometimes attributed to Melanie Klein. I would further point out that these letters
are also one of the few instances we have of an exchange of correspondence between Klein
and her colleagues. According to Elizabeth Spillius, in the Melanie Klein Archives in London,
there is no trace of the letters written by her to other psychoanalysts; letters that Mrs Klein
wrote to her family are still extant, but it would appear that she herself destroyed the rest of her
correspondence.

Subsequent visits by Hanna Segal to Geneva

Hanna Segal’s participation in the Lausanne Symposium was the starting point for her many
trips to Switzerland. Since Marcelle Spira could not supervise her own analysands, she invited
several London-based psychoanalysts – Melanie Klein, Hanna Segal, Herbert Rosenfeld,
Betty Joseph and others – to Switzerland for that purpose. In her letters, Melanie Klein writes
of the meetings Marcelle Spira and Hanna Segal had in London, during which they pro-
grammed the series of trips that Segal would make to Switzerland as well as Klein’s own visit
to Geneva (23–29 August 1957).
The fact that Hanna Segal speaks fluent French was no doubt a decisive factor in that
series of invitations from French-speaking Swiss psychoanalysts in the 1960s and 1970s. In
1969, I remember attending the first Congress of the European Psychoanalytical Federation
devoted to child analysis, which took place in Geneva. Hanna Segal was invited, as were Anna
Freud and René Diatkine. I remember also that, during her stay in Switzerland, Anna Freud
called on Herbert Graf – Freud’s famous “Little Hans” – who was at that time Director of the
Geneva opera house.
Later, from 1979 until 1989, Hanna Segal visited Geneva on a regular basis, once a month,
for seminars and individual supervision. It was during this period that I got to know her better.
I was impressed by the way in which she understood not only Klein’s approach but also that
of Freud himself. She explains and discusses the theories of different psychoanalysts in
such a clear manner that her listeners can give a more solid foundation to their own thinking
about psychoanalysis, linking theory and practice in a continuous to and fro movement. When,
in 1989, she stopped coming to Geneva on a regular basis, I continued to meet her from time
to time in London. That was when she agreed to preface my first two books The Taming of
Solitude: Separation Anxiety in Psychoanalysis (1991 [1993]) and Dreams That Turn Over a
Page (2001 [2002]).
 Chapter 2

PSYCHOANALYSIS AND THE AESTHETIC EXPERIENCE

HOW DO ARTISTS SUCCEED IN MAKING EMOTIONAL CONTACT WITH THE
GENERAL PUBLIC?

As an adolescent, Hanna Segal was already passionately interested in art and literature. It is
therefore hardly surprising that she devoted her first paper on psychoanalysis to that topic. “A
psycho-analytical approach to aesthetics” was originally her dissertation paper for qualification as an
associate member of the British Psychoanalytical Society; it was published in the International
Journal of Psycho-Analysis five years later, in 1952. That paper was immediately seen to be a
significant contribution to the the study of psychoanalysis and aesthetics. For Segal, the crucial issue
that artistic creativity evokes is that of understanding how and by what means artists succeed in
making emotional contact with the general public and in triggering an aesthetic response. Freud had
discussed the question only passim. Segal took as her starting point Melanie Klein’s work and her
own clinical observations. She had discovered in the analysis of several artists suffering from inhib-
itions as regards their creative capacities that their inability to play freely with symbols was linked to
the impossibility that they experienced with respect to the work of mourning. She suggested that
working through the depressive position plays a decisive role in the symbol-formation processes that
lie at the heart of the creative impulse.
In this chapter, I shall present the three major papers that Segal wrote on this topic, plus a short
lecture that she gave in 2004. After “A psycho-analytical approach to aesthetics” was published in
1952, Segal wrote “Delusion and artistic creativity” (1974) in which, after drawing a parallel between
psychotic delusions and artistic creations, she goes on to highlight the similarities and differences
between them. For Segal, psychotics and artists share features that have to do with the depressive
position, in particular the feeling that their internal world has been destroyed – hence the need to
construct a new one. From that point on, however, their paths diverge: psychotics tend to create a
grandiose and unreal self-image, while artists tend to restore their objects rather than their self and to
stay in touch with reality.
In 1991, Segal wrote Dream, Phantasy and Art, in several chapters of which she explores the issue
of artistic creativity and the aesthetic experience. She begins with a critical discussion of Freud’s
views on art in the light of her own ideas, then develops her hypothesis according to which the artistic
impulse arises out of the depressive position: she argues that a work of art has its source in the
existence of a destroyed internal world and the desire to restore it. The final chapter of the book deals
with the relationship between imagination, play and art. In a public lecture she gave in 2004, Segal
discusses artistic creativity in the field of dance, theatre and music. She describes in particular the
part played by the body in these forms of art based on the artist’s performance, a subject that she had
not broached before.
Do Segal’s ideas on creativity still have an effect on people today? It is always difficult to assess
the significance of innovative ideas, but at times one comes across them again when least expecting
to do so. So it was for my wife Danielle and me in March 2005, when we visited Ground Zero in New
York. As we stopped in front of the murals that surround the hollow, we were surprised to read an
extract from Segal’s 1952 paper on “A psycho-analytical approach to aesthetics” beside a series of
self-portraits drawn by children:
22     

It is when the world within us is destroyed, when it is dead and loveless, when our loved ones are in
fragments, and we ourselves in helpless despair – it is then that we must re-create our world anew,
re-assemble the pieces, infuse life into dead fragments, re-create life. (Segal 1952: 199)

By what means did that extract find itself in such an unexpected place? Marygrace Berberian, the art
therapist and social worker at the origin of the project, tells how it came about in an article entitled
“Communal rebuilding after destruction: The World Trade Center Children’s Mural Project”
(Berberian 2003). She shaped the project in her mind in the immediate aftermath of the 9/11 attacks:
“It was an almost insurmountable pain, which fuelled the fear, anger, and sadness that we felt as
individuals and as a community. Artistic expression immediately alleviated the pain of a community
struggling to make sense of an illogical sequence of events” (ibid.: 28). Children were the most
affected; most of them imagined that a great number of buildings had been destroyed. Marygrace
Berberian, who witnessed the collapse of the Twin Towers, was working at the time on an art therapy
project in New York schools. “As an art therapist, I realized children needed to symbolically rebuild
the Twin Towers. Children needed to rebuild what was destroyed” (ibid.: 30). Marygrace Berberian
took immediate action and conceived the project of asking pupils to draw their self-portrait as a way
of enabling them to express and process their feelings about the situation. Her project received huge
support; March 2002 saw the inauguration, in the heart of New York, of this vast mural with its
3, 100 self-portraits of children and, amongst others, the extract from Segal’s paper. The exhibition
has been visited by large numbers of schoolchildren accompanied by their teachers or parents, in
addition to the crowds of people who every day visit Ground Zero.
With her deep understanding of the spirit of the fundamental message contained in that extract
from Hanna Segal’s article, Marygrace Berberian gives this explanation for choosing that particular
one: “Children were recreating life in their art. [. . .] Art is a creation; a recreation of past representa-
tions significant to the artist in the moment. The capacity to express oneself through line, colour, and
form is a birth process. Creativity allows for describing, building and reconfiguring an injured object
so that mourning can begin” (ibid.: 33).

A psychoanalyst reflects on the aesthetic experience

JMQ: What gave you the idea of writing about creativity in art and aesthetics?

Hanna Segal: I always had the impression that papers on art written by psychoanalysts were
actually pretty simplistic, because they followed the content – which basically is always the
same, whether it be a science fiction story or Oedipus Rex. They gave really no insight into the
aesthetic values. Even Freud had nothing to say about aesthetic values.
How did it come to me that the creative process actually was reflected in the aesthetic
value of the work? It must have been an inspiration. It so happened that at the same time I had
in analysis a schizophrenic patient, a very inhibited writer of children’s stories and a television
director who was very grandiose. So, the similarities were in their processes of symbolization –
that gave me the idea. I knew of course that concreteness plays a part in art. Now, the
schizophrenic patient wasn’t an artist. His sublimation – I couldn’t say so at the time – lay in the
fact that he became mad. He had this idea of a completely destroyed world. [. . .] The woman
patient, the writer, became completely disinhibited. I don’t mean disinhibited in the bad sense
of the word but her inhibitions as regards writing were completely lifted. I do have the feeling,
all the same, that the urge to address myself to the issue of aesthetics was because I wanted
to link it up with my other interests. I had a strong feeling that analysis had a lot more to say
about the creative process and the link between the creative process and the aesthetic value
of the product than had ever been said before.

JMQ: One of your main ideas was the link you made between the creative process and the
working-through of the depressive position.

Well, that would be my inspiration from Klein – the rebuilding of the internal world. In Klein’s
      23

work there are a lot of ideas about that. When do you get a symptom and when do you get
sublimation? In both, it’s a case of working through the depressive position. So that wasn’t a
very big step I made; all I was doing really was applying this new concept I had borrowed from
Klein to what impressed me in Proust and to various things I found in poetry – Rilke, for
example, whom I quote in my 1952 paper on aesthetics: “Beauty is nothing but the beginning
of terror that we are still just able to bear.”
Where I think I went beyond Klein was in sort of putting Klein’s work together as regards
the restoration of the internal world. I think my original contribution was to show the degree to
which such restoration is done and how it is actually reflected in the beauty of a work of art.
The aesthetic experience of the person who is sensitive to this kind of phenomenon comes
from an identification with the writer’s or painter’s ability to look at what lies in the depths, no
matter how destructive, overcome it and turn it into a thing of beauty.

JMQ: I remember having had a similar aesthetic experience when I visited an exhibition of
René Magritte’s paintings. I wrote about it in my book Dreams That Turn Over a Page (2001
[2002]). When I read about Magritte’s life, I realized that much of what he painted was an
attempt to overcome his anxiety states relating to his schizophrenic mother’s suicide by
drowning when he was just 14.

Freud had the intuition that artists try to awaken in other people the same feelings that led
them to create their work of art. You can see that the artist communicates at the same time
both the destruction of the internal world and the capacity to repair it. It’s as though he or she
were saying: “I’ve been where you’ve been. And this is one of the ways out; this is what can be
made of something you’ve gone through.”

JMQ: We identify both with the artist’s destroyed inner world and with his capacity to repair it.

And we feel uplifted. That’s why tragedy doesn’t depress you, but reading about concentra-
tion camps depresses you. Because the artist makes the unbearable bearable by giving it
expression. That’s why you don’t find looking at Goya depressing – you find it uplifting.

JMQ: Indeed, in your 1952 paper on aesthetics, you make a link between creativity and
symbol formation.

That’s right. And I was interested in symbolism because I was treating artists and a schizo-
phrenic and they were all having difficulty with symbols. The psychotic because he was psych-
otic, and the artists because their work consists in creating symbols. So, any disturbance in
that field leads to disturbance in their work. In psychotics, the unconscious is sort of halfway
between concrete and sublimated, but artists must be able to express the concrete in a much
more symbolic manner. Art is very concrete – it appeals to our senses, to our eyes, to our ears,
and so on . . .

JMQ: The work of writing also, perhaps?

. . . and reading. It’s very very concrete. There must be an object, a real object. Either the play
you’re working on or the paper and pen you’re writing with. The experience shows how to
convert the perceptual impact in its most primitive form into the whole perception. One could
say that the artist’s job is to deal symbolically with the concrete while all the time being under
threat from it.

JMQ: In Dream, Phantasy and Art you significantly develop what you said in your first paper
on aesthetics, and expand on Freud’s views by adding some of your own new ideas.

I don’t know if I made much of it in the paper but a lot of it came after reading Stokes (1965)
and through my own clinical experience – and also perhaps because of my own depressive
tendencies. I think I undervalued the importance of the contribution from the paranoid-schizoid
position. You know, there is in all artists not only a search for the ideal but also aggressiveness.
I mention that in the papers. To what extent should a work of art reflect and admit aggressive-
ness, etc. But it’s not only that. A work of art must transform very schizoid elements into art. Be
24     

able to include them, if you like. Something of that comes through in what nowadays we call
action art and so on. But when it’s let loose without any link to the depressive process, what
you get may be just a black canvas or just a blue canvas or just a whatever . . . I think that is the
contribution, if you like, of the schizoid state. But I still think that this has to be worked through
and brought together in a depressive way, otherwise it just . . . well, it’s a bit like pornography –
pornography is not the same as art – so although all the pornography elements may be there
they have to be transformed into something else. And I think I probably underplayed the
significance of that.

JMQ: In that book, you explore also the part played by juxtaposing extremes in triggering an
aesthetic impact. Could it be that at one of these extremes we find depressive elements and at
the other paranoid-schizoid ones?

That’s right. I think the contrast between the two and the conflict between the two give rise to a
creative tension. After writing the paper on aesthetics, I discovered that Freud knew something
about that. The “Minutes” of one of his Wednesday meetings has him saying that the content of
a work of art is Oedipal but its form is dictated by much more archaic processes. And of course
with Klein we have some insight into precisely those archaic processes. But Freud himself
knew about that. And I think he knew that he was no good at that kind of thing – some people
say that he couldn’t understand the roots of creativity because they lie in those archaic
processes.

JMQ: And that can be transmitted through the form of a given work of art, in music for
example . . .

That’s right, through the form. I think that the form a work of art takes is probably at least partly
defined by innate abilities – when there is an inherited musical talent, let’s say. Picasso’s father
was not a very good painter, but in the Bach family or the Beethoven family there were many
musicians. So it’s partly inherited, I’d say, and partly linked to infantile experiences. [. . .]
(Tape 6, side A, 12 March 2004)

JMQ: You emphasize also the fact that an artist has to work very hard because the
integrative process demands a great deal of energy.

Yes and a lot of contact with reality. I have said that although an artisan may be an artist
(sometimes he isn’t, of course), every artist must be a first class artisan.

JMQ: And the influence of the artist’s infantile experiences?

I think all artists must have their child part very much alive inside them, because they retain the
child’s early perceptiveness. They have this freshness, I would call it. It’s only later on that the
child is taught all sorts of rules, as it were. Such-and-such is pretty, such-and-such is this or
that. I don’t think I showed you the photo of my great-grandson at three or four months. You see
these enormous eyes that are looking. And artists see things that other people didn’t see
before because they’ve managed to keep their own freshness of perception. They don’t let
perceptions be dictated to them. So they must be very much in touch with their child part, they
must be very aware of internal realities and external realities – and also have a high degree of
curiosity about the world and about perception. As a French writer once put it: “Je suis un
homme pour qui le monde réel existe” [“I am a man for whom the real world exists”].
I once had a patient who was a singer, but she was really too disturbed to make anything of
her voice. It had partly to do with the fact that she loved herself and the image she had of
herself so much that she had no love left at all for music. But she had a splendid voice and a
powerful one at that, a very rare voice. But in her, it was clearly her transformation of a scream.

JMQ: Did she have inhibitions as far as singing was concerned?

Not quite in singing, but she did have too many inhibitions in her object relationships. She
couldn’t be in a choir, yet at the same time she couldn’t learn enough from any of her teachers
      25

to be a soloist. She wanted to be born a soloist, so to speak. So she could never take it up as a
career. [. . .] However, she still went on singing, joining this choir or that choir, singing for
herself – but it was all so narcissistically centred that it didn’t work. She wasn’t an artist but, you
know, she might have been.

JMQ: You lay particular emphasis on the relationship between reality and phantasy in the
way both artists and psychoanalysts work.

I’ve always said that a psychoanalytic session is an aesthetic experience, because it deals
really with the same problem – how to get in touch with terrible things and contain them and
sublimate them and lead them to the point of restoration. I don’t think psychoanalysis will ever
become a science in the way that “science” is understood in a rather simplistic sense – you
know, everything’s “objective”, and there are no emotions involved. It isn’t quite like that, of
course. Mathematics, for example, is certainly not science. Thought is in itself an aesthetic
experience.

JMQ: The moment of insight – that is really an aesthetic experience.

And it is true also of science at a certain level. It has the same elements as in art.
(Tape 6, side B, 12 March 2004)

“A psycho-analytical approach to aesthetics” (1952)

Segal, H. (1952) “A psycho-analytical approach to aesthetics”, International Journal of Psycho-
Analysis, 33: 196–207; reprinted (1981) in The Work of Hanna Segal, New York and London:
Jason Aronson.

Segal’s first contribution to psychoanalysis

Segal begins her paper by reminding us that, very early on, Freud wondered how a work of art
succeeds in arousing emotions in us, and that his discovery of unconscious phantasy life and
of symbolism made it possible to attempt a psychoanalytic interpretation of works of art.
Although he wrote around twenty papers dealing with artistic production and made numerous
references to the topic in many other writings, Segal observes that Freud was never particularly
interested in aesthetic problems. If we examine more closely what he did write, we see that he
approached the question of artistic creativity only indirectly; as is clear from Leonardo da Vinci
and a Memory of his Childhood (Freud 1910c), Freud was more interested in elucidating the
unconscious conflicts and phantasies which the artist expresses in a work of art. Other psycho-
analysts have continued his exploratory work, including E. Jones and M. Klein; most of these
papers show that works of art express in a symbolic way the infantile anxieties that we all
experience.
In her paper, Segal approaches the problem of aesthetics in a different way from that of Freud,
in her attempt to answer certain questions: “What constitutes good art, in what essential respect is it
different from other human works, more particularly from bad art?” (Segal 1952: 196). These initial
questions lead to others, such as: “Can we isolate in the psychology of the artist the specific factors
which enable him to produce a satisfactory work of art? And if we can, will that further our under-
standing of the aesthetic value of the work of art, and of the aesthetic experience of the audience?”
(ibid.: 197). Her observation that in artists who are in analysis there is a link between the inhibition
of their creativity and their inability to go through a proper mourning process helped Segal to
discover fresh answers to these questions. In her view, Freud did not have the necessary conceptual
tools for finding the answers. In Melanie Klein’s work, however, Segal discovered a certain number
of features that shed new light on the origins of creativity in artists and on the aesthetic impact of
works of art.
26     

The aesthetic experience and the work of mourning

For Hanna Segal, the detailed description that Melanie Klein gave us of the work of mourning
and its aftermath helps us to understand better the various stages in the artist’s creative process, as
well as the effect that a work of art has on the audience. According to Segal, the aesthetic emotion
arises because the audience identifies with the artist – with the internal suffering that impelled the
artist to create all the way through to the actual production of the work of art, the sign that
working-through has succeeded. From that point of view, the introduction of the idea of the
“depressive position” by Klein shed new light on how the mourning process – and the creative
process – is worked through.
First of all, it must be said that the process of mourning and its working-through are not
exclusive to artists. From birth onwards and through all the stages of life, human beings are
confronted with a series of separations from and losses of objects, and these experiences have to
be adequately processed. The manner in which adults process the work of mourning is closely
linked to the way they manage to work through the losses and depressions that have occurred in
early infancy. Melanie Klein gave the name “depressive position” to this early phase in child
development in which the main anxiety concerns the loss of the loved object, both in the internal
world and in external reality. She chose that term, with its connotations of depression, so as to
highlight the fact that this developmental phase is the fixation or regression point for depression
in adult life.
In her 1952 paper, Segal refers to the depressive position in order, above all, to explain the
creative process in artists and the aesthetic emotion aroused in the audience. Later, she would
supplement these ideas with her study of the relationship between artistic creativity and another
developmental phase in early infancy, that of the “paranoid-schizoid position”, a concept defined
by Klein in 1947, the year in which Segal actually wrote “A psycho-analytical approach to
aesthetics”.

Working through the depressive position

Before setting out her own ideas, Segal summarizes what Klein meant by the “depressive pos-
ition”. It is a stage in child development that is reached when the infant recognizes his or her
mother and other people – especially the father-figure – as complete persons, each different from
the other. Where beforehand infants had only a partial and fragmentary perception of those in
their immediate circle, these are now seen as real people. As a result, the infant’s object relations
undergo a fundamental change – and this generates an entirely new form of anxiety: as the infant
discovers the importance of the loved object, the idea that that object might be lost creates intense
anxiety. To this fear is added the feeling that it is the infant’s own greedy and aggressive drives
which will bring about this loss. The infant thus has to deal with a double danger: the fear not only
of losing the loved object in external reality but also of seeing his or her internal world collapse
because of the guilt feelings that are generated by the infant’s phantasy of having caused the
destruction of the object.

How can the depressive position be processed?

The infant comes out of this phase by remembering the good situation that prevailed earlier
and wanting to re-create the loved object that has been lost inside the self and in the outside
world.

The memory of the good situation, where the infant’s ego contained the whole loved object, and
the realization that it has been lost through his own attacks, give rise to an intense feeling of
loss and guilt, and to the wish to restore and re-create the lost loved object outside and within the
ego. This wish to restore and re-create is the basis of later sublimation and creativity. (Segal
1952: 197)

Depressive phantasies thus give birth to the wish to repair and restore the loved object, but
they stimulate further developmental growth only on condition that the ego can tolerate the
      27

depressive anxiety. “If the object is remembered as a whole object, then the ego is faced with the
recognition of its own ambivalence towards the object; it holds itself responsible for its impulses
and for the damage done to the external and to the internal object” (ibid.). On the other hand,
if the infant’s confidence in his or her ability to restore the good object inside and outside is
too weak, the object is experienced as lost and destroyed, so that the internal situation is felt
to be without hope: “The infant’s ego is at the mercy of intolerable feelings of guilt, loss and
internal persecution” (ibid.). To protect him- or herself from total despair, the infant has recourse
to manic defences, a mechanism of which the essential features are denial of loss and separa-
tion and of the consequences that these may have, both in psychic reality and in the external
world, as well as to other primitive defence mechanisms such as splitting, omnipotence and
idealization.
A successful working-through of depressive anxieties has far-reaching consequences: the
object becomes more personal and unique, and the ego reaches a more integrated state. “Only when
this happens does the attack on the object lead to real despair at the destruction of an existing
complex and organized internal world, and with it, to the wish to recover such a complete world again”
(ibid.: 198).
Taking as her starting point the idea of the depressive position as presented by her, Segal draws
a parallel between, on the one hand, processing the work of mourning in individuals who wish to
restore their lost loved objects – represented by the internalized parental couple – in order to work
through their depressive despair and, on the other, the creative impulse of artists who wish to
restore, through a work of art, an earlier world that they thought was irreparably lost. In other
words, re-establishing the parental couple in the internal world, which lies at the heart of the
mourning process and reparation, is a feature both of the depressive position and of the work of
creation.

All creators produce a world of their own

For an artist’s work to be original, he or she has to create a world which is fundamentally
“personal”. From that point of view, what differentiates a work of art from any other produc-
tion that is not artistic is the artist’s capacity to create an entirely new reality. Even completely
“realist” artists do not simply faithfully reproduce the external world, they impart something
eminently personal in creating their work of art. For example, two authors living more or less
at the same time, Zola and Flaubert, portrayed life as it was then – but they give us in fact two
widely different pictures. This would also be true of two painters taking as their model the same
landscape.
Segal is well aware of how difficult it is for a psychoanalyst to put into words the sheer variety
of emotional experience that describing a concept such as the “depressive position” implies,
whether in psychoanalysis itself or in art. That is why she often lets artists speak in her stead,
artists who work in various fields and come from different backgrounds, in order to illustrate how
she understands what the creative impulse is all about.

Marcel Proust: the need to re-create a lost world

For Segal, the French author Marcel Proust is, of all artists, the one who gives us the fullest
description of the creative process. In his masterpiece À la recherche du temps perdu [In search of
lost time/Remembrance of things past], Proust shows that the artist is compelled to create by his
need to recapture his lost past. This is not, however, a purely intellectual memory of the past; what
has to be recovered is the full emotional vividness attached to that memory. Proust manages to do
this thanks to sensations and chance associations that bring back into his mind a forgotten frag-
ment of his childhood. For example, it took him years to recapture the memory of his grand-
mother; when he succeeds in reviving her image, he can experience loss and mourn her. He notes
that as soon as they reappear, such memories tend to disappear, so that only shadows remain.
Proust then has the impulse to give them a new life; to do this he has to create a work of art: “I had
to recapture from the shade that which I had felt, to reconvert it into its psychic equivalent. But the
way to do it, the only one I could see, what was it – but to create a work of art?” (Segal 1952: 198).
Thus, over the years, Proust brought back to life all his lost, destroyed and loved objects: his
parents, his grandmother and his beloved Albertine.
28     

The experience of mourning as a condition of the creative process

The foregoing extracts show that, for Proust, only the past and the lost or dead object can be
transformed into a work of art. Segal insists on the unconditional necessity of acknowledging loss
and mourning if the creative impulse is to exist: “It is only when the loss has been acknowledged and
the mourning experienced that re-creation can take place” (Segal 1952: 199).
Proust confirms that point of view in his description of how he came to devote the final years
of his life to writing. One day, after a long absence, he came back to look up some old friends, but
when he found them, they all appeared to him as useless and ridiculous ruins – many of them,
indeed, were already dead. At that point, something triggered in his mind: realizing that the whole
world that had been his was about to disappear or was already destroyed, Proust decided to
write in order to re-create the dying and the dead, with the idea of making them – and himself –
immortal in the process.
Proust’s writings are a magnificent confirmation of Segal’s hypothesis: he was in a situation of
mourning in which he could see that his loved objects were dying or dead. “Writing a book is for
him like the work of mourning in that gradually the external objects are given up, they are re-instated
in the ego, and re-created in the book” (ibid.). According to Segal, Proust himself describes how
mourning leads to the wish to re-create the lost world. She says that this wish to restore is rooted
in the depressive position as described in 1934 by Melanie Klein; Klein showed how mourning in
adult life is a reliving of the similar work that had to be done in early infancy.

Inhibited creativity and failure of the depressive position

If, as Segal argues, the capacity to create depends on a successful working-through of the depres-
sive position, it follows that any failure in this process will lead to inhibitions of artistic activity.
Several artists whom she had in analysis confirmed that hypothesis; their inability to acknow-
ledge and process the depressive position gave rise to inhibitions in their artistic activity or
to the production of something other than a work of art. Segal goes on to give two examples
of this.

Inhibition of the creative impulse in a painter

Case A was a young girl with a definite gift for painting. An acute rivalry with her mother made
her give up painting in her early teens. After some time in analysis she started to paint again – but
as a decorative artist would rather than “real painting”, because her work failed to produce any
significant aesthetic effect. For Segal, the patient had internalized a mutilated and destroyed father,
after the unconscious sadistic phantasy attacks she made on him. However, the patient denied in a
manic way any attempt at interpretation. One day, she reported a dream in which she saw a picture
which represented a man lying wounded and abandoned. She felt quite overwhelmed with emotion
and admiration for that picture: if only she could paint like that, she said, she would be a really
great painter. For Hanna Segal, that dream meant that if the patient could only acknowledge her
depression over the wounding and destruction of her father, she would then be able to express it in
her painting. In fact, however, she was unable to do this, given the sheer strength of her sadism and
the fact that her depression had led her to manic denial – in other words, as though everything was
fine in the best of worlds. In addition, the dream showed that her denial of her father’s death
resulted in a complete absence of depth in her work, since all aesthetic feeling had been removed. It
was as though neither ugliness nor conflict was ever allowed to disturb the neat and correct form
of that young girl’s work.

A writer’s inhibition of the wish to write

Patient B was a journalist in his thirties who wanted to be a writer; he suffered, however, from an
increasing inhibition as regards writing. An important feature of his character was a tendency to
regress from the depressive to the paranoid-schizoid position. In his internal world, he had intro-
jected an extremely tyrannical father-figure by whom he felt persecuted. He tried to defend himself
by placating and serving that terrifying internal figure. As a result, he was often driven to do things
of which he disapproved and which he disliked. He had a dream which showed how this conflict
interfered with his writing: in the dream, he found himself in a room with some Nazi leaders who
      29

were going to poison him. In order to avoid being put to death, he said he could write something
about them and thus make them live after their death. Of course, he had no wish to keep such
hateful characters alive, and as a result he was inhibited in his capacity for writing. The patient
complained also that he had no style of his own; in the course of his analysis, it became clear that
the style of his writing belonged to the internal father-figure who dictated to him what he was to
write. His submission to a terrifying internal figure was a chronic situation that prevented him
from having any internal freedom to create: “[H]e was basically fixed in the paranoid position and
returned to it whenever depressive feelings were aroused, so that his love and reparative impulses could
not become fully active” (Segal 1952: 200).

Artistic creativity: an equivalent of procreation

According to Segal, creating a work of art can be looked upon as a psychic equivalent of pro-
creation and the psychosexual genital dimension is a fundamental aspect of artistic creation. In
support of this hypothesis, Segal states that all the patients she mentions in her paper suffered not
only from inhibited creativity but also from sexual difficulties. She goes on to argue that working
through the depressive position is a decisive factor both in achieving psychosexual maturity and in
using the creative impulse.

Creating a work of art is a psychic equivalent of procreation. It is a genital bisexual activity

necessitating a good identification with the father who gives, and the mother who receives and
bears, the child. The ability to deal with the depressive position, however, is the pre-condition of
both genital and artistic maturity. If the parents are felt to be so completely destroyed that there
is no hope of ever re-creating them, a successful identification is not possible, and neither can the
genital position be maintained nor the sublimation in art develop. (Segal 1952: 200)

In her third example, patient C, Segal highlights the relationship between feelings of depression
and genital and artistic problems. This artist, who was in his thirties, had suffered from depression
since his adolescence and he complained of a complete lack of freedom and spontaneity. As
regards his sexuality, he was physically potent but experienced no enjoyment at all in sexual
intercourse. During the analysis, the constant pain he felt in the small of his back and lower
abdomen – he himself described it as “a constant state of childbirth” – was seen to involve an
identification with a pregnant woman representing his mother. This was not a happy identification,
for he felt his mother had been destroyed by his sadism. Instead of producing a baby, says Segal, he
felt he was destroyed like his mother. In this case, “the inhibition both in his sexual and artistic
achievements was due mainly to a feeling of the inadequacy of his reparative capacity in comparison
with the devastation that he felt he had brought about” (ibid.: 201). Unlike the other cases described,
this patient recognized his depression, which is why his reparative drive was much stronger.

Symbol formation and the depressive position

The observation of patient E, a woman writer who had not been able to write for a number of
years, allowed Segal to show how the patient’s inability to experience depression led to an inhib-
ition of symbol formation. This very disturbed patient suffered from depersonalization and food
phobias leading at times to almost complete anorexia. One day she reported a dream which led
Segal to think that the patient’s main symptoms could be understood as a manifestation of her
fear of death and that she tried to escape death by wearing various disguises. So far, she had mainly
lived a “borrowed” life.
Some sessions later, the patient started complaining of her inability to write. Her inhibition was
linked to the fact that she did not want to use words; for her, using words was tantamount to
breaking an endless unity into bits, chopping things up, cutting things, making things finite and
separate – all of which she experienced as aggressive acts. For Segal, this meant that using words
was equivalent to a feeling of loss, and in particular the loss of the illusion of being at one with
some endless, undivided world. The patient confirmed that hypothesis, saying: “When you name a
thing you really lose it” (Segal 1952: 202). Consequently, using a symbol such as language meant
accepting the separateness of her object from herself, acknowledging her own aggressiveness and
losing the object. To protect herself against this, the patient had set up a system of defences that
30     

were aimed at avoiding separation and loss, including the loss of words as represented by writing
them down. “In order to write again, she would have to be stripped of her disguises, admit reality, and
become vulnerable to loss and death” (ibid.: 202).
Two years later, the patient had to put an end to her analysis due to external circumstances.
Segal reports a session to which the patient came feeling very sad, for the first time since it became
clear that she would be leaving her analyst. In the course of that session, the patient became able to
experience a mourning process with respect to her analyst. In addition, after reporting a dream in
which she was feeding the baby of another woman whose breasts had no milk, she said that words
seemed once again to be meaningful and rich. She was able to experience sadness, guilt and anxiety
over the forthcoming separation from the analyst – and also to discover that depending on the
analyst could be a rewarding experience. Words acquired meaning and her wish to write returned
again when she could give up the analytic breast as an external object and internalize it.

Sublimation, mourning process and symbol formation

That patient’s material confirmed Segal’s hypothesis that successful symbol formation is rooted in
the depressive position. This is a topic that she does no more than outline in this paper; in her later
work on symbolism, she develops the idea in more detail.
Agreeing with Freud’s view that sublimation is the outcome of a successful renunciation of an
instinctual aim, Segal goes on to suggest that such a successful renunciation can only happen
through a process of mourning.

The giving up of an instinctual aim, or object, is a repetition and at the same time a re-living of
the giving up of the breast. It can be successful, like this first situation, if the object to be given up
can be assimilated in the ego, by the process of loss and internal restoration. I suggest that such
an assimilated object becomes a symbol within the ego. (Segal 1952: 202–203)

From that point of view, symbol formation, she says, is the outcome of a loss: “it is a creative act
involving the pain and the whole work of mourning. If psychic reality is experienced and differentiated
from external reality, the symbol is differentiated from the object; it is felt to be created by the self and
can be freely used by the self” (ibid.: 203). Segal draws the conclusion that the creation of symbols,
the symbolic elaboration of a theme, is the very essence of art.

What differentiates a successful artist from an unsuccessful one?

Segal approaches this crucial question from several different angles. In the first place, she says that
artists must have an acute sense of reality, both as regards internal reality and in relation to the
material of their art. On the first point, she gives the example of Proust who had a real insight into
the phantasy world of the people inside him. On the second point, artists must have an acute sense
of how to make use of their material, be it words, sounds, paints or clay. “The real artist, being
aware of his internal world which he must express, and of the external materials with which he works,
can in all consciousness use the material to express the phantasy” (Segal 1952: 203). What dis-
tinguishes artists from neurotics is the fact that artists have a greater capacity for tolerating anxiety
and depression. The patients Segal describes in this paper could not tolerate depressive phantasies
and made use of manic defences leading to the denial of psychic reality. In contrast to them,
Proust could fully experience depressive mourning. “The artist withdraws into a world of phantasy,
but he can communicate his phantasies and share them. In that way he makes reparation, not only to
his own internal objects, but to the external world as well” (ibid.).

How are we to understand the aesthetic pleasure experienced by the

artist’s public?
For the artist, the work of art is no doubt the most complete and satisfying way of allaying the
guilt and despair arising out of the depressive position and of restoring destroyed objects. But
what makes a work of art such a satisfying experience for the artist’s public? For Segal, the
      31

aesthetic pleasure proper – that is, the unique kind of pleasure derived from a work of art – is due
to a process of identification. “Aesthetic pleasure [. . .] is due to an identification of ourselves with
the work of art as a whole and with the whole internal world of the artist as represented by his work”
(Segal 1952: 204). In other words, every aesthetic pleasure has to do with reliving the artist’s
experience of creation. Segal agrees with what Freud wrote in his paper on “The Moses of
Michelangelo” (Freud 1914b): “What the artist aims at is to awaken in us the same mental constella-
tion as that which in him produced the impetus to create” (Segal 1952: 204).
Segal then discusses the philosophical concept known as nach-erleben (which could be roughly
translated as living an aftermath, reliving). For Segal, this concept is equivalent to unconscious
identification; the unconscious reliving of the creator’s state of mind is the foundation of all
aesthetic pleasure.
To illustrate her thesis, she takes the example of “classical” tragedy. In a tragedy, the hero is
impelled to commit a crime, the result of which is always complete destruction – this corresponds
to a picture of the phantasies that are typical of the earliest depressive position where all the
objects are destroyed. According to Segal, the audience makes two identifications: they themselves
identify with the author, and they identify the whole tragedy with the author’s internal world.
Nevertheless, in spite of the devastation that runs through the tragedy, the author succeeds in
making his or her destroyed objects alive again, and, through that very work of art, they have
become immortal.

Excellence in art
Segal goes on to suggest that two factors are essential to the excellence of a tragedy: “The expres-
sion of the full horror of the depressive phantasy and the achieving of an impression of wholeness and
harmony” (Segal 1952: 204). She notes that the external form of ‘classical’ tragedy is in complete
contrast to its content, and suggests that the impression of excellence arises from the contrast
between two extremes: on the one hand there is a terrifying depressive content and, on the other, a
strictly defined form expressed through the rules of the unity of time, place and action. Thus it is
that order can emerge from chaos. “Without this formal harmony the depression of the audience
would be aroused but not resolved. There can be no aesthetic pleasure without perfect form” (ibid.).

Ugliness, beauty and the question of aesthetics

Having examined “classical” tragedy, Segal feels she can make a more general point. To do so, she
needs to use the words “ugly” and ‘beautiful”. For Segal, “ugliness” is what expresses the state of
the internal world in depression – the destruction of good and whole objects and their transform-
ation into persecutory fragments. As for beauty, it could of course be thought of as the opposite of
ugliness, but for Segal the antithesis of beautiful is, rather, unaesthetic or indifferent. If, however,
we look at the situation in terms of what is aesthetically satisfying, ugliness is an important and,
indeed, essential component of a satisfying aesthetic experience. Rodin had already noted the
role played by ugliness in the experience of beauty: “We call ugly that which is formless, unhealthy,
[. . .] immoral, [. . .] vicious [. . .]. But let a great artist get hold of this ugliness; immediately he
transfigures it – with a touch of his magic wand he makes it into beauty” (Rodin quoted in Segal
1952: 205).
If we now look at comedy in terms of ugliness and beauty, we can observe the coexistence of
two opposites: the outstanding comic heroes of the past are felt, at a later date, to be mainly tragic
figures – Shylock and Falstaff are two examples of this. Comedy usually includes an element of
manic defence, although never in its complete form: “The original depression is still expressed and it
must therefore have been to a large extent acknowledged and lived by the author” (ibid.: 205).

Beauty, the experience of depression and of death

The idea that ugliness is an essential component of the aesthetic experience applies to practically
all categories of the aesthetic, except one. In “classical” beauty – the Parthenon and the Discobolos
are famous examples – there is no apparent sign of ugliness whatsoever. Classical beauty, however,
must have some other element that is not immediately obvious. According to Segal, the very idea
32     

of beauty contains such an element: complete beauty, it is said, makes us both sad and happy at
the same time, and it is awe-inspiring. Great artists themselves are very much aware of the fact that
works of classical beauty – apparently so peaceful – nonetheless embody elements of depression
and terror. Segal quotes Rilke on this point: “Beauty is nothing but the beginning of terror that we
are still just able to bear” (1952: 206). For Hans Sachs, this terror is related to the very peacefulness
of the perfect work of art, which is so peaceful because it seems unchangeable and eternal – to
such an extent that it is hard to bear. For Segal, what is terrifying is the fact that this eternal
unchangeability is an expression of the death instinct – the static element opposed to life and
change.

The role of the death drive in works of art

These reflections lead Segal to restate her hypotheses in the light of the concept of the death drive.
Thus far, her contention was that a satisfying work of art is achieved through access to the
depressive position and the sublimation which enables that position to be processed, and that
the audience relives the artist’s experience. However, she argues, to express depression symbolically
the artist must acknowledge the presence of the death drive, in addition to depression and mourn-
ing: “the artist must acknowledge the death instinct, both in its aggressive and self-destructive aspects,
and accept the reality of death for the object and the self” (Segal 1952: 206). Restated in terms of the
drives, ugliness – destruction – is the expression of the death drive, while beauty is that of the life
drive. “The achievement of the artist is in giving the fullest expression to the conflict and the union
between those two” (ibid.: 207).
From that point of view, we could say that all artists aim for immortality; their objects have
to be brought back to life, and that life has to be eternal. “And of all human activities art comes
nearest to achieving immortality; a great work of art is likely to escape destruction and oblivion”
(ibid.).

“Delusion and artistic creativity” (1974)

Segal, H. (1974) “Delusion and artistic creativity: some reflexions on reading The Spire by William
Golding”, International Review of Psycho-Analysis, 1: 135–141; reprinted (1981) in The Work of
Hanna Segal, New York and London: Jason Aronson.

A common origin?
Continuing her exploration of the nature of creativity, Segal here takes up the question of a
possible common origin to both psychotic delusions and artistic creativity.
She bases her study on the analysis of The Spire, a novel by William Golding (1964). The story
is set in the Middle Ages and, put briefly, describes the megalomaniac delusion of Jocelin, Dean of
the Cathedral, who is convinced that he has been chosen by God to build an exceptionally high
spire. At first, the reader is carried along by Jocelin’s exultation, but little by little the outrageous-
ness of the project becomes obvious. Paying no heed to the fragility of the soil – the church is built
on a subterranean gallery – Jocelin forces his collaborators to carry out his unrealistic project and
drags them, one after the other, into destruction, madness and death. In his description of the
conflicts in which the protagonists tear one another to pieces, the author highlights their libidinal
and aggressive phantasies – which, from the point of view of the unconscious, are particularly
significant. The very richness of the phantasy content of the novel allows Segal to suggest a
symbolic interpretation. She says that Jocelin’s project was doomed to failure because it was based
on two series of weaknesses. On the one hand, constructing the spire was simply a reflection of the
grandiose aim that Jocelin had conceived – to have everybody doing his will, with no regard
whatsoever for what they might be feeling. On the other, Jocelin’s sadistic attitude towards the
couples he was working with derives from his identification with a sterile parental couple, unable to
create or to procreate, so that any project he may have cannot succeed. “This structure cannot be
maintained for reasons of guilt and reasons of psychic and external reality. The basis of his structure
is that there was no sex between the parents” (Segal 1974: 138).
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Similarities and differences between delusions and artistic creations

For Segal, this novel is much more than a description of a manic delusion and its collapse. As in
every work of art, it contains also the story of its own creation and expresses the conflicts and
doubts the author himself has concerning his creativity: “The agonizing question that the artist
poses himself is: ‘Is my work a creation or a delusion?’ ” (1974: 138).
Segal argues that delusion and artistic creativity have both common roots and divergences with
regard to mental functioning. They share aspects that belong to the depressive position insofar as
both the artist and the delusional person have a vivid feeling of the destruction of their inner world
and of their need to create a new one. That feeling springs from the hatred the infant feels towards
the parents at an early stage in development when he or she is confronted with the loneliness of
separation, jealousy and envy. But given that the infant also loves the parents and needs them, he
or she feels guilty about having attacked them and wishes to restore them to their original state of
wholeness. It is at that point that the reparative impulse comes into play. “So both the artist and the
person suffering from a delusion start with a common cellarage: 1 the destruction of the parental
couple in their fantasy and their internal world; and both have the overriding need to re-create a
destroyed and lost structure” (1974: 139).
Here, however, the similarity between artist and delusional person ends and the differences
begin. The latter wishes to create an ideal and omnipotent self-image, refusing to acknowledge that
he or she was born of the creativity of a sexual parental couple. This is illustrated by Jocelin, who
sought to satisfy his own egotism with no heed for the fate of those around him. The artist, on the
other hand, is primarily concerned with restoring the object rather than his or her own self-image.
That implies moving on from the paranoid-schizoid position, dominated by the fear of being
attacked by the bad object, to the depressive position, dominated by the fear of damaging the
object and by concern for the object rather than for oneself. “From this difference, restoring the
object rather than the self, follow the crucial differences between the artist’s and the psychotic’s
relation to his creation and the means which he employs” (1974: 139).
It follows that the artist can remain to some extent detached from the work of art since
it primarily represents the object and not the self; the artist can therefore separate from it, finish
it and move on to the next one. In addition, the artist, unlike the person suffering from a delusion,
has a conscious perception of the difference between phantasy and reality: “In that way his work
is not only not confused with him, it is also not completely identified and not confused with
his phantasy objects. He can see it as a symbol, and as a symbol it can be used for communication”
(1974: 140).

Segal’s influence in the field of aesthetics

David Bell is the editor of two books which bring together contributions from several of Hanna
Segal’s followers, Reason and Passion. A Celebration of the Work of Hanna Segal (1997) and
Psychoanalysis and Culture. A Kleinian Perspective (1999). In his Introduction to Reason and
Passion, Bell writes: “ ‘A psychoanalytic approach to aesthetics’ has had a very wide influence
far beyond the reaches of psychoanalysis” (1997: 12). I asked him to say something about the
influence that Hanna Segal’s work has had in the field of aesthetics.

JMQ: What was the response of artists and psychoanalysts to Segal’s hypotheses?

David Bell: This is not something that can be answered in a general way. There are many in the
field of English literature/aesthetics who are very involved in Kleinian ideas and are influenced
by Segal. But there are others who won’t have heard of her, and there will be some who would
be hostile towards even the idea that psychoanalysis has anything to do with aesthetics. I don’t
think there is a broad answer.
The philosopher Richard Wollheim, whose main interest centred on the philosophy of mind
and aesthetics, particularly painting, certainly viewed Segal’s contribution as fundamental in
terms of really providing a full aesthetic theory (Wollheim 1998). Building upon Klein, Segal’s
work added a new perspective and Wollheim drew particular attention to the way in which
Segal’s model linked the work of the artist and the aesthetic response of the audience within
the same explanatory framework, and he viewed this as a considerable strength of her model.
34     

The audience responds by recognizing (not of course consciously) the struggle of the artist to
give form to his inner world through the medium of his work.

JMQ: And psychoanalysts: how did they react to Segal’s ideas on the origin of the creative
impulse? Did they develop her ideas further? Or did they develop other hypotheses in different
directions?

I think that in the history of ideas, very good ideas do not occur very often. Take for example
Klein’s paper on symbol formation. However great Hanna Segal’s work in this area, it is still a
development of Klein’s foundational work. But it does add something new, particularly the
distinction between “symbolic equations” and “symbols proper” and also the link she later
establishes between symbolization and projective identification. She wrote again on the same
theme in the 1970s, where she developed her original idea even more.
She was asked at a subsequent conference, some ten years later, about her “new thinking”
on symbolism. I remember her replying along the following lines: “Well, I haven’t really had
another good idea since then . . . I’ve developed my ideas in the sense of illustrations and
clarifications and applications. But the fundamental idea has not changed very much. Good
ideas don’t come that often.” Segal’s answer brought to mind what Einstein said when asked a
similar question. This is the story about someone asking Einstein, at a conference: “I always
keep a notebook with me, to write down my ideas in case I forget them. Do you keep your ideas
in a book?” Einstein is supposed to have replied: “I don’t get good ideas very often; in my life I
have only had two! And I tell you, I am never going to forget them!” There is something of that
in what Segal was saying.

JMQ: Would you say that there is general agreement as to Segal’s ideas within the British
Psychoanalytical Society (BPAS)?

I would say that within the Kleinian group and broadly within our Society her influence remains
very substantial, not only in terms of her written work but also as embodying a very rich
tradition of thought. Within the Independent group the situation is variable, some people are
very influenced and involved, others less so and others more critical. And similarly in the
Contemporary Freudian group, leading figures like the Sandlers or the Laufers were very
interested in Segal’s views. But there will be others who take a completely different kind of
perspective on the same topic.
I see Segal as very much a classical Freudian psychoanalyst in the sense that she is
rigorous about technique, views insight as the fundamental aim and that her world-view is
wedded to the tradition of thought, which both Freud and Klein so exemplify, that gives central-
ity to a tragic vision of the human condition. There is a dialectic in psychoanalysis between
what one may call a “Romantic” and a “Tragic” view of the human being. Some take what I
would call a more romantic view, or even a more spiritual view. For Klein love and hate are
always dialectically related and the link between all creative activity and the need to repair
internal damaged objects, i.e. the activity of “reparation”, remains fundamental.

JMQ: Are other people in the British Society interested in aesthetics?

Yes, I would say that there is a great deal of interest in aesthetic questions, but I am not an
expert on this. There is a strong Winnicottian tradition on aesthetics, which is different and
doesn’t give so much emphasis to that dialectic between love and hate; it locates more the
source of creativity in the transitional object, in the transitional space and gives centrality to the
capacity to play.

JMQ: Isn’t a work of art always the expression of internal conflicts?

I think that there is a kind of difficult tension as the Klein/Segal perspective may seem some-
what tautological. That is, if we think of a great artist who was clearly very disturbed, then Segal
would say however ill the person was, the fact that he could represent and symbolize his inner
world in such a deep way shows that he had the capacity for sanity. This may represent itself
only in the work and perhaps not in life. Artistic work, from this perspective, comes out of the
capacity of artists to confront the destructive and mad impulses within themselves, and to give
them representation. The tautology might be that one proposes that the work demonstrates
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sanity – but the only evidence for this sanity is the work itself. However, I do not think one can
get away from that. Some may suggest that the work does not represent sanity but comes
directly from the disturbance and this would, in my view, create a serious theoretical difficulty.
I think Segal’s view makes sense theoretically. Segal is stressing that imagination isn’t the
same as fantasying or day-dreaming, i.e. imagination is real work (here she would be very
much in accord with Winnicott, who makes the same distinction). The artist has a very sharp
sense of reality – the reality of his own internal world, which he gives representation to, and
also he knows very precisely the reality of his materials, the paint, the brushes, the canvas,
what he can do with them, where the limitations are. This is evidence of his capacity for
“reality orientation”, sanity. However “mad” he is, the fact that the artist knows his inner world
and his material is evidence of this sanity. Maybe in many artists, there is a particular capacity
for being in touch with, even overwhelmed by, a quite powerful level of disturbance, a capacity
to give this disturbance its place in the mind, to know it, rather than deny it (of course this is
not something that can be consciously brought about). But – and this is obviously crucial –
this is linked to a highly developed capacity for that kind of sanity that can grapple with the
disturbance, hold the tension between being on the one hand completely overwhelmed
and, on the other, denying the existence of the disturbance, and thus give it form and
representation.
Some might take the critical view that what is being said here is that by definition the
capacity to produce art represents their sanity. I think Segal would say yes, that’s what I’m
saying, by definition.

JMQ: I have often appreciated the clinical value of Segal’s ideas in relating creativity to the
depressive position. Do you think that this hypothesis centred on an internal drama can be
generalized to all creative impulses, or can a creative impulse be based on the perception of
beauty, for example of Nature or of an ideal?

I think it is true that Segal’s work centres on her elaboration of the alive functioning of
unconscious phantasy and her very substantial development of our understanding of the
paranoid-schizoid and depressive positions. But to turn more specifically to your question, I
feel pulled both ways. One could imagine that inspiration and artistic work might come solely
from an apprehension of great beauty, that this apprehension results in the wish to give form to
that beauty. This makes a kind of sense, but it is in my view too linear. I think there is no human
act that doesn’t take place within the dialectical tension of love and hate, the wish to create and
the wish to destroy. Goethe describes this duality when he has Faust say: “Two souls, alas!
Dwell in my breast.” So the perception of beauty and the wish to give it form is also, I think,
always linked to a wish to stop it from being destroyed (arising, that is, from an inner perception
of a wish to do just that) so that it can be maintained, be given its place. So I don’t think that
there is any human act that does not reflect this tension (that is, between the wish to create
and the wish to destroy).
I can remember reading a long time ago an article by John Berger, the novelist and
excellent writer on art. He wrote that when an author writes, one of the deep inner motives
derives from the fear of things disappearing into oblivion. He said that what we call “the fear of
death” is not the fear of death per se, it is the fear of dying with the unborn babies still inside us.
That is, we die with the things that we might have given birth to, left unborn, dying inside us. I
thought this was a very profound comment and also one that one can link up with from a
psychoanalytic perspective. If the artist can let his ideas go, give them a place in the world,
then he, so to speak, can die, can be aware of his death without it being so persecuting. If he
omnipotently holds on to his work, won’t let it go – say because he feels that it is never good
enough – then he dies with it and thus gives in to his wish to destroy his unborn babies, and
that is the tragedy. So I think inspiration can come from the perception and the capacity to
perceive great beauty, to be moved by it. But then the impulsion to do something with it, I think,
must come also out of the recognition that there are always forces in us that aim to stop
precisely that.
(Interview, October 2006)

David Bell is a training analyst and supervisor with the British Psychoanalytical Society.
36     

Dream, Phantasy and Art (1991)

Segal, H. (1991) Dream, Phantasy and Art, London: Routledge.

Freud and art

A detailed study of Freud’s ideas on art
In this book, Segal explores three topics that have always interested her – dreams, phantasies and
art – and, in the final three chapters, she discusses a topic she had already broached in 1952 in her
paper “A psychoanalytic approach to aesthetics”, that of artistic creativity.
In one of the chapters in the book, Segal makes a detailed study of Freud’s ideas on art. What
he was predominantly concerned with was the eliciting of unconscious phantasies embodied in
works of art. For example, in Leonardo da Vinci and a Memory of his Childhood (Freud 1910c),
Freud attempts to reconstruct Leonardo’s psychosexual development as a child; this led him to new
discoveries: another form of narcissism and narcissistic object-choice, and the transformation of
the nipple into a penis. He showed also that artists have the ability to endow their characters with an
unconscious without the artists themselves being aware of it. For Freud, this kind of intuitive
knowledge is part of the equipment of the artist and makes the work of art intuitively right.
However, says Segal, in most of Freud’s writings the actual problem of artistic creativity is
touched on only tangentially, i.e. the source of aesthetic emotion. What we enjoy in the poet’s
imaginary world or day-dreams are the wishes that are expressed in the work of art. These are not
conscious wishes, but repressed wishes that are unacceptable to consciousness. We find them
acceptable, Freud argues, because they are disguised, and the aesthetic pleasure we feel bribes us to
accept the hidden thought. “One could say that Freud, in describing the aesthetic satisfaction as no
more than a bribe, a kind of wrapping for the real, instinctual satisfaction, makes light of the aesthetic
experience itself” (Segal 1991: 77).

What is an “aesthetic emotion”?

If what Freud describes as the emotions aroused by art are not the aesthetic emotion proper, what
then is the true nature of this emotion? Art arouses in us a great variety of feelings, some of which
are “associative emotions”; we feel moved because the work of art reminds us of some event or
other or of a memory we have. For example, we may feel moved by a tune because we first heard it
when meeting a lover. But there exists a particular emotion, distinct from these associative emo-
tions, which Segal calls the aesthetic experience proper. The specific pleasure experienced in this
kind of emotion can be attributed to the “significant form”; this pleasure derives from the relations
between, and combinations of, the shapes, lines and colours that we find in visual works of art.
“Significant form” is thus a quality common to all visual art.

Art and wish-fulfilment

Segal agrees with Freud that wishes are fulfilled through art, but this is not simply a matter of the
fulfilment of libidinal or aggressive wishes. “It is a fulfilment of the wish to work through a problem
in a particular way, not what is understood by wish-fulfilment, namely, omnipotence” (1991: 79).
Segal goes on to suggest that a work of art is an expression of the working-through by the
unconscious ego, the part that processes conflicts. Consequently, “[the] nature of the psychic
conflict and the way the artist tries to resolve it in his unconscious ego may throw light on the
significant form” (1991: 80). However, content and form, like the associative and the purely aes-
thetic emotion, cannot really be separated from each other without impoverishing the aesthetic
experience as a whole.
According to Segal, the powerful impact of a work of art lies in the artist’s ability to mobilize
not only associative and aesthetic emotions but also deeper unconscious emotions. In order to do
this, the artist has recourse to symbolism. “I think that form, be it musical, visual, or verbal, can
move us so deeply because it symbolically embodies an unconscious meaning. In other words, art
embodies and symbolizes and evokes in the recipient a certain kind of archaic emotion of a preverbal
kind” (1991: 81).
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Segal states that artists do not operate mainly according to the pleasure/unpleasure principle
and then find their way back to reality, as Freud originally thought. She argues that the artist
never actually departs from reality. “The artist seeks to locate his conflict and resolve it in his
creation” (1991: 82); this is not the case of the day-dreamer, who tries to avoid conflict by a
phantasy of omnipotent wish-fulfilment and a denial of external and internal reality. To accom-
plish this, artists make use of all the means that belong to their particular art form, as we can
see with Rodin, for example. Rodin says that, in sculpture, emotion is expressed through the
suggestion of movement, each position containing the remnants of the previous position. This,
according to Rodin, is a general aesthetic law.

Art and the depressive position

Reparation: the search for an original new world
In this chapter, Segal notes that Melanie Klein’s first paper on art, “Infantile anxiety situations
reflected in a work of art and in the creative impulse” (1929), addresses itself to the sources of
the creative impulse. In that paper, Klein bases her argument on the idea that anxiety, in parti-
cular persecutory anxiety, is modified by reparation. She gives two examples of this. The first
is that of Ravel’s opera L’Enfant et les Sortilèges [The Bewitched Child ]. In that libretto, a little
boy hurts a squirrel. The objects in his room come alive, are angry with the little boy and begin
to attack him. They stop attacking him when, on an impulse of compassion, the little boy takes
the squirrel into his arms. The second example is taken from the biography of a Swedish painter
who felt compelled to take up painting because of the intolerable anxiety she felt when faced
with the empty space left on her wall once a painting had been removed from it. These two
examples enabled Klein to emphasize the link between reparation and the creative impulse;
she would later show that this involved the shift from the paranoid-schizoid to the depressive
position.
Segal then goes on to develop the hypothesis she put forward in her 1952 paper, “A psycho-
analytical approach to aesthetics”, according to which the creative impulse is rooted in the depres-
sive position. The need artists have to create comes from their deep feeling that their internal
world is shattered and from their wish to re-create that lost world. Segal emphasizes the idea that
all creation is in fact a re-creation of a lost world, even though artists themselves may not be
aware of this. They do not, however, re-create the same world but an entirely new one, a world of
its own. In this chapter, Segal says that the paranoid-schizoid position plays a more important
role in artistic creativity than she had thought in her earlier work. The dynamics of creativity
involve the reparative impulses of the depressive position, which in turn implies that earlier
mental states have had to be worked through – in particular the integration of the perception of
chaos and persecution.

How can an aesthetic emotion be communicated?

By what means do artists capture and engage their audience? According to Segal, artists do not
aim to evoke in the recipient of their art the same constellation of unconscious feelings that
motivated them, as Freud had suggested. She says that the artist must find the means to communi-
cate both the internal conflict and the reparative attempt at resolution, thanks to the symbolic
expression that belongs to each art form.
In Dream, Phantasy and Art, Segal takes another look at what we experience as “beautiful” as
opposed to “ugly”. She argues that “beautiful” cannot simply be equated with aesthetically satisfy-
ing: “The aesthetic experience is in my view a particular combination of what has been called ‘ugly’
and what could be called ‘beautiful’ ” (1991: 90). She develops her earlier point of view, no longer
seeing, for example, in classical tragedy, the ugly as largely in the content and beauty as mainly in
the form of the play. Ugliness is everywhere present, as are the destruction and death of the
participants. The violence, however, is counter-balanced by a feeling of inner consistency and
psychological truth, as well as by a certain harmony of form. It is the artist’s work which produces
the transformation. Taking the example of Picasso’s Guernica, Segal shows how the painter man-
aged to establish connections between the various elements of his painting, creating formal wholes
and finding a rhythm, thanks to his constant work of integration. “There is also an uplift –
contrasting with the horror of the scene there is an upward lift of light towards the centre right, giving
38     

a feeling similar to that of a Gothic cathedral. The ugliness of the breaking up and devastation is
transformed into an object of beauty” (1991: 92). In other words, we may find that something is
“pretty”, but not “beautiful” unless the dark side of life also is taken into account, albeit
unconsciously.

The role of aggressiveness in artistic creation

Segal points out that true reparation, in contrast to manic reparation, must include an acknow-
ledgement of aggression and its effect. She cites several works of art in which aggressiveness and
destructiveness are initially very much to the fore, then give way to re-creation. The first step in
starting artistic work contains aggression, hence the writer’s anxiety in facing the virgin page and
that of the painter before putting the first brush-stroke to a virgin canvas. “Once the first line has
been written or drawn something flawless has been infringed and it has to be made good ” (1991: 93).
For a work of art to feel alive, there must be some “flaws” in it – as in classical Greek art, for
example, which never actually keeps to perfect proportions.
Other essential elements are that the artist’s reparative work is never completed and that the
finished product bears traces of this incompletion. According to Segal, it is extremely important
that the resolution of reparation should never be quite complete, so that our imagination may
complete the work internally thanks to the mental effort we put into it. “Hence, I think, the feeling
of inexhaustibility – we can look at a picture, or listen to a piece of music, read poetry again and
again. We do not exhaust the possibilities of completion” (1991: 94).

The reparative act lies in the creation of symbols

Segal observes that, in artistic creativity, the whole reparative act is in the creation of the symbol.
She would later say that reparative impulses are in all of us, whether we are engineers or artists, but
it comes most powerfully into art because art is basically symbol-making. “All art symbolizes
something. This is a speciality of the artist. You don’t make bricks, you make symbols. Without
symbolism there is no art” (Segal 2004). By means of symbols, artists carry out the reparative
reconstruction of their internal world, which becomes a new creation. Works of art have often
been thought of as the artist’s symbolic baby. The symbol is not a copy of the object; it is not
equated with it, as Segal pointed out in her work on symbolism. It is a re-creation that is felt as
having a life of its own. Artists not only re-create something in their internal world, they must also
bring it to life in the external world.
Artists are creators of symbols, they are not dreamers. Quite the contrary, in fact: the artist’s
relation to reality has to be very highly developed – as we see with sculptors or with writers. They
must have an acute awareness of internal and external realities and be able to differentiate between
them. This is how Segal summarizes the artist’s qualities:

The artist must have an outstanding reality perception of the potential and of the limitations of
his medium, limitations which he both uses and tries to overcome. He is not only a dreamer, but a
supreme artisan. An artisan may not be an artist, but an artist must be an artisan. And he is
usually acutely aware of it. (1991: 96)

The art of the biographer

Segal takes another example, that of writing a biography, in order to highlight the two main stages
of this process that are difficult to reconcile. The first stage is that of a more or less conscious
identification with the subject, which is an essential motive for following in the hero’s footsteps. In
the second, there is a kind of fusion or merging between the self and the ideal object. The artist
must, however, break free of that state of fusion in order to be creative. It is for this reason that the
true biographic process begins precisely at the point where this kind of identification breaks down
and makes way for the creative impulse based on the need to restore a whole object experienced as
separate and distinct from the self.
The breakdown of idealization and identification generates a depressive pain linked to disillu-
sion – but it is also the stimulus for creation. This was the case, for example, of Richard Holmes,
who wrote a biography of Shelley to which Segal often refers. Holmes’s comments on the role
of the biographer illustrate many aspects of Segal’s hypotheses. For Holmes, the subject of a
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biography does not exist in isolation – such people exist very largely in and through their contact
with others. The biographer is like an observer, who has a real knowledge of the object with its
good and bad aspects, a reality-testing which is an achievement of the depressive position. Segal
adds that Holmes describes both the schizoid search for the ideal object with whom one identifies
and merges, and the depressive pain the author feels in renouncing it in order to achieve truth.
“And in the description he seems to convey the sense of the need of separateness, the acceptance of the
triangular situation from which one is excluded and the need to bring to life again not just the beloved
object, but the whole world that object is related to. This is biography as art” (1991: 100). Although
biography may be an imaginative re-creation, it must be as close as possible to what might have
been the actual truth.

Imagination, play and art

The relationship between imagination, play and art is the topic of Segal’s final chapter in this
book. Play and art both need imagination, but to different degrees. Unlike play, artistic creativity
involves much pain and the need to create is compelling. Play, of course, may involve frustration
and pain, but if it stops being predominantly pleasurable, children especially will abandon it. Art,
however, cannot easily be abandoned; abandoning an artistic endeavour is felt to be a failure,
sometimes a disaster. “Artistic creativity has a lot in common with play, but it is anything but ‘child’s
play’ ” (1991: 109). Play has a lot to do with day-dreaming, but it is only incidentally a communica-
tion, whereas art is not only an internal communication, it is a communication with others. The
artist, after all, must arouse an interest and make an impact on his audience.
In her conclusion, Segal writes:

All children, except the illest, and all adults, play; few become artists. Neither dream, day-dream,
nor play involve the work, both unconscious and conscious, that art demands. The artist needs a
very special capacity to face, and find expression for, the deepest conflicts, to translate dream into
reality. He also achieves a lasting reparation in reality as well as in phantasy. The work of art is a
lasting gift to the world, one which survives the artist. (1991: 109)

“Motivation: the artist and the psychoanalyst” (2004)

(Unpublished lecture and discussion at the Royal Festival Hall in London, on 21 September 2004.)

A dialogue with artists on the theme of the performing arts

In this public lecture, Segal returns to the themes that she had discussed in a seminar in which a
few artists from various fields – dance, theatre, sculpture, for example – had taken part. She begins
by summarizing the main points of her ideas on art in a very lively and easy-to-follow manner,
beginning with the notion that artistic creativity is rooted in a reparative impulse. However, she
says in reply to an actor’s question, the need to repair is not the only factor; for Segal the
predominant motive force in artistic creation is the search for symbols. To this is added, firstly, the
artist’s talent – which springs from his or her identification with the parents’ talent – and, secondly,
the artist’s innate talent, his or her personal capacity to express the most extreme psychological
states.
In the ensuing debate with the artists, Segal discusses the difference between the plastic arts and
those based on performance such as dance, music or theatre. These kinds of art share with the
plastic arts the fact of being rooted in artistic creativity, but there are a certain number of differ-
ences, the most significant being, says Segal, the importance of the role played by the body in these
art forms. Here the aim – which is never actually achieved – is to have complete control over one’s
body; this is the case not only of dancers but also of actors, who must at all times control their
facial expression and their bodily attitude. Violinists have to be able to control their fingers, singers
their voice. In comparison with those in the performing arts, artists who work in the field of the
plastic arts are more independent of bodily expression.
In addition, the performer has a particular kind of relationship to the composer of the musical
40     

score or the playwright. Performers do not make their own world come alive, but that of the
composer or author. From a symbolic point of view, then, what performers do is restore parental
creativity rather than their own. And yet, every performance is a new one, whether it be dance,
music or theatre, and the performer has to be true to the text – otherwise, says Segal, it is simply
perversion. Actors have to project themselves into a character different from themselves in order to
become that person – so that the great danger is that they become completely identified with that
character.
In concluding her talk, Segal comes back to the importance of the body. What strikes her,
she says, is the fact that the performing arts also somehow seek immortality, just as the plastic arts
do. However, although the pyramids are still standing in Egypt, she adds, that can never be the
case of a performance, which does not live on after the performer. Performance always comes to
an end.

I was wondering if it is associated with the relation to the body, because the body dies. I don’t
mean that I believe in immortality, and that a great writer is immortal except in a symbolic way.
But the body dies, and therefore the performance dies. That is a recognition that our body will
die. You will never see the same performance again, even if there is another performance.

Taking another look at Hanna Segal’s views

Like Hanna Segal, Daniel Widlöcher has studied the relationship between psychoanalysis and
the aesthetic experience, in particular as regards communication between artists and their
audience. I therefore asked him what, in his opinion, are the points of agreement and of
disagreement between their two approaches to this question.

JMQ: How relevant, in your view, is Hanna Segal’s psychoanalytic contribution to the field of
aesthetic experience?

Daniel Widlöcher : When we look back on Hanna Segal’s work on aesthetic emotion, we
cannot fail to be impressed by how comprehensive her writings on the subject are. In the first
place, she takes care not to adopt a purely psychopathological point of view – the one adopted
by Abraham, Freud and those who came after them. Just think for a moment of Abraham’s
seminal paper on the Italian painter, Segantini, and of the way in which he stressed the
melancholic aspects and feelings of abandonment – features, as we know, of crucial import-
ance for Hanna Segal. We can appreciate the sheer cogency of her approach through the
significance she attaches to the depressive position and to the experience of loss of the object
(especially loss of the internal object). There is a connection here between the psychoanalytic
influence of Melanie Klein and the literary one of Marcel Proust. In Proust’s writings, reparation
after a loss is closely linked to the process of association and re-creation of memory traces of
the past as a way of inventing a new kind of aesthetic sensitivity. With a more “Kleinian”
approach, Segal over the years gave more weight to the protective function of the depressive
position against persecutory attacks arising in the paranoid-schizoid position, as well as to the
part played by the death drive identified with its aggressive component. She does not pay
much attention to infantile sexuality as such – it is more taken into account in terms of the
secondary gains arising from the eroticization of the work of art rather than as the primary
motivation behind the creative act itself. Much the same could be said as regards her concep-
tion of sublimation – for Segal, it relates to the constructions of the imagination in the service of
repairing loss rather than to a displacement in the choice of object and aim of the drives.
She does not, of course, underestimate the manic component of reparative creation, but
she ignores more or less that of melancholic megalomania. Her focus is indeed on the depres-
sive position, not on the psychopathology of melancholy. It must be said, all the same, that
Hanna Segal, as her observations make plain, deals with these issues as they impact on
adults, without much reference to a possible ontogenetic hypothesis based on the infant’s
early development (I am thinking here of Meltzer’s writings on the “aesthetic object”).

JMQ: Does your own idea of “co-thinking” (Widlöcher 2003) have any relevance to the
aesthetic experience?
      41

I have indeed been wondering about that: does psychoanalysis open up any interesting per-
spectives as to the nature of aesthetic sensitivity rather than simply as to its effects? My feeling
is that Hanna Segal makes no attempt to differentiate the creator from his or her audience.
She does of course talk about empathy in her discussion of the relationship between the
emotionally moved person and the creator (or performer) of the work of art – but in terms of
identificatory processes in the widest sense of the term. What she finds more complex is the
relationship not with the artist but with the work of art itself and the material used to create it.
She is quite right to emphasize the cogency that exists between the organization of a work of
art and the intentionality that lies behind it, but she goes back to the theory of “fore-pleasure”
without paying too much attention to the idea of technique as opposed to that of tendency –
Freud had a great deal to say about that. I would say, in fact, that what seems particularly
significant in Hanna Segal’s approach is the idea of symbolism. That outlook could perhaps
be challenged, at least from a psychoanalytic point of view; it seems to me that we have to
differentiate between symbolism in children’s play and that in a work of art.
What I find lacking in Segal’s papers on aesthetics is the notion that one of the functions of
a work of art is to convey a message, and that function has two aspects – the work of art is, as
it were, “addressed” to someone else, and that person “receives” it. Perhaps from that per-
spective we could establish a more significant relationship between aesthetic sensitivity and
psychoanalytic communication, in regard to the “co-thinking” that is one of its main features.
The remaining issue is that of ugliness, a topic that would be worth going into in more
detail. The idea that ugliness is the opposite of beauty does not strike much of a chord with me.
Hanna Segal quite rightly relates beauty to Eros – but does that imply a link between ugliness
and the death drive? In my view, Thanatos has to do with chaos, and chaos is not the same as
ugliness. Like Hanna Segal, I would tend to think that ugliness is simply beauty that has ended
in failure. But then, does that way of looking at the subject still have anything to do with
psychoanalysis?
(Interview, February 2007)

Daniel Widlöcher (Paris) is a psychoanalyst and full member of the Psychoanalytic Association
of France.
 Chapter 3

THE PSYCHOANALYTIC TREATMENT OF

PSYCHOTIC PATIENTS

The very first case of schizophrenia treated by the psychoanalytic method

In 1950, Hanna Segal wrote a paper in which she describes the treatment of a schizophrenic patient
using a strictly psychoanalytic approach with only minimal modifications to the setting. Called
“Some aspects of the analysis of a schizophrenic”, that paper is of considerable historical value since
it is the first-ever account of the treatment of a confirmed schizophrenic, suffering from a delusion
and hallucinations, by the psychoanalytic method. Segal began by seeing him five times a week in a
hospital setting and then at home; after some six months, she succeeded in establishing a true psycho-
analytic situation similar to that of neurotic patients – the patient lying on the couch with the analyst
seated behind him. Before Segal, other psychoanalysts had undertaken the psychoanalytic treatment
of psychotic patients – but only after making significant modifications to the setting. Segal’s
approach was made easier thanks to Melanie Klein’s work on the nature of the psychotic mechanisms
she had discovered in early infancy. Here, I am thinking in particular of Klein’s concepts of the
paranoid-schizoid position and projective identification about which she had written in her 1946 paper,
“Notes on some schizoid mechanisms”. At that time also, two other pupils of Klein had begun
analysing psychotic or borderline patients – first Herbert Rosenfeld and then, shortly afterwards,
Wilfred R. Bion. In the 1950s, Segal, Rosenfeld and Bion collaborated closely and created an atmos-
phere of research that was particularly favourable for the development of innovative ideas in a field of
psychoanalysis that had for so long remained unexplored.
“Some aspects of the analysis of a schizophrenic” happens also to lie at the origin of Segal’s later
work on symbolism. At the very beginning of the analysis, she realized that Edward, her patient,
found it extremely difficult to make use of symbols; he usually had recourse to concrete symbols, a
type of thinking that is characteristic of schizophrenic patients – they cannot differentiate between a
symbol and the thing it symbolizes. For example, when Segal spoke to him of his anxiety about being
castrated, the patient felt that she was quite literally castrating him: for Edward, the word “castrated”
was equivalent to being physically castrated. Later, Segal would develop her own ideas on symbolism
and in 1957 she introduced the concept of the “symbolic equation”, a primitive form of symbolism that
she differentiated from true symbolic representation, which is the developed form of symbolism.
In the years that followed, Segal wrote several other papers on the psychoanalytic treatment of
psychotics. In 1954, in “A note on schizoid mechanisms underlying phobia formation”, she showed
that ordinary neurotic symptoms may be governed behind the scenes, as it were, by early psychotic
mechanisms of a schizoid nature. In 1956, she wrote “Depression in the schizophrenic”, a remarkable
paper in which she describes the tendency that such patients have to draw back from their depressive
anxieties and get rid of them by projecting them into the transference. In 1975, Segal wrote “A
psychoanalytic approach to the treatment of psychoses”, a clear and concise presentation of the
Kleinian approach to the psychoanalytic treatment of the psychoses in the light of her experience of
25 years’ work in that field.
       43

The three forerunners: Segal, Rosenfeld and Bion

JMQ: In what circumstances did you and Herbert Rosenfeld begin treating psychotic
patients psychoanalytically?

Hanna Segal: How to speak about those years and to convey to you the atmosphere . . .? Two
things, from my point of view. They were two marvellous years: I married, I had my first baby, I
read my first paper. It was the time I was settling down in London and everything was going
well for me in my private life and in the excitement of starting a practice.
You asked me about my relationship with Rosenfeld. We both started analysing psychotics
and we helped each other: if he was away I could look after his patients or he could look after
mine and we discussed things together quite a lot. Bion came later, most people don’t realize
that. But there were other people, younger people, interested in that area too so there was a
tremendous atmosphere – particularly with Mrs Klein’s new paper in 1946 – a tremendous
feeling of discovery. Everything was going well. Politically, England came out of the War a
much more progressive country than it ever had been before. So everything was sort of
opening up and flowering.

JMQ: What was the impact of all these new ideas on psychoanalysis?

You see, Mrs Klein never analysed a real psychotic. But her idea of projective identification
and splitting and the importance of the shift between the paranoid-schizoid and depressive
positions – all this was an enormous input. It took years, and we still, I think, haven’t fully
understood all the variations as regards creativity and delusion. And certainly we haven’t
approached anywhere near enough the pathology of the paranoid-schizoid position. That only
started with Bion really. It’s not “excessive” projective identification, it’s two different forms of
that mechanism, the one pathological, the other normal. And our technique changed gradually
in that, in my day, many of our interpretations had to do with phantasy; we sort of went along
with that, not quite realizing that there were different levels of phantasy, and so to some extent
we were colluding a bit with the patient.
I wrote a paper, “A note on schizoid mechanisms underlying phobia formation”, in which
I describe a patient who brought a whole quantity of dreams. [. . .] But in fact I was colluding
with her all the time. She was bringing those fragments, I was interpreting them, without taking
up how bringing this whole crowd of dreams was really an attack on my mind, dispersing
my mind.

JMQ: As you say, we have to interpret not only the content but also the function of dreams in
the transference.

Not just dreams, but all the various goings-on. And even though I knew that by then – it was
after I wrote my paper on symbolism or about that time – I was still doing it. It takes time.

JMQ: The idea is still very widespread that the paranoid-schizoid position is “bad” because
it corresponds to a regressive phase, while the depressive position is “good” because it
corresponds to a more mature stage in development.

That’s right. And there is a tendency to idealize the depressive position. There is a whole
paranoid-schizoid world which is indeed a stage of development; people sometimes function
by cutting off and operating – up to a point – on the depressive level, but the repressed
anxieties are still there.

JMQ: Would you agree that there is a normal as well as a pathological paranoid-schizoid
position?

Yes, indeed. You have to be able to establish a normal paranoid-schizoid position. We needed
the theory of container and contained to help us work that out. It’s normal for the child to
project because that, after all, is his or her first means of communication. The infant cries, stirs
44      

mother’s anxiety and mother reacts – after transforming, thanks to her capacity for reverie, the
content of what she has taken in, she sends it back to her infant. Projecting into the mother’s
mind is part of the normal paranoid-schizoid position.
(Tape 4, side B, 1 February 2004)

JMQ: In your 1950 paper “Some aspects of the analysis of a schizophrenic”, not only did you
show for the first time that it is possible to treat a schizophrenic patient by psychoanalysis, but
also you introduced the idea of concrete symbolism – a forerunner of what you would later call
the “symbolic equation”.

That was certainly very much acknowledged by everybody, including Klein. It had, of course,
long been described as a schizophrenic mode of thinking; it wasn’t that people didn’t know
about concrete thinking. Freud and Jones spoke of symbolism but Melanie Klein addressed
herself to symbol formation and its vicissitudes. She was the one who really opened up the
subject of symbolization and symbol formation. Her paper on Dick, the psychotic boy, opened
up a whole new field: symbol formation in the development of the ego.
I pointed out to her that it wasn’t true to say that Dick did not form symbols at all; his
symbolization was extremely concrete. He would say “Poor Mrs Klein! ” when she was sharp-
ening a pencil, because he thought that it was herself that she was cutting! That’s concrete
thinking. Then I made the link between projective identification and symbolization. That was
partly because I had a schizophrenic patient in analysis – the first time that had ever been
attempted. Rosenfeld refers to his first case as psychotic, but his patient was really borderline.

JMQ: So Edward was the first schizophrenic patient to be treated by psychoanalysis?

Yes, that was, I think, the very first analysis, without any major modification to the setting, of an
actual schizophrenic who started as acute but by then had been ill for some 18 months. His
illness was becoming chronic and he was given up as a hopeless case – he was being treated
only by electric shocks and medication, which in those days was virtually useless. With that
patient, I discovered an enormous clinical problem: if I spoke to him of his anxiety about being
castrated, I realized that he felt I was actually castrating him and that was it. Whenever he
spoke, he was doing something very concrete – once he had left the hospital, we were not
allowed to speak about any patients in the hospital because that meant they would be chewed
up. You see, if he and I talked about them, we were felt to be actually chewing them up. So, if I
was to analyse that man I had to go very deeply into it.
And then with my woman writer, her inhibition also had to do with concreteness. She would
say that words would come out of the page and bite her. The originality of my contribution was
to link all this with projective identification in the sense, as I put it in my paper, that symbolism is
a tripartite relationship: the subject, the object and the symbol. It requires a person. Symbols
don’t exist per se, as Jung thought – as though one could list them in a dictionary. For some-
thing to be a symbol, there must be a person for whom it symbolizes that particular thing.
Now, if you project a part of your ego into the object then the object is equated with that; you
cut it off from yourself and it becomes part of external reality. So in order to be able to speak to
a schizophrenic patient you have to know this mechanism and be able to show him how he
attributes to the analyst his eyes or his ears, cutting himself off from them; then he feels them
to be part of the external world and not a product of his own thinking. That idea had a great
influence, not only on the Kleinians, but on others too. I think, all the same, that this view of
mine was very much enriched by Bion because I was thinking in terms of “excessive” project-
ive identification – and he changed the quantitative into the qualitative. It’s not really a question
of being excessive or not, it’s something different. Bion introduced the idea that there is a
qualitative change in the projective identification. He did this in his first paper on the differen-
tiation between psychotic and neurotic forms of mental functioning, pointing out that the nature
of the projective identification in each case is different. Identification includes the perceptual
apparatus, and that is very important – he shows primarily that the perceptual apparatus is
fragmented and forms what he calls bizarre objects which are bits of the object plus bits of the
projected self, imbued with hostility and very fragmented. So you don’t have thoughts but
fragmented hostile objects inside you. Later, of course, he extended the idea with his concept
of the alpha and beta elements of container and contained.
       45

JMQ: Did you work closely with Rosenfeld and Bion?

The work the three of us did in that period was very interlinked. I don’t usually claim priority,
but for some reason I do get annoyed when people think that Bion preceded me – because it
looks as if I was doing all this work without ever referring to what he was doing! But in fact he
wasn’t yet on the map at that point; I was already a qualified analyst when he started his
training.
Rosenfeld made an enormous contribution with his early papers about the superego of the
schizophrenic. His understanding of the erotic transference is a tremendously important
element. You know, a lot of the suicides that took place were misunderstood in those days – I’m
thinking also about Hermine Hug-Hellmuth, one of the first child analysts, a real pioneer, who
was killed by her nephew. Then there was this other quite promising Hungarian poet, who
killed himself and everybody blamed the analyst – a woman – because all he wanted was for
her to become his lover and people couldn’t understand why she didn’t give in to him; had she
done so, they thought, he wouldn’t have killed himself! You see, people just didn’t have a clue.
They treated this kind of erotic transference as though it were Oedipal. . . . But it’s not, it’s
completely different. An erotic transference is a projection into the breast of a sexualization of
the breast on a terribly primitive level, it has very little to do with the true Oedipus Complex. . . .
If you suggest to a patient who is in an erotic transference an interpretation in terms of Oedipal
feelings, the patient will experience that as a sexual act on your part.
(Tape 4, side B, 1 February 2004)

JMQ: Tell me about your 1956 paper on “Depression in the schizophrenic”. That too was an
original contribution you made, was it not?

Yes, and there are two historically important points I would make about that. I wrote that paper
just before Bion published his article on the differentiation of the psychotic from the non-
psychotic personalities. I had noticed this phenomenon beforehand in one of my own patients,
but Bion was already working on his theory about this kind of differentiation. He was very
impressed by my work, but I don’t think it influenced him in any way because he was already
writing his own paper on the topic – and it is indeed a fascinating paper. As I have said, we
were very close – then, later, it all changed so much . . .

JMQ: And counter-transference? Weren’t you something of a trail-blazer in that field too?

Yes, that’s the second historical connection. [Dr Segal’s voice takes on a sad note here.] It
always amuses me to think about it . . . We had a little group around Mrs Klein when we
sometimes discussed cases, papers and so on. And I was preparing this paper for the Con-
gress – it was a little bit too long and needed cutting. I started with a lot of stuff about the
counter-transference and Bion said, “Cut that out – nobody’s interested in your feelings – they
can see it in the material.” A few years later he brought out a theory of counter-transference
which became extremely important to us. You see, I think Mrs Klein agreed with most of our
developments – but she was very cautious about counter-transference. Anyway, Bion’s work
was very illuminating for us in showing how the counter-transference works.

JMQ: In your paper on depression in the schizophrenic this plays an important role because
your schizophrenic patient really pushes her depression . . .

I think I do say in that paper that I felt depressed. I felt like an audience watching Ophelia.
And that was really my clue. In the original version, all the same, I make much more of
the counter-transference – in those ten minutes that I was advised to cut out. I spoke about the
fragmentation in my mind and the difficulty of this and that and the other . . .
(Tape 7, side B, 13 March 2004)
46      

“Some aspects of the analysis of a schizophrenic” (1950)

Segal, H. (1950) “Some aspects of the analysis of a schizophrenic”, International Journal of
Psycho-Analysis 31: 268–278; reprinted (1981) in The Work of Hanna Segal, New York and
London: Jason Aronson, pp. 101–120.

An extraordinary observation of considerable historical value

The value of this paper resides in the fact that it is an account of the very first psychoanalytic
treatment of a schizophrenic patient in which the analyst’s approach is strictly psychoanalytic.
What does “strictly psychoanalytic” mean when it comes to treating a schizophrenic patient? First
of all, it means that Segal’s patient suffered from a clearly diagnosed schizophrenic illness and,
secondly, that Segal’s approach was strictly that of a psychoanalyst – interpreting the material with
only minor deviations from analytical technique.

The diagnosis of schizophrenia is absolutely certain

There can be no doubt that Segal’s patient was indeed schizophrenic. At 18 years of age, when he
was posted to India to do his national service, Edward began having delusional ideas about being
imprisoned and suffered from aural hallucinations. Up till then, his childhood and adolescence
had seemed relatively well-adjusted. In India, he was placed in a psychiatric hospital. When he
returned to England, the consultant psychiatrist diagnosed “rapidly-deteriorating” schizophrenia,
with a poor prognosis. Segal saw him for the first time in a military hospital in London. In that
interview, he was completely withdrawn, retarded and apathetic. He felt that it was not he himself
who had changed, but that he “had been” changed, thus expressing his feelings of persecution.

A strictly psychoanalytic approach

As regards what Segal calls a strictly psychoanalytic approach, this means, firstly, that she took
great care not to step out of the role of the analyst who interprets, unlike some other psycho-
analysts who tended to take on that of an ally or educator. On this point, Segal disagrees with
Federn who, with his psychotic patients, took only the positive transference into account, recom-
mending that the treatment be interrupted as soon as the transference became negative. For Segal,
such an attitude would only deepen the split between idealized object and persecutory object – a
split that is characteristic of the transference with schizophrenic patients.
Secondly, a strictly psychoanalytic approach means that from the outset Segal offered the
patient five sessions per week, with the patient on the couch and her sitting behind him. With
Edward, she was able to begin a five-session-per-week analysis when he was transferred from the
military hospital to a private nursing home. At first, there was no question of asking him to lie
down on the couch. After three months’ analysis in the nursing home, Edward went home to his
parents’ house and the analysis continued with patient and analyst sitting opposite each other. In
the sixth month of treatment, the formal analytical situation was finally established. “The patient
lay on the couch, associated and, at least consciously, expected nothing from me beyond analysis.
From that time on my problems were the same as those of the analysis of a neurotic, i.e. the analysis
of the patient’s system of phantasies and defences” (Segal 1950: 273).

Reassure the patient or interpret the negative transference?

When he returned to his parents’ home, Edward was surprised to find that he was still having
delusional ideas and hallucinations. He was full of rage and despair, because he thought that he
had managed to leave his illness behind, in the hospital. Segal realized that Edward wanted her to
be an unchanging good figure, and that he was afraid that he might damage that good image if she
got too close to him and to his madness. Obviously he wanted her to reassure him, to become an
ally against his persecutors – his parents and the hospital doctors whom he blamed for not having
got rid of his madness.
       47

At that point, Segal was faced with a problem that often gives rise to controversy: should a
psychoanalyst reassure a very ill patient in a moment of crisis, when the patient is crying out for
reassurance? Segal argues that reassuring the patient amounts to presenting oneself as the ideal-
ized object – but at the cost of reinforcing the split between good and bad objects. As the split
deepens, the patient comes to idealize the analyst and to displace unconsciously the hostility that
normally would be aimed at the analyst on to other people in the patient’s immediate circle, who
are less equipped than the analyst is to cope with such hostility.
In order to avoid reinforcing the split between good and bad objects, it is essential for the
analyst to accept the negative transference and interpret it, linking it to the positive transference.
That is the option which Segal chose: instead of reassuring Edward, she interpreted his fear of
going mad and his suspicion that the analyst had turned into an enemy now that, since he was back
at home, she was equated with the hated hospital doctors: “In a way, we were alone with madness: it
was either in him or in me. If anyone was driving him mad, it could only be I” (Segal 1950: 272).
The interpretation of the negative transference has proved to be an essential feature in
the analysis not only of Segal’s schizophrenic patient but also in that of neurotic patients, because
it is one way of avoiding a negative therapeutic reaction. As Segal points out, that is a decisive
contribution of the Kleinian approach compared to other techniques that resort to reassurance.

By giving sympathy and reassurance the analyst becomes, for the time being, the good object, but
only at the cost of furthering the split between good and bad objects and reinforcing the patient’s
pathological defences. The unconscious suspicion of the analyst is then not analysed but is acted
out, and sudden reversals may occur when God turns into the Devil and the negative transference
may become unmanageable. (1950: 272)

While the analyst is experienced as “ideally good” the progress of the analysis is interfered with by
repression into the unconscious of phantasies about the “bad” analyst.

Concrete symbolism in schizophrenics

From the very beginning of Edward’s analysis, Segal observed that he would make use of symbols
in a very peculiar way that she calls “concrete symbolism” – which is one of the significant features
of schizophrenic thinking. What does Segal mean by this term?
Freud explored the language of schizophrenics in one of his metapsychological papers, “The
Unconscious”, written in 1915. He noted there that in these patients word-presentations are
treated as though they are thing-presentations, and quoted the example of one of Tausk’s patients
who was both terrified and inhibited by the fact that he had a “hole” in his sock – for that patient, a
“hole” actually was the female genital aperture (and not simply “like” the female genital).
As far as Segal’s patient is concerned, she notes that he consistently made use of concrete
symbolism and that this was a serious difficulty all through the analysis. She noticed it initially
when she realized that, for Edward, being in hospital actually meant being in prison – and not
being in a place like a prison: the hospital actually was a prison. “The significant point which
emerged in this session was his equating of the notion of ‘being like something’ and ‘being something’.
There was no distinction between the symbol and the thing symbolized” (1950: 269). In the same way,
when she interpreted Edward’s castration anxiety, the mere mention of the word “castration” was
felt by him as though she were actually and physically castrating him. In other words, for Edward,
language was not a way of expressing symbolic representations, because he experienced words as
actually being things in concrete reality. Segal says that failure in symbol formation often results in
the poverty of thought habitually displayed by schizophrenics. I shall come back to this point later.
After this case study was published, Segal continued her exploration of symbolism and, in
1957, introduced the idea of the “symbolic equation” – a primitive form of symbolization which
she differentiates from symbolic representation, a much more evolved kind of symbol formation,
as we shall see later.

Defence mechanisms in psychosis

In her account of Edward’s analysis, Segal describes the principal defence mechanisms used by her
patient – in particular, splitting between an idealized figure and a bad one, disintegration of the
48      

ego and a series of rapid introjections and projections. Segal describes also his use of manic denial:
after collaborating for some time, he would suddenly reject an interpretation. His “no”
unconsciously meant that he was abolishing any experience he felt to be unpleasant. Segal there-
fore had constantly to pay careful attention to her patient’s reactions. “I had always to follow
carefully what he was doing inside himself with any interpretation to discover how far he was trying to
invalidate it or do away with it” (1950: 273). In addition, Edward’s persecutory delusions and
hallucinations were linked to the omnipotence of his thinking. For example, in his delusion about
being imprisoned, Edward felt that he was being punished because of a particularly agonizing
phantasy: he felt himself to be a greedy child who had exhausted all the world’s food supply so
that, in his unconscious omnipotence, he feared that he had destroyed the whole world. Segal says
that the schizophrenic has recourse also to repression: of course the phantasies of the psychotic,
especially of the schizophrenic, are much more archaic and primitive. “But that does not mean that
in the psychotic repression does not operate and does not have to be analysed” (1950: 278). That said,
although Segal gives many examples of her patient’s projections – in particular Edward’s projec-
tion of his illness into his analyst – she never at any point mentions projective identification, a
concept that is, all the same, implicit in her case study.

Evolution in the course of the analysis

Thanks to her work with this patient, Segal showed that typical schizophrenics could be treated by
psychoanalysis with only minor deviations from strict analytical technique. At the beginning of his
analysis, Edward was a deeply regressed psychotic and his behaviour was very infantile. Later, he
became more like a latency child. He began to acknowledge that his delusions and hallucinations
were not shared by everybody, and that, if he did not hide them, he would be considered mad. He
thus became more able to distinguish between phantasy and reality. With time, the rigidity of
his defences lessened and he gradually became capable of tolerating consciously some of his
phantasies and conflicts.
Towards the end of the first year of treatment, there was a marked improvement. All his
conscious delusional ideas disappeared. Edward was leading an apparently normal life and follow-
ing a course at university. He was still preoccupied with his phantasies about soil erosion, but these
were giving rise to sublimations. This improvement was in part genuine, but some of it was the
outcome of a magic denial of his madness and to a splitting off and “encapsulating” his illness in
an insignificant little buzz located in his ear.
After 18 months of analysis, Edward had a temporary relapse: his hallucinations returned, in
the form of “voices” that he heard. Although that relapse showed that some schizophrenic mech-
anisms were still operating, it became possible to make a detailed analysis of the mechanisms
underlying his hallucinations by bringing them into the transference relationship. For Segal, that
incident might have brought about a complete breakdown had Edward not been in analysis.
Shortly after this, Edward began once again to have anxieties linked to splitting, idealization
and persecution. The continued analysis of this kind of splitting led to a gradual bridging of the
gap between the persecutory object and the idealized object. This process was manifested in many
ways in Edward’s clinical material. At the same time, there was a general improvement in his
relationships. “While he became freer to admit that in his phantasies I appeared in various persecu-
tory figures, his relationship to me became incomparably more confident and warmer. I think he feels
that he has found in me a friend, and if that is so, this is the first intimate relationship that he has ever
experienced in his conscious memory” (1950: 277).

Schizophrenic narcissism can be analysed

For Segal, that part of Edward’s analysis shows clearly that schizophrenic narcissism is accessible
to analysis, whereas Freud saw in schizophrenic narcissism a factor precluding analysis. For Freud,
the transference neurosis was all that could be analysed – so that patients suffering from narcis-
sistic disorders could not be cured by psychoanalysis, because they produce no transference. The
later work of Melanie Klein showed that, in every case, there exists in such patients a relationship
to phantasied internalized objects, and that a state of narcissistic withdrawal can be approached in
terms of a relation to internal objects. Through his hallucinations and narcissistic withdrawal,
Edward was able to have an experience of internal persecution in the transference. “My voice
       49

appeared in the hallucination, asking for dreams. Canalized into the transference situation, the pro-
cess became accessible to analysis” (1950: 276).

A new approach to the analysis of schizophrenics

In concluding her paper, Segal highlights what was specific to the technique she used at that time –
in 1950 – and in what ways it differed from that employed by other psychoanalysts, in particular
by American practitioners who also treated schizophrenics. Frieda Fromm-Reichmann and Paul
Federn, for example, argued that the analyst must not give interpretations that would introduce
into consciousness any new unconscious material, since the ego of the psychotic is anyway sub-
merged by it. Segal shows that she proceeded differently, bringing into the patient’s consciousness
new unconscious material whenever it was warranted. For example, at the beginning of the treat-
ment Edward had very intense castration anxieties which were much less repressed than is usually
the case with neurotics. It was not enough simply to interpret his castration anxiety; this did not
diminish until Segal introduced new and more archaic material into Edward’s consciousness. “I
had to interpret to him the underlying and entirely unconscious phantasy in which he identified himself
with both his pregnant mother and her unborn child. His castration fear was partly a result of this
phantasy in which he ceased to be a man and which his masculine self felt as a castration” (1950: 277).

The differences between neurotics and schizophrenics

Unlike neurotics, says Segal, schizophrenics tend to repress the link between different trends of
thought. That astute observation foreshadowed the idea of “attacks on linking” that Bion would
introduce several years later, in 1962. As Segal put it in her 1950 paper: “Schizophrenics, more than
others, repress the links between different trends of thought. They often tolerate in their ego thoughts
and phantasies which would probably be repressed in the neurotic, but on the other hand they repress
the links between the various phantasies and between phantasy and reality and those links have to be
interpreted whenever possible” (1950: 277).
Another difference between schizophrenics and neurotics springs from the fact that the psych-
otic’s phantasies are much more archaic and primitive. Repression, however, continues to operate
in psychotics. That is why, over and beyond the material brought into consciousness by the return
of the repressed, the analyst has to identify and analyse the repression mechanism in operation at a
deeper level.

To take an instance: my patient produced consciously primitive phantasies of being poisoned,

overfed or starved. These were not repressed, but what was repressed was the fact that these
phantasies referred to his mother in the past and to me in the present [. . .]. The delusions about
being poisoned cleared up after those other unconscious phantasies were interpreted and con-
nected with the conscious delusions. (1950: 278)

Segal says that she tried to analyse in this psychotic patient all the important resistances, and to
interpret the unconscious material at the level of the greatest anxiety, much as she would have done
with a neurotic patient. In her conclusion to this paper, written in 1950, Segal says that in her view
the analysis confirmed the diagnosis of schizophrenia and that, even though after three years of
treatment Edward seemed to have recovered, his defence mechanisms remained psychotic. In her
postscript to this case, written thirty years later, in 1980, Segal tells us that, after four years of
analysis, Edward put an end to his treatment in a hypomanic manner, under the pressure of
external and internal factors. He remained well for approximately twenty years, then had another
breakdown. At that point he began analysis with another psychoanalyst.

“A note on schizoid mechanisms underlying phobia formation” (1954)

Segal, H. (1954) “A note on schizoid mechanisms underlying phobia formation”, International
Journal of Psycho-Analysis, 35: 238–241; reprinted (1981) in The Work of Hanna Segal, New
York and London: Jason Aronson, pp. 137–144.
50      

Interpreting the underlying schizoid mechanisms is helpful

In this paper, Segal shows how common neurotic symptoms may be underpinned by early psych-
otic defences based on schizoid mechanisms. If interpretations are aimed exclusively at the neur-
otic level without taking into account the underlying mechanisms, they will have little effect. Segal
here gives the example of a phobic patient who brought an endless stream of dreams to her
sessions. Segal interpreted the content at a particular level without realizing that, at another level,
she was unconsciously colluding with the patient. Gradually Segal began to realize that, by con-
stantly reporting dream fragments, the patient was unconsciously attacking the analyst’s mind
with the aim of fragmenting it. That is why it is important to interpret the schizoid mechanisms
typical of psychosis which may underlie a patient’s neurotic symptoms.
Published in 1954, this paper outlines one of the themes that Segal was to develop some
time later: that it is sometimes essential to interpret the function, in the transference, of a dream
before interpreting its actual content. In her comments on this paper twenty-five years later,
in 1980, Segal observed that her technique had evolved quite considerably since she wrote this
case study.

I thought I was analysing the transference when I was interpreting to the patient her phantasies
about me. Now I think I completely failed to analyse the transference properly. [. . .] Today, I
would be more concerned with showing her what she was actually doing in the session in the
moment-to-moment interaction between us. I would concentrate less on the detailed content of
her phantasies and dreams. (Segal 1981: 143–144)

Relations between Melanie Klein and her closest followers

JMQ: And when you discussed your work with Mrs Klein and Bion and others in the small
group, what was Mrs Klein like with her pupils?

Hanna Segal: She was very open-minded and she had no difficulty. I’ll tell you what she said
once which amazed me. I had problems with a patient who was suicidal; there was an awful lot
of splitting and projection and in discussing this Klein said: “Of course, your generation (she
meant me, Bion and Rosenfeld) do it so much better than I could.” Go into so much more
detail, you see. In some ways she was, one could say, arrogant when it came to her ideas. You
couldn’t disagree. A paranoid-schizoid/manic-depressive position. But within those terms of
reference she was very open-minded. And, for instance, Rosenfeld too spoke about counter-
transference, so did I – all of us who spoke about schizophrenics did so, because we couldn’t
avoid it – so much of it is counter-transference. Klein was very sceptical but she never turned
against it or inhibited it. It was a development that she was suspicious of, but she never . . .
When people say that she quarrelled with Heimann because Heimann wrote a paper about
counter-transference, that can’t be true. She never attacked Heimann.
She told Bion she disagreed, she thought about it a great deal . . . For example, yes, when
we spoke about the mother who transformed beta-elements into alpha-elements, Klein
said: “Well, what else do you expect a good mother to do!” But she never inhibited Bion’s work.
So this idea that Heimann left because Klein couldn’t tolerate differences is rubbish – it’s just
not true.

JMQ: Didn’t some people give her the reputation of being severe and curt?

She was extremely tolerant, within those limits. If you disagreed with her about the paranoid-
schizoid and depressive positions – she did lose some followers. She had a lot of followers
after The Psychoanalysis of Children, but she lost some over her formulation of the depressive
position. That would be Glover and Melitta. And later she lost some over the paranoid-schizoid
position. That would be Heimann and others and, later, over what she said about envy. Those
were fundamental things that she was quite strict about. But within those parameters she was
extremely encouraging to the young. Unlike some great analysts, you know, who actually
chose to have a mediocre following because they couldn’t tolerate rivalry . . . Klein nurtured
the creative people very much. [. . .]
       51

JMQ: She lost followers also with her concept of envy?

I don’t know how many but a lot of people were put off – too near the bone.

JMQ: That’s surprising, because many people start reading Klein with Envy and Gratitude and
they do seem to appreciate it.

And many artists, from that book, took a lot . . . It was extremely popular. But envy’s not a nice
thing. People want analysis so that they can be nice and feel comfortable. Many of my supervi-
sees, when I have to start with ABC, will say: “I didn’t say that because the patient doesn’t feel
comfortable with it”, or “I didn’t say that because I don’t feel comfortable with it”. And I tell them,
look, if you and your patients feel comfortable, then you are in collusion.

JMQ: And how do your supervisees react to that?

I say that quite a bit. Some can understand it and go along with it, but others can’t get rid of the
habit of always wanting to cajole the patient – make the patient feel good . . . I say sometimes:
“You’re just bloody lazy. You like to relax and be comfortable. Because the other way is hard
work – the patient will hate you and evade you and attack you. You have to work at it – not be
comfortable.”
(Tape 7, side B, 13 March 2004)

JMQ: Donald Meltzer was also one of Mrs Klein’s pupils – and yours, too, isn’t that so?

Meltzer’s problem was that he was the favourite son. He was my favourite son, as a supervi-
see. I supervised his first case. I supervised his first child case. He was my most gifted
supervisee. And the whole group idealized him a bit. [. . .]

JMQ: What did you think of his book The Psychoanalytical Process?

Well, already in that book I pointed out to him that he equates parents with analysts. I said to
him: “Donald, the analyst isn’t the parent. The analyst represents the parents.” [. . .]
(Tape 5, side A, 1 February 2004)

“Depression in the schizophrenic” (1956)

Segal, H. (1956) “Depression in the schizophrenic”, International Journal of Psycho-Analysis,
37: 339–343; reprinted (1981) in The Work of Hanna Segal, New York and London: Jason
Aronson, pp. 121–129.

The schizophrenic’s anxiety when faced with the depressive position

In this highly original paper, Segal shows that in the course of their development, schizophrenics
reach the depressive position, which is an indication of better psychological integration. But they
find it intolerable and tend to get rid of depressive anxiety by projecting it into the analyst – so that
they lapse once again into persecutory anxiety linked to the paranoid-schizoid position.

This can only be done by projecting a large part of their ego into an object, that is by projective
identification. [. . .] By projective identification I mean that process in which a part of the ego is
split off and projected into an object with a consequent loss of that part to the ego, as well as an
alteration in the perception of the object. (Segal 1956: 339)

This paper proved highly significant for the technique of psychoanalysis. Segal shows how
important it is to be in close touch with any depressive feelings that emerge in the patient and to
52      

examine how they are projected in the transference; the analyst will then be in a position to
interpret this process and thereby avoid any negative therapeutic reaction on the part of the
patient.
Segal develops this thesis at some length, taking as an illustration the analysis of a young
schizophrenic woman. To summarize the salient features of the patient, I would say that as a child
she was exceptionally gifted, had hallucinations from the age of 4, then for a long time went
into progressive withdrawal and a slow deterioration of her personality. When she began analysis
at 16 years of age, she suffered from chronic hebephrenic schizophrenia.

Projection of depressive feelings into the analyst

In the first series of sessions, Segal shows how that young patient managed to emerge from her
delusion, so that her mental health improved. However, she could not deal with the depressive
position nor with the progress linked to it. She then got rid of her depressive feelings by projecting
them into the analyst and lapsed back into madness. In the second series of sessions that I shall
discuss later, the patient again managed to emerge from her delusion, but this time she did succeed
in coping with her depressive anxiety; she could therefore recover her healthy part and differentiate
it from her mad part.
Let us go back briefly to the first series of sessions. In the second year of her treatment, the
patient had become very silent on her return after a holiday. She would say only one or two
sentences in the whole session. Her behaviour showed that she was hallucinating God and the
devil; they represented the good and bad aspects of her father who had committed suicide when
she was 15. She wept, looked terrified and continually picked threads from the cover of the couch
and broke them off. One day, she came out of her silence and, looking at the analyst suspiciously,
put great emphasis on the words “pale and thin”. Then she put her hand to the base of her throat
and gave herself two very slight scratches. Segal knew that the patient was very concerned about
vampires – which are supposed to bite their victims at the base of the neck and leave two small
scratches – and suggested the following interpretation: “I said [. . .] that she felt she was pale and
thin because she was being sucked by a vampire, and I drew her attention to the way she looked at me
and said she suspected me of being that vampire” (1956: 340).
The patient then spoke, saying that she did indeed have the feeling that, by basing interpret-
ations on what the patient said, the analyst was living on the patient’s life and sucking her blood.
“Such a direct verbal admission of feelings about me was most unusual in this patient” (1956: 340).
The following sessions were devoted to working through the young girl’s feelings in this vampire
situation. For example, in one session she said that by keeping silent and making the analyst talk,
she was slowly sucking out the analyst’s life-blood. The tone of her voice was quite different – all
through that session she looked depressed, thoughtful and far saner than ever before.
The next day, the patient greeted the analyst in an unusually open and friendly manner. How-
ever, as soon as she went into the consulting room, there was an immediate change: she started to
behave in a delusional and hallucinated way. Segal was surprised at this sudden change, which was
in stark contrast to the previous session in which she had manifested a much better integration of
ego and objects. The analyst, who had secretly been delighted by the manner in which the patient
had greeted her, suddenly began to feel depressed when she saw the girl become madder than ever.
Segal then thought that the girl’s behaviour was symptomatic of a negative therapeutic reaction to
the insight which, thanks to the analysis, she had gained during the previous few days without
being able to rebuild something good inside her. That insight had brought the patient – for a
moment – closer to full mental health. She was, however, unable to tolerate such an insight, and in
particular the guilt she felt at having unconsciously “vampired” the analyst without having made
anything good out of it; she therefore immediately projected her depressed and sane part into the
analyst. In this way, she got rid of it by projective identification and by becoming even madder
than before.

Differentiating the healthy part from the ill part in order to integrate them
The second series of sessions took place a few months later. Here we see that the patient did
succeed in overcoming her negative therapeutic reaction and that, consequently, her healthy part
and her ill part became much more integrated.
       53

The patient had come back from the summer holiday withdrawn and hallucinated. One day, as
she was dancing round the room, picking some imaginary things from the carpet and making
movements as though scattering them around the room, it struck Segal that the patient must have
been imagining that she was dancing in a meadow, picking flowers and scattering them. Segal then
had the idea that the girl was behaving as though she were playing the part of Shakespeare’s
Ophelia. It was as though her gaiety was designed to produce sadness in her audience. “If she was
Ophelia”, thought Segal, “she was scattering her sadness round the room as she was scattering the
imaginary flowers, in order to get rid of it and to make me, the audience, sad” (1956: 341). When
Segal said to her that she seemed to be Ophelia, the patient immediately stopped and said, “Yes, of
course”, and then added, sadly, “Ophelia was mad, wasn’t she?” It was the first time she had
admitted that she knew about her own madness.
In the following sessions, the analyst linked this material to the death of the patient’s father,
who had committed suicide when she was 15. The girl had felt guilty – she thought she had killed
him because he had rejected her. Segal added that by behaving like Ophelia, she could get rid of
her feelings of distress by putting them into the analyst and thereby losing her sanity. Since the
patient was still hallucinating and felt persecuted, Segal added that when she got rid of her painful
feelings in this way, she had the impression that, when the analyst interpreted this to her, these
feelings were being pushed back into her – so that she was being persecuted by the analyst.
The following day, the patient looked sad and quiet. Segal saw that she again started picking
threads out of the cover on the couch – but instead of breaking them off completely, she began to
intertwine them. The patient said: “You know, when Ophelia was picking flowers it was not, as you
said, all madness. There was a lot of other things as well. What was unbearable was the intertwin-
ing.” Segal asked: “The intertwining of madness and sanity?” “Yes”, answered the patient, “that is
what is unbearable” (1954: 342). The analyst then pointed out the difference in meaning between
breaking off the threads and intertwining them. Breaking off the threads represented her breaking
her sanity because she could not bear the sadness and guilt that sanity seemed to involve for her.
By intertwining the threads, she seemed to be saying that she had recovered the healthy part of
herself, and that there wasn’t just madness in her.
From a therapeutic point of view, what conclusion should we draw from this example?
For Segal, the analyst has to follow closely in the transference the whole process concerning the
emergence of the depression and its subsequent projection. In this way, the analyst helps the
patient recover, retain and strengthen the sane part of the personality.

Telepathy – an unexplored phenomenon

JMQ: Psychotic patients are often said to be telepathic, but the phenomenon itself can exist
even where there is no pathology. Do you have any experience of that?

Hanna Segal: I have already spoken about Osowiecki, the telepathic friend my parents
had. An extraordinary experience with him. Well, one was this tragic experience with my father
and another tragic one – I had a very beautiful young cousin, Sophie, and lots of boys were in
love with her. One day, one of them disappeared and it was Osowiecki who found him – he had
hanged himself in a park. Osowiecki was used by the Alpine mountaineering organizations to
help them find people who were lost. When I look at it, I would say that it was always telepathic,
it was always contact with another mind.
Osowiecki was very funny. I had very little money when I was a student in Poland because
by then my father wasn’t well off. I had what would be the equivalent of a fiver – a £5 note – in
my pocket which I was keeping for my rent; it disappeared and I was devastated so I thought I’d
go and see Osowiecki – I hadn’t seen him since I was 13. So, I went to him, reminded him who I
was, told him that I had had a £5 note in the pocket of my coat and that it had disappeared. “Ah,
you’re a socialist, aren’t you?” “Yes.” “I can see you on the May 1st demonstration in your black
raincoat. You had it in your pocket. Now, I see a hand gliding into your pocket. That’s what you
get when you get mixed up with socialists!”
Anyway, I don’t know how it operates but I had in my practice a few experiences which were
incomprehensible unless it was telepathy. I had it with two patients – and each time twice. The
first time I thought it was coincidence, the second time I thought “Where did she get that from?”
The first incident was when I was a young analyst. I was invited to give a lecture in Cambridge
54      

and I couldn’t change a patient’s session and she dreamt of a big placard with my name on it in
Oxford. Nowadays it would be understandable because I am always lecturing all over the
place. I went to give this lecture and a Professor Z, who was chairing the meeting, was so
depressed that I couldn’t think in his presence. It was like a heavy burden. I come back to
London and my patient fidgets about a bit, then says, “Oh, I don’t know why, but what comes
to my mind is ‘Professor Z’ and the terrible thing that happened to him and his wife: they lost a
baby.” She added, “I don’t know why Z is on my mind. Maybe you were away and I wished you
ill or something like that”, she associated. And I had a feeling as though she came into my
mind. She said, “Look you’re thinking of Professor Z, stop thinking about him, I’ve told you
what happened, so let’s get on with my analysis!”

JMQ: I too have memories of surprising things like that, so I think there must be some kind
of communication on that level.

How, we don’t know – but I’m sure it’s not God and not magic! I have noticed it particularly in
patients who are extremely dependent and always in your mind. Always trying to get at what’s
in your mind.
I had a similar experience with another patient, and it also was in two parts. One was when
I had my first baby. I wrote to the patient that I was coming back on such and such a date and
that the birth was all right but didn’t give the name of the child. And she dreamt of Daniel in a
cave of lions. I interpreted that it must be my son but she said, “You never wrote me that his
name was Daniel!” and she brought my letter to her session. And the other thing she did was
the following: I had new curtains put in the room and she brought me a painting which was a
painting of those curtains – before she even saw them!
Freud speaks of “The Uncanny” (1919h). It gives us a feeling of something uncanny, some-
thing that we can’t know.
(Tape 3, side B, 31 January 2004)

“A psychoanalytic approach to the treatment of psychoses” (1975)

Segal, H. (1975) “A psychoanalytic approach to the treatment of schizophrenia”, in M. H. Lader
(ed.) Studies of Schizophrenia, Ashford, Kent: Headley Brothers; reprinted (1981) as “A psy-
choanalytic approach to the treatment of psychoses”, in The Work of Hanna Segal, New York
and London: Jason Aronson, pp. 131–136.

The communications of psychotics are meaningful

This short paper presents, in a clear and concise manner, the Kleinian approach to the psycho-
analytic treatment of psychosis. Segal’s first account of the psychoanalytic treatment of a schizo-
phrenic was published in 1950, and, by the time she wrote the present paper, she had built up some
twenty-five years of experience in the analysis of psychotic patients. She begins by pointing out
that, in those days, the pre-Freudian attitude to mental illness persisted in many psychiatric
approaches to psychosis. Patients could be classified and diagnosed, but the content of what
psychotic or schizophrenic patients communicate was often considered to be incomprehensible.
From a historical point of view, the psychoanalytic approach to psychosis is based on the same
hypotheses as Freud had adopted for the treatment of the neuroses, i.e. on his conviction that the
verbal and non-verbal communications of his patients could be understood. After neurotic
patients, Freud tried to extend his attempts at understanding psychological manifestations into the
area of psychotic mechanisms, as evidenced by his analysis of President Schreber’s paranoid
delusion (Freud 1911c). He never at any time attempted, all the same, the actual psychoanalysis of
a psychotic patient. In his view, psychotics were wholly narcissistic and could therefore not form a
transference, so that he could not visualize how any psychoanalytic work could be done with them.
The first psychoanalysts who treated psychotic patients had the idea that in every psychotic
there are areas of the personality which are capable of forming an object relation. These analysts
       55

worked mainly in the positive transference, taking support from the healthier part of the patient’s
ego in an attempt to enable it to become dominant in relation to the psychotic part. That approach
was adopted in particular by Frieda Fromm-Reichmann, Edith Jacobson and Harold Searles.
Later, Segal herself, W. R. Bion and H. Rosenfeld would take a different line, basing the treatment
of acute and chronic psychotic states on the technique introduced by Melanie Klein.

The psychoses are rooted in the pathology of early infancy

Although Klein herself did not analyse psychotic patients, with the exception of Dick (Klein
1930), she came to the conclusion that psychotic illness is rooted in the pathology of early infancy.
In her analyses of very young children, Klein was struck by the prevalence of the mechanisms of
projection and introjection over that of repression. She discovered that infantile neurosis is a
defensive structure, protecting the child against primitive anxieties of a paranoid and depressive
type which resemble those found in psychotic states. It is during the first year of life that the
superego begins to develop, along with object relations and the capacity to form symbols, to think
and to speak. In psychosis, these functions are disturbed or destroyed; there ensues a confusion
between external and internal, a fragmentation of object relations and of the ego, a deterioration
in perception, a breakdown of symbolic processes and a disturbance of thinking. Thanks to
analysis, however, the resolution of anxiety can lead to a re-establishment of symbolic processes
and ego development.

The need to establish a reliable setting

The organization and setting of the treatment must provide for the patient the kind of holding
environment in which his or her relationship to the analyst can develop without being broken up
by the patient’s psychosis. Organized support for the patient outside the sessions must be ensured,
and it can be essential for the environment to be well disposed or at least neutral towards the
analysis, especially if the patient has to be hospitalized. “It is often through a failure of arranging a
sufficiently stable management that the analytic treatment comes to grief” (Segal 1981: 133). An
appropriate psychoanalytic setting would include such things as reliability and regularity of the
sessions, a certain uniformity of the layout, and a feeling of physical safety if the patient is violent,
etc. “But the analyst himself is a very important part of the setting. He must remain constant and not
vary his role so that the patient’s phantasies of omnipotent powers over objects can gradually undergo
a reality testing” (1981: 133).
Psychotic patients develop an almost immediate and usually violent transference to the
analyst, which is why it is difficult both to observe it and to withstand it.

The apparent lack of transference or its peculiar nature when it manifests itself is due to the fact
that the psychotic transference is based primarily on projective identification. By projective
identification I mean here the patient’s omnipotent phantasy that he can get rid of unwanted
parts of himself into the analyst. This kind of transference is both violent and brittle. The
psychotic tries to project into the analyst his terror, his badness, his confusion, his fragmentation
and, having done this projection, he perceives the analyst as a terrifying figure from whom he
may want to cut himself off immediately; hence the brittleness of the transference situation.
(1981: 133–134)

Sometimes the patient may feel completely confused with the analyst, so that he or she seems to be
losing any remaining sense of self-identity.

The failure of the symbolic function

The psychotic patient’s experience of the transference is very concrete, as is the experience of the
analyst’s interpretations. “When he is in the state of projective identification, and the analyst starts
interpreting, the patient is apt to experience it as a projective identification in reverse, that is, to feel
that the analyst is now putting into him, the patient, the analyst’s own unwanted parts and driving him
mad” (Segal 1981: 134). This concreteness of experience is a technical point of the utmost importance,
56      

observes Segal. “It is essential for the analyst to understand that, when he interprets anxiety, the
patient may feel that he is in fact attacking him, or if he interprets a patient’s sexual feelings, the
patient may experience it concretely as the analyst’s sexual advances, toward him or her” (1981: 134).
The concrete aspects of the transference have to do with the failure of the patient’s symbolic
function; that is why, Segal points out, it is useless to interpret to the psychotic as though he or she
were a neurotic. “Ordinary interpretations of the Oedipus complex for instance, could well be experi-
enced as a sexual assault and in fact make the patient worse” (1981: 134). It is above all the
schizophrenic’s language – with its concrete symbolization, its confusion between object and
subject – and the psychotic transference that have to be the subject of the analysis.

Containment
Segal goes on to develop her ideas on the Kleinian approach to the treatment of the psychoses
with a brief presentation of the psychoanalytic model of the container/contained relationship as
introduced by Bion. In this model, the analytical situation provides a container into which the
patient can project his or her intolerable anxieties and impulses, but the setting itself cannot
produce a change. The analyst has to receive these projected parts, tolerate them, understand
them, and respond by an interpretation which makes the projected elements more tolerable and
understandable. “The patient can then reintroject these projected parts made more tolerable, together
with the functions of the analyst with which he can identify, allowing for the growth of a part of
himself capable of containment and understanding” (1981: 135).

A valuable theoretical approach

In concluding her paper, Segal speculates as to the value of this procedure. The psychoanalytic
treatment of schizophrenia concerns only a small number of patients. Nevertheless, it is important
to differentiate here between the value to the patient and the value to the community. Segal argues
that, for the patient, in the rare cases where all the conditions are right, psychoanalytic treatment is
the treatment that gives the most hopeful therapeutic prognosis for the individual: “when success-
ful, it is the treatment that deals with the very root of the disturbance of his personality” (1981: 135).
From the point of view of society, she says, the value of the psychoanalysis of psychotics lies
mainly in its research aspect. The knowledge of psychopathology that psychoanalysis can give has
enabled the development of other psychotherapeutic approaches, such as supportive therapy,
group therapy, individual psychotherapy and community care. As Alanen (1975) has made clear,
psychoanalytic research can also contribute to methods of prevention as far as schizophrenia is
concerned; these have been developed to some considerable extent in Finland. The research aspect
is not confined to the treatment of illness; the analysis of psychotics has enabled us to go much
more deeply into mental phenomena in general.

The extraordinarily creative activity of psychotic patients

Mireille Ellonen-Jéquier is a psychoanalyst in private practice in Geneva. Her expertise in the
analysis of children, adolescents and adults is second to none. Her training was decidedly
Kleinian in outlook – Marcelle Spira and other well-known pupils of Melanie Klein, including
Herbert Rosenfeld and Hanna Segal, gave her a solid basis in that.

JMQ: Some psychoanalysts would say that psychotic patients cannot be treated by
psychoanalysis. What is your opinion?

Mireille Ellonen-Jéquier: In my experience, it is quite possible to have psychotic patients in

analysis. I have done so all through my career: psychotic children first of all, then adolescents
and adults. Many have done really well, and others have made at least some progress. But it
does demand some understanding of psychotic mechanisms, otherwise it gets too compli-
cated. I’ll give you the example of a 5-year-old autistic boy1 who did not speak at all. The head
of the psychiatric department referred him to me, saying that there really was nothing much
       57

that could be done for the boy, but perhaps psychoanalysis could lead to some improvement. I
treated him for five or six years. He made a significant recovery: speech, contact with other
people, all this improved. He was able to go to school, make good progress – he even went on
to pass his Baccalaureate and then graduate from university! At present, he is married and
has a high-level job. And as a child he didn’t speak at all, he was autistic, and the psychiatrists
thought him a hopeless case who could at best make some slight improvement thanks to
psychoanalysis!
Then there was the young woman who was catatonic when the head of the adolescent
department referred her to me for psychoanalysis. She wasn’t yet 20 years old, but she’d
already been in psychiatric hospitals many times, where she had electroconvulsive therapy
and sleep therapy. She would not say a word either, and her parents accompanied her to her
sessions for the first six months. She made slow progress, after a really serious suicide
attempt that left her paralysed; her doctors thought she would never walk again. For several
months I went to the hospital to keep her analysis going – they let me have a room in which to
do this. She began to walk again – much to the surprise of her doctors who thought that, given
what the X-rays showed, she would never walk again . . . When you analyse someone, you
often wonder what is going on in the nervous system networks. Physiology? At present, that
patient is coping well. I’ve had lots of similar experiences with psychotic patients.

JMQ: In that young woman’s case, there was no doubt about the diagnosis – she was really
psychotic, is that right?

Oh yes; the psychiatrists said she had catatonic schizophrenia.

JMQ: When you have psychotic patients in analysis, don’t you have to modify somewhat the
classical psychoanalytic setting?

Well, that depends, sometimes you have to come to some arrangement with the patient’s
parents and psychiatrist, sometimes not. In very serious situations, however, it is important to
modify the setting as much as you need to. For example, with the young woman I have just
mentioned, I worked very closely with the head psychiatrist in the adolescent department. I
saw that patient in my own consulting room five times a week at first, then four times (I have
always given my psychotic patients three, four or five sessions a week). For the first few
months she sat facing me, then she was able to lie down on the couch – so that was how we
did things until the end of her analysis. While I had that young patient in analysis, the head
psychiatrist organized day-care facilities in the psychiatric department, a social worker took
care of the young woman’s family and financial issues, a psychiatrist dealt with her medica-
tion, gradually reducing it as the analysis progressed, and there was also a family therapist
involved. We all met together, including the day-care staff, once a fortnight for an overall
progress report.
That helped us to understand what that young woman was projecting into us, in the form of
different parts of her self, and how she was trying to set us up against one another. Of course,
we had to avoid falling into the trap which the patient set for us and try to understand the
mechanism behind it. After these meetings, it was very difficult for me to analyse the patient’s
strategy because she wanted unconsciously to act out in that manner and because we were
running counter to her defence mechanisms. In psychoanalysis, as you well know, we try to
avoid meeting people in the patient’s immediate circle in order not to generate any interference
with the psychoanalytic relationship. The situation was all the more difficult for me in that
we represented a persecutory element for her when we put all the parts together and tried to
understand what was going on, because, unconsciously, she wanted to maintain the splitting.
So I had constantly to analyse the persecution that this represented. Being able to analyse
these mechanisms did speed up the process quite considerably, but I had to be very clear-
headed all the time so as to be able to process the situation.

JMQ: Are there counter-transference issues that arise for the various carers, not only for
the analyst?

As regards analysing the counter-transference, I would like to share a story with you. I was
watching a presentation by Paul-Claude Racamier, who specialized in treating psychotics and
58      

who was telling us about one of his psychotic patients. He said that after every staff meeting
concerning that patient, all those who had taken part would afterwards go for a drink or two. I
said to them: “If you like having a drink or two, that’s up to you – but maybe you should see it
as acting-out. Shouldn’t you be trying to understand why you need to have a drink? What did
the patient do to you to get you into such a state? What’s the message that the patient is
communicating to you – in other words, what is the meaning of your counter-transference?” Up
till that point, nobody in that group situation had even thought of the counter-transference
dimension.
It is tremendously important to analyse your counter-transference when you treat psych-
otic patients. For example, I was analysing a young psychotic adolescent, very autistic; he too
had been referred to me by the head of the adolescent department. After his sessions, I would
go and have the soles of my feet massaged in order to get back in touch with actual sensations
– I had the impression that I was slipping into a smooth and flat world in which there was no
room for any kind of sensation. At first I didn’t realize that I was having these massages
immediately after that patient’s sessions. One day I did realize that, and I began to wonder
about my counter-transference. I could then understand that the patient was conveying “some-
thing about himself” to me – a state in which he had no sensations at all. I was able to relate
that to what I knew of his childhood – he had often been left all alone in his cot, which was all
white, in a world in which sensations no longer existed. That was what he was communicating
to me unconsciously; I was able, thanks to my counter-transference experience, to let him
understand that. He then began to report significant memories of his childhood, and that really
helped him to turn things round in his analysis.

JMQ: Psychotic patients find it very difficult to communicate using verbal language. How do
you manage to understand them and communicate with them?

Take the example of the young catatonic woman who had not said a word for months on end.
For the first few months of her analysis, she sat facing me, then she lay down on the couch. In
her initial sessions, she would not say anything; I gave her some paper and pencils and told
her she could draw whatever she liked. All she drew was a straight line, and still did not say
anything. I felt I was faced with a void: what was I to understand and analyse when she
remained so silent? First of all, I showed her that I felt excluded; perhaps she was telling me
that she did not want me to penetrate her world or know what she was thinking. I felt that the
line she had drawn was like a shut-off universe, all smooth, so that when I said anything to her
she was making me experience the fact that my words just slipped away, like water off a duck’s
back – there was nothing I could hold on to on that straight line. Little by little, I showed her how
much energy and power she was putting into closing down her world like that, as shut-off as
that straight line without any bumps – just like when she remained silent – and that it was her
ego which was actively doing that. Thus nobody would be able to perceive anything in her or
know anything about her – hence my feeling that she was leaving me with a void.
That is one of the paradoxes about schizophrenics, and it is often difficult to analyse it.
They seem to have a weak, fragmented ego that is both empty and non-existent; yet at the
same time their ego is very strong, because in spite of its so-called weakness, it works at
creating this void by means of a highly complex defensive structure that often catches the
therapist out. Some psychoanalysts, for example, say that the schizophrenic ego has to be
strengthened. But that was my way of trying to get inside that young woman’s world.
I had another schizophrenic patient who would never say anything except “I don’t exist!”
When she came to her sessions, before lying down on the couch, I noticed that she would hug
the walls as though trying to disappear inside them. I pointed out to her that she did not simply
say that she didn’t exist; by hugging the walls like that so as not to be seen, she was actually
doing everything she could so as not to exist. At the outset, all I could do was analyse her
behaviour, because there was hardly anything else – so I tried to point out to her what she was
actually doing. It wasn’t that she didn’t exist, she was doing everything she could to make
people believe she didn’t exist, so that they wouldn’t see her: that is why she didn’t cross the
room but melted into the walls, as it were. Later that patient made excellent progress and is
now completely normal.

JMQ: With psychotic patients, you often have to use a vocabulary that refers to the body, a
kind of pre-verbal language . . .
       59

Yes, I analyse everything that the various aspects evoke in me in my counter-transference

and I try to relate them to the usually few things that patient has managed to express.
Counter-transference plays a phenomenal role. Thanks to the counter-transference, you per-
ceive things that have been transferred into you, things that the patient cannot put into words.
Let me go back to the patient who used to hug the walls before lying down on the couch. One
day as I was looking in her direction, she disappeared from sight! I was terrified at myself – I
wondered if I was going mad. I then realized that she was wearing an outfit that exactly
matched the colour of the couch and the wall. That made me think of mimicry; I told her that it
wasn’t that she didn’t exist, but that she’d done whatever it took to find the outfit she was
wearing. And that took some doing! What energy she must have put into disappearing like that
– mimicry just like animals, so that she wouldn’t be seen . . .
When she was younger, people always used to say that in school she was mentally
retarded and that she didn’t exist. I pointed out to her that, behind this feeling of not existing,
her ego was putting in quite some work – she was being really quite creative in doing this and
in shoring up her defences. At first, she was surprised when I said that. I added that all the
intelligence and imagination she was putting into creating her defences proved beyond a
doubt that she was certainly not mentally retarded! I should add that in analysing her
defences, I always showed her how, in the transference, she might be experiencing me as a
very dangerous person – maybe that was why she felt she had to hide away. At the same time,
she wanted to get back in touch with herself and establish contact – she was, after all, coming
for analysis – but she was very scared that I might see her, find her. In the analysis, I said, we
shall try to find out more about why she was afraid to be seen and to be found. It is of course
no use describing to patients the defence mechanisms that they use if we do not, at the same
time, show them that other people terrify them and can be experienced as dangerous. That
patient gradually made progress, but I’d have to describe the whole process in detail; it was
really so interesting.

JMQ: We usually tend to see defence mechanisms as a sign of the weakness of the patient’s
ego – but, for you, they are also a manifestation of an extraordinarily creative activity, is
that right?

If we look at how our thinking about treating psychosis has developed, I would say that Kleinian
psychoanalysts have been a great help – but, to my mind, they have sometimes over-
emphasized disintegration and the destructive aspects of psychotics. I don’t quite agree with
them there: it’s not simply a case of the death drive dominating the life drive. I think, for
example, that disintegration is not just the outcome of destructiveness – it is also the ego’s
attempt at saving itself. In the Gulag Archipelago, Solzhenitsyn says something like: “If only I
could dissolve into tiny particles . . . The little particles would scatter and disappear into space,
and so my enemies wouldn’t be able to catch me, because when they catch one particle, they
couldn’t catch the others!” For Solzhenitsyn, it was a fantasy, but for psychotics it is actual
reality. I have often experienced that in my analytical work with psychotics – they break up into
little bits and scatter everywhere, not only to attack and destroy their own perceptions and other
people but also to save their ego by projecting a destructive image on to an external object.

JMQ: Psychotic patients tend to set up an immediate and massive transference. Have you
ever felt afraid?

It’s always massive. What struck me with these patients was that, at the time, you feel so
caught up in it, invaded by it, that sometimes you just can’t analyse what’s going on. So, often
it’s afterwards, once the session is over, that your capacity to analyse comes back to you. My
analytical experience has taught me that it’s the outcome of a splitting process due to the
over-condensation that the patient carries out on representations. Let me explain. It’s as
though psychotic patients abolish all space between representations, condensing the whole
set, as it were. That way, they prevent others from entering their world. (I’d like to give a
clinical illustration of this, but it would take too long.) It is, therefore, a paranoid defence, just
as disintegration may also be that kind of defence. Thereafter, in the patient–analyst relation-
ship (it’s also the case inside the patient) a kind of para-organization of space is set up. The
space between representations is split off and put to one side – hence the void, the nothing-
ness. At the same time, the analyst is faced with a closed-off world, shut-in, over-condensed.
60      

All these highly amalgamated representations go to make up a world without space into
which you just cannot penetrate (think of the line that my patient drew on the sheet of paper).
And to this massive transference corresponds an equally massive counter-transference: just
next to the emptiness, you sense an enormous weight that can make you feel anxious that
you’re going to be crushed, you don’t know what it means, you don’t understand a thing
because all the representations are amalgamated. That often makes me think of those
vehicles you squeeze into as small a volume as possible before getting rid of them: nothing
left but tiny little cubes in which you can no longer distinguish the different parts. In my
opinion, that is the reason why you can think better only once the session is over, because
then you can put some space back in between representations. Understanding and analysing
these mechanisms enabled me gradually to help these patients reintegrate the idea of space
between representations.
Here is one example – a dream, coming after two years of analysis, that highlights these
mechanisms. A patient dreamt that she went to the toilet; what came out of her was a shape-
less lump which was grey-brown-blackish in colour and which she looked at in amazement.
I said to her she was giving birth to her amalgam. She then reported another dream: she
unfolded this shapeless lump and, and unrolling it as if it were a roll of toilet paper, she
discovered pictures of different landscapes, some of which were beautiful, others terrifying,
all in various colours. That was her very first dream in colour! It was as though the amalgam
had become de-condensed: the now-separate representations (the different landscapes) had
enabled colours to be laid out as in a spectrum, whereas, beforehand, all the colours were
amalgamated, hence the grey-brown-blackish mixture.
In analysing these mechanisms, we are faced with a paradox that schizophrenic patients
put before us: they are simultaneously empty and full (massive, condensed). Another paradox:
they are simultaneously disintegrated (their bits and pieces are scattered in space or projected
inside objects) and over-condensed. Thus it is extremely important to analyse these various
mechanisms as they appear in the transference and counter-transference. If we don’t do this,
the risk is that we fall in with the patient’s defences and start thinking that he or she is “nowhere
to be found”, as it were, and in any case impossible to analyse.

JMQ: Sometimes, when a psychotic child is in treatment, the parents act out by interfering in
the relationship between their child and the analyst. How do you cope with such situations?

In general, we would want the parents to have help too, if possible with another therapist.
Some parents don’t agree; you therefore have to see them too and show them that they are in
a very difficult situation with their child and that talking about it to someone could be quite
helpful, etc. Then they are more ready to accept the idea. It’s probably better not to say: “Well,
you have a problem”, because they could feel that to be a narcissistic attack. If they still do not
agree to see someone else, I try to see them – but that is always a problem as far as the patient
is concerned. Of course, you always have to tell the child what you discussed with his or her
parents, but when the parents act out it becomes very difficult to talk to the child about it – yet it
has to be brought into the rest of the analytical material.
I’ll give you another example, an adolescent girl – but the same thing can happen with
younger children. This young psychotic patient I had in analysis would never say a word. Every
week I would receive a five- to ten-page letter from her mother describing everything that had
taken place. I started off by reading them, but after a few weeks I’d had enough; I wondered
what I was acting-in in the counter-transference. When the next letter arrived, I put it on the
table without opening it. When the patient arrived, I said to her: “Your mother has written to me
again, but I’m not going to read the letter. You can read it if you want, and then we’ll talk about
it. . .” Then that adolescent – who normally never said a word – began to speak: “You abso-
lutely must read that letter! Do you realize what it would mean if you didn’t”, and so on. She
insisted so much that I was able to show her how she was using her mother to talk about her
own self, after projecting her voice and her affects into her mother, so that the patient herself
did not have to talk any more. You have to find a way of bringing the parents’ acting-out into the
session so that the patient can recover his or her projected parts. When that patient began
talking, her mother stopped writing letters.

JMQ: You need to be very experienced to analyse psychotic patients. What was your own
training?
       61

I began by graduating in psychology, then had a classical analysis that lasted three years, and
then a much longer analysis with a Kleinian psychoanalyst. I had regular weekly supervisions
in the context of my training to become a member of the Swiss Psychoanalytical Society, and
in addition to that I had many years of supervision with British Kleinian analysts such as Hanna
Segal, Herbert Rosenfeld, Betty Joseph, Isabel Menzies, Donald Meltzer, Turner and others.
Also, I was in supervision for two years with Alberto Campo, an Argentinian psychoanalyst.
When I decided to start taking patients into analysis, I was afraid that I wouldn’t have any
because everybody thought of me as a Kleinian! One day, after I’d made various tentative
approaches, one psychiatrist decided to refer a 5-year-old psychotic boy to me for treatment:
“Anyway, there’s nothing to be done with him, he is so autistic. Look, we’ll send him to her and
see what she can do with him!” Quite a difficult situation when you’re just starting out. The
family spoke a foreign language in which I was not particularly fluent. After about a year or
so the boy began to speak, and the doctors were so surprised that the psychiatrist asked me to
come to the psychiatric hospital and read a paper on the subject. That’s how it all began. One
day I was attending a clinical presentation about that patient in the hospital; he saw me in the
room, looked directly at me and said “Jéquier is a real live wire”. That meant “Contact!”, lines of
communication . . . How moving it was to see that boy come out of the depths of his autistic
state. From then on, quite a number of autistic or psychotic children were referred to me and
people began to say: “She’s the specialist for schizophrenics!” In fact it was quite distressing
for me to have so many referrals like that, but I did learn a lot from them and it allowed me to
discover new worlds inside myself that I have always tried to understand, re-analyse and
process. Later I took on adult psychotic patients – I would never have been able to analyse
them, had I not had the earlier experience of all that work with child and adolescent psychotic
patients.
(Interview, November 2006)

Mireille Ellonen-Jéquier (Geneva) is a member of the Swiss Psychoanalytical Society.

 Chapter 4

FROM SYMBOLIC EQUATION TO

SYMBOLIC REPRESENTATION
INNOVATIVE IDEAS ON SYMBOLISM

In 1957, Segal wrote her seminal article, “Notes on symbol formation”. In that paper she wrote for
the first time about the “symbolic equation”, a primitive form of symbolism that is typical of the
schizophrenic’s concrete thinking; she distinguishes it from true symbolism, i.e. symbolic representa-
tion. The originality of this paper comes not only from the innovative quality of the concept itself but
also from the fact that in making the distinction between symbolic equation and symbolic representa-
tion, Segal links the transition between the two to the development of object relations and of the
transference. It was Melanie Klein who first opened up that possibility when, early in her work,
she linked the development of the ego to the capacity to form symbols.
In her paper, Segal notes that her approach to symbolism is different from that of much of the
psychoanalytic literature on the subject. Symbolism as such had never really been examined in any
depth by psychoanalysts. The notion had generally been used as a way of understanding the meaning
of what patient and analyst were communicating, so that this could then be interpreted. Using the
concept in that way went without saying, much as Molière’s Monsieur Jourdain said that for some
forty years he had been speaking prose without realizing the fact.
Segal’s ideas on symbolism have resulted in several papers which now span several decades: in
1957, “Notes on symbol formation”; in 1978 she added to her then ideas a paper called “On symbol-
ism”; in 1991 she devoted two chapters of her book Dream, Phantasy and Art to symbolism; and,
finally, in 2000 she wrote a paper on “The Oedipus complex and symbolization” (Segal 2000a).
I should point out that the ideas contained in “Notes on symbol formation” have many points in
common with those in Segal’s papers on schizophrenia and on aesthetics. It is, of course, the case that
several issues which concern symbolism are implicated also in schizophrenic thinking and artistic
creation. Her work on these three dimensions really does amount to a trilogy. The fundamental
intuitions she had on these topics were developed in the years that followed.

A pioneer in the exploration of symbolism

JMQ: You were the first to put forward the idea that patients who initially had little capacity for
symbolization could in fact go on to develop one. Does that finding have repercussions not
only for psychoanalytic theory but also for technique?

Hanna Segal: Well, things happen at a particular time. I started with my first psychotic patient
just after Mrs Klein published her paper “Notes on some schizoid mechanisms” (1946). It’s
actually a very short paper, but it is the first proper introduction to the concept of projective
identification and of paranoid-schizoid states preceding the depressive states – the depres-
sive position. We were beginning to analyse psychotics. So there I was immediately con-
fronted with their difficulty with symbolization in their sessions. When I made an interpretation
in terms of castration anxiety, the patient actually felt castrated. I realized that what I said was
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taken as a statement of reality. He couldn’t distinguish between the spoken word and actual
reality. Also, he told me later, once he was back home, that we must never speak about or
mention the names of any patients who remained in hospital because when we talked about
them that meant we were chewing them up. So I was immediately confronted with that problem
and to my surprise I had a couple of artists who were also struggling with that. I had a woman
patient, an author, who couldn’t write because she felt that the words were coming out of the
page at her and biting her. And she felt that, for her, writing was like biting. So from two
quarters I was concerned with that issue.
I then came to distinguish between two ways of symbolizing: in the one, a symbol repre-
sents something and in the other the symbol actually is something, concretely, I mean. I quote
the example of a psychotic violinist in a hospital setting, who was not a patient of mine. An
extremely talented young man, he could no longer play the violin. I asked him why he had
stopped playing, and he replied: “Do you expect me to masturbate in public?”! At about the
same time, I had a patient on the couch who also played the violin; for him too, because of
its shape, it represented at various times either a penis or his mother’s body. It never stopped
him playing, however, because the instrument represented one or other of these – it wasn’t
actually a penis or his mother’s body as such. It was a true symbolic representation.

JMQ: How did Ernest Jones contribute to all of this?

Jones wrote an absolutely fundamental paper on symbolism, in 1917 I think it was, in which he
distinguished between metaphor, which is conscious, and true unconscious symbols. Actually,
he read it at a meeting of the Psychological Society and an officer looked at his medal and said
very angrily: “And you dare call this a metaphor?” For that man, his medal was the heroic
action for which he had been awarded the distinction, it did not represent that action. If anyone
were to think that his medal was simply a metaphor, that would, for the officer concerned,
amount to a denial of the heroic action itself.
Jones made a couple of fundamental points which I always quote: that a symbol represents
what has been repressed from consciousness, and that the whole process is unconscious.
Later, he went on to say that symbolization occurs when sublimation has not been achieved. So,
for Jones, symbolism is pathological. Nowadays, of course, we no longer think of symbolization
as a pathological phenomenon.

JMQ: What about symbolism in Klein’s work?

It seems to me that her approach to symbolism, without her being aware of it at all, is very
different from Freud’s. Freud, of course, didn’t write anything specifically about symbolism.
What helped me to bring things together were some papers of Klein, one which I think is one of
her most important papers – “The importance of symbol-formation in the development of the
ego” (1930), the paper in which she describes the autistic boy whom she calls Dick. In those
days they called him schizophrenic – autism was not yet a diagnosis then. Dick was an autistic
child, he didn’t play, didn’t talk, didn’t relate and was interested only in door handles and trains.
Those were the two little bits of interest that he had. Klein says that his inhibition as regards
talking and so forth was due to a phantasy he had that his mother’s body was full of dreadful
things, so that he just wasn’t interested in anything else.
Klein observed children in school and, as early as her first book, she treats symbolism as a
constant occurrence in child development. School, for example, may represent the mother’s
body; the teacher could perhaps represent a penis or the father inside the mother’s body. That
kind of symbolism doesn’t at all interfere with the child’s capacity to symbolize. It’s not being
able to symbolize that is the problem, because for Klein creativity is also linked with age – you
can’t develop an ego if you can’t symbolize.

JMQ: So it is possible to move from primitive symbolism towards a more evolved form?

I put all those things together, my own observations, those writings of Klein’s that stimulated
my interest in symbolism and in the role of symbolism in the creative process, and the concept
of projective identification. This helped me to understand that, within the process that starts
with concrete symbolism and goes all the way to the more evolved forms, symbolism is a
tripartite relationship. The symbol, the object to be symbolized and the self, i.e. the person for
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whom the symbol is a symbol. But if you project a part of your self into the object, then you lose
touch with its being your thought and it becomes a reality in the external world.

JMQ: That makes me think of the times in an analysis when, in the transference, the patient
unconsciously sees us concretely as being some particular person or other. One of my female
patients, for example, had been abused as a child – from time to time she would see me quite
concretely as an abuser.

And whenever you opened your mouth you assaulted her.

JMQ: And the reverse also happened, because in the transference she behaved in an abusive
way towards me, so that I was the person abused.

It’s done so concretely, because if you project a bit of your perceptual apparatus then that part
becomes a reality in the external world. That, I think, made a fundamental difference in the way
we thought about this process, because we could then see that the major part of our work is
reconverting, allowing the concrete to become symbolized. I’ll come back later to Bion’s work
which is important too on this point.
I then went on to suggest a revision of our theory of repression. I suggested that repression
sets in after the depressive position, or along with the depressive position, whilst concrete
symbolization is – I thought at the time – excessive projective identification of a sticky kind, one
that prevents any further development.

JMQ: Did you integrate Bion’s views into your conception of symbolism?

Yes, I always refer to them because they take it sort of into more detail, and into qualitative
rather than quantitative factors. Freud spoke of “excessive” repression. We say it’s not
excessive, it’s a different kind of repression. [. . .] So that takes us a stage earlier than
repression.
Later Bion also revised the theory of repression when he wrote of the “contact barrier”,
which is made up of alpha-elements, and of the beta screen. In his view, the alpha contact
barrier is also a symbolization and a further development, whereas the beta barrier can only
be split off. That led him to see repression in a dynamic way not only as a mechanism but also
as the area of the personality in which beta gets transformed into alpha. For me, that way of
understanding the process is really the basis of the Kleinian technique and particularly of the
post-Kleinian technique. [. . .]

JMQ: It is so very concrete . . .

That was a very fundamental point. As you know, my first book of papers was published
in America with the title The Work of Hanna Segal but I gave it a subtitle: “Delusion and
Creativity” – because this is really the borderline zone in which we are constantly working.

JMQ: “Borderline” in a broad sense?

That’s right. It’s very important in artists, particularly in painters, because they actually have to
be quite concrete. Artists say that theirs is a kind of process which lies somewhere between art
and madness, and I do think artists have this problem of transforming what is concrete into
what is symbolized – because, after all, they are very, very close to what is concrete. I quote in
my paper the French writer Alexandre Dumas leaving his room crying and saying “J’ai tué mon
Porthos! ” [“I have killed my Porthos!”]
(Tape 3, side A, 31 January 2004)

JMQ: Bion’s concept of “attacks on linking” seems to me to be another important factor in

symbolization.

Yes, it is very important because the symbol is also a link to reality, isn’t it? The link between
our thoughts and what actually happens.
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JMQ: The “attacks” of which Bion wrote aim to break the link between object and symbol.

On the Rorschach test, for example, the schizophrenic either takes up very minute details or
the big whole-responses. Never the middle. Yet most of our life is not that tiny or that big; it
takes place more or less in the middle, as it were.

JMQ: So the Rorschach test can reveal emotional links?

Yes, in the little details, in the little bit of concrete symbolization of a very disintegrated kind.
Or when there’s complete abstraction – a total cut-offness of any links, of any relationship
to some big ideas corresponding to what are called the whole-response images in the
Rorschach test. So there are people who are good at symbolization and abstraction, yet they
may still be completely cut off from any emotional ties.

JMQ: You have called this concrete form of symbolization “symbolic equation”. Sometimes
you use also the term “concrete equation”. Are they the same idea?

Yes, they are.

JMQ: I have heard some psychoanalysts say that the symbolic equation has nothing to do with
symbolism. As far as you are concerned, we are still talking about symbolism, although of a
very primitive kind; is that right?

I think that the difference is not really one of vocabulary, because you could call it something
else if you wanted to. I think they really mean unanalysable. As far as I am concerned, once
you understand the underlying dynamics, then it does become analysable.

JMQ: In his paper, “Some psychical consequences of the anatomical distinction between the
sexes”, Freud (1925j) uses the term “symbolic equation” to describe the equivalence between
penis and child.1 Is your use of the term the same as Freud’s?

Klein uses it too. She always credits me with being the first to use the concept of symbolic
equation, but in fact she herself uses it in one of her early papers when she says that things
are equated one with another. However, I don’t think Freud meant concreteness in quite the
same way.

JMQ: Yes, Freud seems to use the term in a descriptive sense, without turning it into an
actual concept. Another question: do you think there are different degrees of symbolic
equation?

Yes, I do. Actually, when you and I talk together, we not only talk to each other but, at a different
level, we actually have an impact on each other of a concrete kind. This is an example of Bion’s
idea of constant transformation: at one level we always react concretely and then transform it.
Personally, I would certainly make a distinction between anti-verbal and non-verbal, because
anti-verbal implies cutting the link concretely. The French are so very attached to language, but
there’s a whole world of experience which is not verbalized.
I speak about that with reference to Salman Rushdie’s book for children, Haroun and the
Sea of Stories (Rushdie 1991), in which there is a character who doesn’t talk but dances. It’s
very beautiful and dance, after all, is the first language, the most ancient of languages (Segal
1994). But here the non-verbal fuses with the verbal, it doesn’t contradict it, it doesn’t attack it.
If the non-verbal relationship is good then it gets verbalized much more easily; but if on the
non-verbal level it’s bad – due to a bad projective identification, for example – then there is no
gradual transformation into a verbal form, simply a constant attack on verbal links. I would say
that maybe 50 per cent of our ordinary conversational behaviour is concrete – especially when
we talk to people with the idea of influencing them. It’s not just the idea of understanding
them rationally, it’s taking possession of them through your tone of voice, the expression on
your face.

JMQ: Have contemporary Kleinians developed your ideas on symbolism any further?
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I think on symbolism specifically there is a contribution by Britton which is interesting. He says

that there is a triangular relationship from the very beginning and that the father is also a
“container”. For Britton, there is a relationship between baby and mother with the father as an
outsider, between baby and father with mother as the outsider, and between father and mother
with the baby as outsider (Britton 1989, 1992). In other words, there is always a couple and a
third person, and the relationship with that third person can be very bad. The third party can
either be intrusive and bad, or be instrumental in bringing the other two together. Those are the
links, I think, that are attacked in the container.

JMQ: Do you think that these ideas about the “third party” which we find in some British
psychoanalysts could have been influenced by French psychoanalysts, who also stress the
role of the father and so on?

Well, I think there was somebody called Freud before any French psychoanalysts came into
the picture! I think actually that Klein brings in the father much, much earlier than Freud did. I
know that people complain that in her writings it’s always mother and baby, that she doesn’t
talk about the father, and so forth. But Klein places the Oedipus complex at the depressive
position, all the same – and nowadays we place it even earlier. Right from the beginning there
is a triangular situation in the container, with attacks on the parental couple.
(Tape 3, side B, 31 January 2004)

Segal: from symbolic equation to symbolic representation

Note: In order to make this section as clear as possible and to avoid cross-references, I have decided on this
occasion to compile Segal’s ideas on symbolism not chronologically, as in the other chapters of this book, but by
general theme, based on the following texts:

Segal, H. (1957) “Notes on symbol formation”, International Journal of Psycho-Analysis, 39:

391–397; reprinted (1981) in The Work of Hanna Segal, New York and London: Jason Aronson,
pp. 49–65.
Segal, H. (1978) “On symbolism”, International Journal of Psycho-Analysis, 55: 515–519; reprinted
(1997) in Psychoanalysis, Literature and War. Papers 1972–1995, London and New York:
Routledge.
Segal, H. (1991) Dream, Phantasy and Art, London: Routledge.
Segal, H. (2000a) “The Oedipus complex and symbolization” (unpublished).

Symbolism according to Freud, to Jones and to Klein

Freud: hysterical symptoms have symbolic meaning
Segal’s work on symbolism is for the most part based on Freud’s ideas, together with those of
Ernest Jones and Melanie Klein.
The notion of unconscious symbolism is a fundamental tenet of psychoanalysis. Already in
1895, in Studies on Hysteria, Freud notes that hysterical symptoms are meaningful and that there
is a symbolic determinism which decides on the form they adopt. That discovery would have been
of only limited interest had Freud not thereupon used his knowledge of symbolism to treat
hysterical symptoms successfully. He observed that hysterical symptoms disappeared as soon as
the patient became aware of their symbolic meaning. Freud succeeded in doing this by decoding
the indirect symbolic manifestations of the unconscious that are conveyed by means of linguistic
expressions – following the “free association” method –, dreams, or bungled actions. In other
words, symbolism holds the key to our knowledge of the unconscious. It is therefore easy to
understand why symbolism is so crucial to psychoanalytic theory and practice.
As he explains in The Interpretation of Dreams (1900a), Freud was struck by the extent to
which symbolism was used to represent dream material. He thought at first that dreams drew their
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material from universal symbolism and that each symbol had only one meaning. He quickly came
to the conclusion, however, that this view was too simplistic, that any one symbol could have
different meanings and that they were over-determined. He realized also that, in addition to
universal symbolism, each dreamer has a personal or individual symbolism that has to be taken
into account when dreams are being interpreted.

Jones: the symbolization process is unconscious

Basing his developments on Freud’s groundwork, Jones wrote a key paper with the title “The
theory of symbolism” (Jones 1916), one of the aims of which was to distinguish his points of view
on symbolism from those of Jung. Jones’s paper was significant in that it was an attempt to give a
more precise definition to symbolism and sublimation, terms which, at that time, were somewhat
vague. Segal quotes it because of its undoubted historical interest and because Jones’s ideas are
useful as reference points.
Jones’s definition of symbolism is still widely accepted, writes Segal. “A symbol represents what
has been repressed from consciousness, and the whole process of symbolization is carried on
unconsciously” (Segal 1991: 32). The same is true of Jones’s view of the origins of symbolism:
“Symbolism arises as the result of intrapsychic conflict between the ‘repressing tendencies and the
repressed ’ ” (ibid.). Segal summarizes Jones’s ideas thus: “One might say that when a desire has to
be given up because of conflict and repressed, it may express itself in a symbolical way, and the object
of the desire which had to be given up can be replace by a symbol” (ibid.). Jones observes also that, in
spite of the great number of symbols discovered by psychoanalysis, they actually cover quite a
narrow field. They mainly have to do with the body, the parents and other close relatives, and
topics such as birth, death and sexuality. This point of view was confirmed by later developments
in psychoanalysis, which showed that infants are initially interested in their own or their parents’
body, and that these objects and drives, present in the unconscious, are the source of all their
subsequent interests through the workings of symbolization.
That said, some of Jones’s ideas are no longer regarded as being valid. For example, he argued
that only what has been repressed is symbolized, so that, because of this repression, symbolism as
such is pathological. As Segal points out (1957: 392), Jones’s definition, being too restrictive,
excludes most of what is called “symbol” in other sciences and in everyday language. Also,
for Jones, any given symbol had only one meaning, whereas nowadays symbols are seen to be
polysemous and over-determined. Segal distances herself further from Jones when she says that
there are very great advantages in extending the definition of symbols to cover those used in
sublimation.

Klein: symbol formation and ego development go hand in hand

Melanie Klein’s work with young children opened up a new approach to symbolism. Starting with
Freud’s ideas, Klein argued that the infant’s play was an expression of his or her underlying
unconscious conflicts, desires and phantasies. She showed that unconscious phantasy underpinned
children’s schoolwork and that both schoolwork and play are a symbolic expression of the child’s
phantasy life (Klein 1923b). For many children, the school building represents symbolically the
mother’s body, while the teacher inside represents the father. From that point of view, all school
activity may be experienced as penetrating inside the mother’s body and schoolwork itself may
acquire a symbolic meaning: for example, numbers or letters may come to represent the genitals,
with the letter “l” a symbolic representation of the male genital and the letter “O” the female one;
in a similar vein, a group of two letters or numbers may represent sexual intercourse.
Klein went on to enhance her conception of symbolism. After a detailed exploration of the
infant’s relationship with the mother’s body, she concluded that the child’s epistemophilic drive
gave rise not only to the wish to explore the maternal body and the phantasy of doing so, but also
to wishes and phantasies of attracting and possessing it. The intensity of libidinal and aggressive
desires is increasingly a source of anxiety and guilt feelings with respect to the mother; as a result,
the child displaces his or her attention on to objects in the external world and endows them with
symbolic meaning. Creating symbols thus becomes a way of reducing anxiety and guilt feelings
with respect to the infant’s primary objects. Thus, according to Klein, both libidinal and aggressive
wishes with respect to the mother’s body are the main source of the epistemophilic relationship to
the world, and external objects are above all symbols of the infant’s body, that of the parents, or
parts of the body.
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If anxiety is too intense, the entire process of symbol formation is inhibited, and this can have
catastrophic consequences for the development of the ego. This was the case with Dick, a 4-year-
old autistic boy who was unable to speak or to play and had little or no contact with his environ-
ment (Klein 1930). The analysis showed that he was terrified of his aggressive impulses towards his
mother’s body; he felt that, as a result of his attacks on it, he had transformed it into something
bad. The result was complete paralysis of his phantasy life and of symbol formation. “He had not
endowed the world around him with any symbolic meaning and therefore took no interest in it.
Melanie Klein came to the conclusion that if symbolization does not occur, the whole development
of the ego is arrested” (Segal 1991: 34). Once Klein managed to get hold of these phantasies, as
Dick’s unconscious anxiety diminished and became conscious, the process of symbol formation
could begin.

The concept of symbolic equation

Two classic examples
As a starting point for her investigation, Segal takes the problem of symbolic functioning as she
encountered it in her psychoanalytic practice through the transference/counter-transference rela-
tionship. She begins her 1957 paper by describing two patients in order to illustrate the difference
she draws between two sorts of symbol formation and symbolic function. These two examples,
now classic, are often quoted.
Patient A was a psychotic in a psychiatric hospital. Since his illness, he had stopped playing the
violin. When Segal asked him why he had stopped, he replied with some violence: “Do you expect
me to masturbate in public?”
The situation with patient B was quite different. When he was in analysis with Segal, he dreamt
one night that he and a young girl were playing a violin duet. He associated to “fiddling” and
masturbating, and it clearly emerged from these associations that the violin represented his genital
and playing the violin represented a masturbation phantasy of a relation with a young girl.

Here then are two patients who apparently use the same symbols in the same situation – a violin
representing the male genital, and playing the violin representing masturbation. The way in which
the symbols function, however, is very different. For A, the violin had become so completely
equated with his genital that to touch it in public became impossible. For B, playing the violin in
his waking life was an important sublimation. (Segal 1957: 391)

In other words, says Segal, the main difference between these two patients with respect to their use
of the violin as a symbol for the male genital was not that in one case the symbol was conscious
and in the other unconscious, but that in the first case it was felt to be the genital and in the second
to represent it – and this in no way prevented B from using it.

What does “symbolic equation” mean?

These clinical cases led Segal to the conclusion that it was possible to differentiate between
two kinds of symbol formation and symbolic function. This is how she put it in her 1991
paper.

In one, which I have called symbolic equation, and which underlies schizophrenic concrete think-
ing, the symbol is so equated with the object symbolized that the two are felt to be identical.
A violin is a penis; playing the violin is masturbating and therefore not to be done in public. In
the second case, that of true symbolism or symbolic representation, the symbol represents the
object but is not entirely equated with it. To the patient who dreamed of the violin, the violin
represented the penis, but was also differentiated from it, so that it could both embody
unconscious masturbation phantasies and yet be sufficiently differentiated to be used as a
violin as well, to make music which could represent intercourse but not be equated to intercourse.
(Segal 1991: 35)
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Symbolism: a three-term relationship

For Segal, symbolism is a three-term relationship, bringing together the symbol, the object it
symbolizes and the person for whom that symbol represents that object. If we put this in psycho-
analytic terms, we could say that symbolism is a relationship that brings together a symbol, an
object and the ego. From that point of view, Segal argues, if symbolism is seen as a three-term
relationship, problems of symbol formation must always be examined in the context of the ego’s
relationship to its objects.
That innovative approach put forward by Segal in 1957 meant that she could then go on to
make a detailed study of how symbols are formed and used in the course of the ego’s development.

The formation of symbolic equations in the course of development

Early disturbances of differentiation between ego and object
Symbol formation begins very early, probably at the same time as object relations. Basing her
description on the concepts of the paranoid-schizoid position and the depressive position, Segal
notes that the child’s first object relations are characterized by splitting the object into an ideally
good and a wholly bad one. The aim of the ego is both total union with the ideal object and total
annihilation of the bad one as well as of bad parts of the self. This initial splitting divides objects
into good and bad, but there is as yet no clear differentiation between self and object.
If, in the course of the infant’s development, disturbances occur in differentiating between self
and object, these may be reflected in disturbances of symbol formation. “In particular, disturbances
in differentiation between ego and object lead to disturbances in differentiation between the symbol
and the object symbolized and therefore to concrete thinking characteristic of psychoses” (Segal 1957:
393). In other words, the formation of symbolic equations in schizophrenics is closely related to a
blurring of the differentiation between ego and object in the early stages of infant development.

The role of projective identification

Segal mentions the fact that Klein had already linked symbolism to projection and to identifica-
tion, as Ferenczi had suggested, but that in her early work she had not yet made a detailed
exploration of the interaction between projection and identification. Klein would in fact do this in
her 1946 paper on projective identification, “Notes on some schizoid mechanisms”; Segal based
some of her own theories on that paper. Thanks to that major contribution and to her own
observations with her patients, Segal was able to draw the conclusion that the more projective
identification increases, the more concrete symbolism dominates. We shall shortly see the con-
sequences of this.

Symbolic equations and early object relations

In the early stages of infant development, the child’s mind creates objects which are then felt to be
available. This phase is what Freud called hallucinatory wish-fulfilment. For Klein, that phase
corresponds to hallucinosis in which, if ideal conditions are not fulfilled, the bad object is equally
hallucinated and felt as real.
At this time too, the first projections and identifications are the beginning of the process of
symbol formation. In projective identification, the subject in phantasy projects parts of him- or
herself into the object, so that the object comes to be identified with the parts of the self that it is
felt to contain. Similarly, internal objects are projected outside and identified with parts of the
external world which come to represent them.
Early symbols formed in this way, however, are not felt by the ego to be symbols or substitutes,
but to be the original object itself.

They are so different from symbols formed later that I think they deserve a name of their own.
[. . .] I suggested the term “equation”. This word, however, differentiates them too much from
the word “symbol” and I would like to alter it here to “symbolic equation”. The symbolic
equation between the original object and the symbol in the internal and the external world is, I
think, the basis of the schizophrenic’s concrete thinking. (Segal 1957: 393)
70      

Given that symbol formation is a three-term relationship, it collapses whenever projective

identification increases.

In the absence of a person there can be no symbol. That tripartite relationship does not hold when
projective identification is in ascendance. The relevant part of the ego is identified with the object:
there is not sufficient differentiation between the ego and the object itself, boundaries are lost,
part of the ego is confused with the object, and the symbol which is a creation of the ego is
confused with what is symbolized. It is only with the advent of the depressive position, the
experience of separateness, separation and loss, that symbolic representation comes into play.
(Segal 1991: 38)

Defence by annihilation and scotomization

When symbolic equations are formed in relation to bad objects, an attempt is made to deal with
them as with the original object, that is by total annihilation and scotomization. This seems to
have been the case with Dick (Klein 1930) who, says Segal, had perhaps formed numerous sym-
bolic equations in the external world. Thereupon, in order to avoid the anxiety and feelings of guilt
related to the original persecutory object, he would have had to deal with them by annihilating the
object, that is, by a total withdrawal of interest. As the analysis progressed, Dick began to show
interest in some of the objects in the playroom.

From symbolic equation to symbolic representation

The transition from the paranoid-schizoid to the depressive position
In the course of infant development, these early forms of symbol, symbolic equations, gradually
change into symbols in the strict sense of the term, symbolic representations. According to Segal,
this evolution in the function of symbols takes place during the transition from the paranoid-
schizoid position to the depressive position; these changes are complex, but here Segal highlights
only their main characteristics for the purposes of her demonstration.
In the depressive position, a transformation gradually takes place in symbol formation and use.
Given that the object is felt to be whole, there is a growing awareness of separateness between self
and object, and the symbol – in the narrow sense of the term – is felt really to represent the object.
Because of ambivalence, the ego’s relationship to the object is marked by guilt, fear of loss or
actual experience of loss and mourning, together with a striving to re-create the object, repair it
and restore it within the self and in the external world. In normal development, after repeated
experiences of loss, recovery and re-creation, a good object is securely established in the ego. There
is a growing sense of reality, both internal and external.
Simultaneously, there is a certain modification of drive-related aims. Earlier on, the aim was to
possess the object totally if it was felt to be good, or to annihilate it totally if it was felt to be bad;
in the depressive position, with the recognition that the good and the bad objects are one and the
same, the drive-related aims are modified.

This situation is a powerful stimulus for the creation of symbols, and symbols acquire new
functions which change their character. The symbol is needed to displace aggression from the
original object, and in that way to lessen the guilt and the fear of loss. [The] aim of the
displacement is to save the object, and the guilt experienced in relation to it is far less than that
due to an attack on the original object. (Segal 1957: 394)

In such circumstances, the symbol is not the equivalent of the original object.
Symbols are also created in the internal world as a means of recapturing and owning again the
original object. But, in keeping with the increased sense of reality, they are now felt to be created
by the ego and therefore never completely equated with the original object.
Segal follows Freud who, in 1923, postulated that a modification of drive-related aims was the
basic prerequisite for sublimation, and adds that, in her view, symbol formation in the depressive
position necessitates some inhibition of direct drive-related aims in relation to the original object
“and therefore the symbols become available for sublimation” (1957: 395). Since the symbol is
       71

acknowledged as a creation of the individual concerned, unlike the symbolic equation, it can be
freely used by him or her.

When a substitute in the external world is used as a symbol it may be used more freely than the
original object, since it is not fully identified with it. Insofar, however, as it is distinguished from
the original object it is also recognized as an object in itself. Its own properties are recognized,
respected, and used, because no confusion with the original object blurs the characteristics of the
new object used as a symbol. (1957: 395)

Symbolization and the mourning process

Overcoming loss and separation with the help of symbols
As a result of the growing differentiation between the internal and external worlds, as the depres-
sive period is being worked through, absence can be more easily accepted. Symbols are used to
overcome the loss of the object and to protect the object against the individual’s own aggressive-
ness. “A symbol is like a precipitate of the mourning for the object” (Segal 1991: 40). In this new
situation, the function of symbolism takes on another meaning: the symbol becomes available for
sublimation and makes ego growth that much easier.
For as long as the dead person is felt concretely to be a dead body, normal mourning is not
possible. “It is only if the dead person is symbolically represented in the mind that the symbolic
internal reparation can be done” (1991: 38). That internal reparation is necessary if mourning is to
be successfully processed.
Segal then goes on to analyse the close relationship that can be observed between the capacity
to symbolize and the ability to work through the mourning process. In pathological mourning,
there is a concrete symbolic equation in which the symbol is not felt to be sufficiently differentiated
from the object to enable the individual to use it freely. On the other hand, when the mourning
process can be worked through, the symbol is created by the individual; in this case it represents
the object and, being a creation of the person concerned, it can be freely used. “Also, in that the
symbol is not equated with the object, the proper characteristics and functions of a substitute used
symbolically are fully recognized and acknowledged” (1991: 41).
In order to illustrate the various degrees of symbolization, Segal reminds us that Freud is
reputed to have said that every man marries his mother. “But”, she adds, “the sanity or otherwise of
such a procedure depends on the type and degree of symbolization. The wife may symbolize and
contain some aspects of the mother; or she may be felt to be the mother, in which case the marriage
carries all the prohibitions and conflicts of the relation to the mother” (1991: 47).

The relationship between primitive symbolism and more evolved forms

Coexistence is possible
Modification of the form of symbolization in the transition from the paranoid-schizoid to the
depressive position does not mean that the highest form of symbolic functioning is established
once and for all. Firstly, regression to the paranoid-schizoid position can always occur at any time
in the individual’s development, whenever there is recourse to pathological projective identifica-
tion as a defence against anxiety. “Then symbols which have been developed and have been function-
ing as symbols in sublimation, revert to concrete symbolic equations. This is mainly due to the fact
that in massive projective identification the ego becomes again confused with the object, the symbol
becomes confused with the thing symbolized and therefore turns into an equation” (Segal 1957: 395).
Secondly, there are many modes of transition from concrete symbols to symbolic representa-
tion. These different kinds of symbol can coexist side-by-side in the same individual, in variable
proportions. According to Segal, the mind does not function only with concrete symbols nor only
with symbolic representations. “I do not think I have ever seen a patient the whole of whose function
would be on a concrete level or whose concrete symbols would ever be completely concrete; only
predominantly so. Nor do I think the symbolism of the depressive position is ever free of concrete
elements” (1991: 43).
72      

The aesthetic experience and the juxtaposition of the two forms of symbolization
In applying her ideas on symbolism to art, Segal suggests that the juxtaposition of these two forms
of symbolization could be the source of the impact which a work of art has on the person looking
at it. “Any art, in particular, does embody concrete symbolic elements that give a work of art its
immediate ‘punch’; it has a concrete impact on our experience provided it is included in an otherwise
more evolved type of symbolism, without which it would be no more than a meaningless bombard-
ment” (1991: 43). In Segal’s view, working through the depressive position makes it easier to
integrate primitive symbolism; in the case of the artist, this contributes to the fact that a successful
work of art evokes an aesthetic emotion. “One of the great achievements of the depressive position is
the capacity of the individual to integrate and to contain more primitive aspects of his experience,
including the primitive symbolic equations” (1991: 43).

The role of symbols in communication

All communication is made by means of symbols
Segal goes on to examine the relationship between, on the one hand, these two modalities in which
symbols can function and, on the other, the capacity to communicate. “Symbol formation governs
the capacity to communicate, since all communication is made by means of symbols” (1957: 395).
It follows that the capacity to communicate is disturbed when schizoid disturbances in object
relations occur, and this for the following reasons:

First because the differentiation between the subject and the object is blurred, secondly because
the means of communication are lacking since symbols are felt in a concrete fashion and are
therefore unavailable for purposes of communication. One of the ever-recurring difficulties in the
analysis of psychotic patients is this difficulty of communication. Words, for instance, whether
the analyst’s or the patient’s, are felt to be objects or actions, and cannot be easily used for
purposes of communication. (1957: 396)

Internal communication and its inhibition

Symbols are needed not only in communication with the external world, but also in internal
communication. This means that, when people have some awareness of their feelings, they are
communicating with their internal world by means of symbols, since all communication is made
by means of symbols. According to Segal, the difficulty in dealing with schizophrenic or schizoid
patients is not simply that they cannot communicate with us – they cannot communicate with
themselves, since there is no communication between the different parts of their ego.
Verbalization is a highly developed form of symbolism. “The capacity to communicate with
oneself by using symbols is, I think, the basis of verbal thinking – which is the capacity to communi-
cate with oneself by means of words. Not all internal communication is verbal thinking, but all verbal
thinking is an internal communication by means of symbols – words” (1957: 396).
An important aspect of internal communication is the use of symbolization to integrate earlier
desires, anxieties and phantasies into the later stages of development. Similarly, in the depressive
position, the ego has the task of dealing not only with depressive anxieties but also with
unresolved earlier conflicts – it does this thanks to symbolization. “In the depressive position and
later, symbols are formed not only of the whole destroyed and re-created object characteristic of the
depressive position, but also of the split object – extremely good and extremely bad – and not only of
the whole object but also of part-objects” (1957: 396).

Lacan and Klein: similarities and differences

Hanna Segal often discussed issues of language and communication, particularly as regards
symbolism. Lacan also dealt with this topic, but from a quite different angle. This is what Segal
had to say to Jacqueline Rose, the distinguished professor of English, who interviewed her on
the relationship between Klein, Segal and Lacan.
       73

Jacqueline Rose: Is there any possible point of dialogue here between Lacan and Klein? I was
interested to read in Phyllis Grosskurth’s biography of Klein that Lacan offered to translate
Klein’s The Psychoanalysis of Children, but then failed to do so. It seems to me that he was
more dependent on her ideas than some of us realized before.

Hanna Segal: Yes. A number of young French Lacanians told me at one point that I was the
only analyst that Lacan thought well of, but that may have been before I became very explicit
and said I didn’t think the same of him!
There are similarities and differences between Lacan and Klein. I think that the similarity
lies in the overcoming of concrete symbolism – what I call “symbolic equation” – and the
passage to real symbolism which is related to loss; it has also to do with the acknowledge-
ment of aggression and guilt, which Lacan leaves out a bit. Furthermore, he often reduces it
simply to the loss of the phallus. Also, he doesn’t make sufficient acknowledgement of the fact
that this kind of work was going on before he appeared on the scene. He makes everything
much more abstract, and I don’t particularly like that aspect of his style. And he contradicts
himself a lot. For example, at a conference one morning I heard a paper which said “L’enfant
ne connaît le père que par le discours de la mère” (“The child knows the father only through
the discourse of the mother”), and then that very afternoon another paper said “Le discours
est toujours le discours du père” (“Discourse is always the discourse of the father”). It
becomes a bit like the Bible, full of sayings and aphorisms. There is also a deification of
language.
I think that the role of the father in the development, not only of language but also of
symbolization, is to intervene into the state of projective identification where there is no third
object and the child is in possession of the mother. The structural role of the penis in phan-
tasy is to stop a stream of mutual projective identification between mother and child. In reality
that is the role that a good father plays by stepping in as the third object. I think also that
Lacan is phallus-obsessed and doesn’t differentiate enough between, on the one hand,
the phallus which is the urinary, exhibitionist, narcissistic object, and, on the other, the
genital penis. The penis that serves its role in my scheme of things is the genital penis of
the father in intercourse with the mother and in a psychological relationship with her.2 The law
is not so much “the law of the father” as a certain law of depressive versus schizophrenic
relationships.
We differ too on narcissism, because for us narcissism is always based on object relation-
ships and is related to projective identification and envy, whereas I think that for Lacan primary
narcissism is a state from which we have to emerge.
The main differences between Klein and Lacan are of course technical. Seeing patients
for 5 minutes, coming into a waiting room full of people and deciding “today I’ll see you”, [. . .] –
well, that’s just not the way we practise psychoanalysis.
(Interview, Jacqueline Rose, 1990)

Hanna Segal: “My sleepless night with Lacan!”

JMQ: You speak fluent French – did you ever meet Jacques Lacan?

Hanna Segal: Well, before I tell you about the sleepless night I spent with Lacan, I’d like to
say a word or two regarding his famous phrase about the unconscious being “structured like
a language”. I think it’s the other way round. Language is structured like the unconscious.
There is a lot going on pre-verbally and it’s only later that verbalization emerges, because
probably there is some non-concrete phantasy – you know, in terms of the parents and
their bodies and things that are already symbolized, with which little babies play very well.
Babies play very early in life, and that’s a kind of symbolization. Eventually they verbalize, and
for me that indicates that it is language which emerges from the unconscious, not the
unconscious modelling itself on language. That’s why I say it’s the other way round. When
language eventually emerges, it reflects the structure of our basic functions: subject, object
and action.
74      

JMQ: What seems to have interested Lacan was above all the patient’s capacity to become
aware of the unconscious meaning behind what he or she says; unlike you, he didn’t focus
very much on the link between different levels of symbolization.

And was his idea of symbolism like Freud’s – that all symbolism is pathological? Was that his
idea? I don’t know exactly . . . but with Lacan there is also a lot of action. He brings sessions to
a close, cuts off the endings and so on. That’s why I could never take Lacan very seriously.
Let’s get back to my meeting with him. You’ll remember that Lacan and Lagache were
expelled from the French Society in 1953. What they hadn’t then realized was that by that very
fact they were no longer members of the International Psychoanalytical Association. So they
turned up in London . . . and therein lies a tale – of how I got a beautiful scarf, and that for
having spent a night with Lacan! This is how I came to be given that present. The IPA Council
decided to give them 15 minutes to state their case at the business meeting. Paul and I were
having tea with Mrs Klein and Lagache, who said that he and Lacan had a problem because
neither of them could write English very well. So Paul and I said that, since we were both very
bilingual, it wouldn’t be a problem, just bring your stuff in French and it will be a matter of a few
minutes to translate it. So Tuesday comes along, Lagache isn’t free, but we invite Lacan for
dinner. We have dinner. We retire to the study. Paul looks at the text and translates the first
sentence. Lacan interrupts him immediately, saying: “Ah, well, you see, you can’t understand
all the implications unless you know the story behind the sentence.” And he starts walking up
and down, up and down, waving his arms all over the place. Now for the second sentence.
Same thing . . . And this went on till seven in the morning!
[. . .]
Lacan came to see me another time too. That was when the Committee was already
formed and everything. I knew nothing about it; I was a young member and I’d heard vaguely
that there was this Committee appointed. [. . .] I said I had no time, I had a break for a bare
20 minutes to eat an egg or something. “I’ll eat an egg with you”, was his reply. [. . .] I just
couldn’t convince him that I had no influence whatsoever. He had some idea in his mind that I
would save him. Anyway, ever since that night I have never been able to understand how
people can listen to someone who stands and talks and talks and talks and talks without
paying any attention to whether or not it means anything to the person listening. [. . .]
(Tape 3, side B, 31 January 2004)

Mental space and symbolism

In Chapter 4 of Dream, Phantasy and Art (1991), Segal takes a new look at what she had previ-
ously written on symbolism, this time in the light of Bion’s developments, particularly his differen-
tiation of normal from pathological projective identification and his description of the container/
contained relationship. What Bion called beta-elements seem very close to Segal’s description of
concrete symbolic equations, to such an extent that we could be forgiven for thinking that symbolic
equations are made up of beta-elements. For Segal, however, the concrete equation is more of a
transitional stage between beta-elements and alpha-elements, since the meaning of symbolic equa-
tions is easier to detect insofar as they do have some degree of symbolism. As for alpha-elements,
described as “unsaturated”, they are closely linked to the symbolic function and are available for
all sorts of transformation; this explains why there can be many symbols for any given object and,
conversely, why any given symbol may have many meanings.

“The Oedipus complex and symbolization” (2000, unpublished)

In her paper “The Oedipus complex and symbolization”, Segal begins by refuting the myth accord-
ing to which Kleinian psychoanalysts are interested only in babies and breasts and ignore the
Oedipus complex. Quite the opposite, in fact: Kleinian theory and practice attach great import-
ance to the Oedipus complex and to its first beginnings, and Melanie Klein attributed to the father
a more important role in early development than Freud did.
       75

In Kleinian thinking, the Oedipus complex begins in the depressive position, a stage in devel-
opment at which the infant perceives his or her mother as a whole person. But triangular relation-
ships exist even before the depressive position is established. Some of these early triangulations go
to make up the primitive roots of the Oedipus complex; here, splitting processes are uppermost,
with the object being divided into idealized and hated parts. At this stage, there is also a third
object, represented by the father’s penis – the main receptacle for containing projections of
unwanted parts of the self and of the object. This triangular situation forms the background to the
early Oedipal configuration.
During normal development, splitting and projection diminish and the depressive position sets
in. Mother is no longer perceived as a part-object; she is a whole object, a separate person with her
own personality and her own life. This includes the acknowledgement of the father as her sexual
partner. It can happen, however, that early processes of splitting and projection continue during
later development, thus creating a pattern that seems to be Oedipal whereas in fact it is not. If we
take a closer look at the clinical material, we can see that this is not a true Oedipal situation but the
continuation of part-object relations that have more to do with envy than with Oedipal jealousy.
All this goes to show that the evolution of the Oedipus complex depends to a considerable
degree on the integration of a certain number of basic mental functions in the course of infant
development – a sense of reality, a capacity for symbol formation, the acquisition of speech and an
expanding capacity for thought. Segal goes on to point out that, in her opinion, for symbolization
to function properly, the depressive position has to be worked through and external reality has to
be differentiated from internal reality. In her view, accepting the reality of the father and of the
Oedipal couple is a crucial factor in this process. She concludes her paper by showing how R.
Britton has expanded Bion’s container/contained relationship by including a third object. Bion’s
description of containment is essentially that of a two-part relationship, whereas for Britton it is a
triangular relationship revolving around three axes: father, mother and infant, with various com-
binations of links between them. Segal points out that Britton’s conception is far from being a
purely abstract idea – it is of great importance clinically.

More important than symbolism per se: the capacity of the mind to
create symbols
What are we to think nowadays of Segal’s concept of the symbolic equation? Have there been
any further developments to it in recent times? Has it been taken up by any psychoanalytic
schools of thought other than the Kleinians? Given that there now seems to be an ever-
increasing “Babelization” of psychoanalytic concepts, I asked Jorge Canestri, who has made a
detailed study of the history of psychoanalytic ideas within their various cultural contexts, what
he thinks about these questions.

JMQ: Segal introduced a fundamental distinction between primitive symbolism – the symbolic
equation – and a more evolved form of symbolism. One would have expected most
psychoanalysts to use this innovative concept in their everyday practice – but that doesn’t
seem to be the case at all.

Jorge Canestri: As regards the difference between the primitive and the more evolved forms of
symbolism, I would say that you have to go back to how the idea of the symbolic equation
came about, both from the point of view of psychoanalytic theory and in terms of the history of
ideas. I find the whole question very interesting; the historical aspect has recently been written
up by Riccardo Steiner (2007).
The history of how the concept of projective identification evolved is closely linked to that
of symbol formation in child development. If we draw an analogy with Bion’s idea of a “nor-
mal” kind of projective identification used in primitive communication, we can imagine, as
Steiner says, a “normal” kind of symbolic equation which would be a precursor of symbol
formation proper. A similar analogy can be found in semiotics, as Peirce and Jakobson have
pointed out. I would argue that, if we take into account Steiner’s “normal” kind of symbol
equation, we have to bring out, as Segal does, the difference between the symbolic equation
and the more developed form of symbol formation, as well as the continuity that leads
from one to the other. It is very difficult to understand why some psychoanalysts deprive
76      

themselves of a concept such as that – after all, its usefulness in all branches of psycho-
pathology goes without saying.
I think Steiner is correct also when he says that Freud paid close attention to the topic in
Studies on Hysteria (Freud 1895d), when he observed that, deep within any symbol, there is
both verbal and non-verbal language. In his case study of Frau Cäcilie M., Freud writes:

In taking a verbal expression literally and in feeling the “stab in the heart” or the “slap in the
face” after some slighting remark as a real event, the hysteric is not taking liberties with
words, but is simply reviving once more the sensations to which the verbal expression owes
its justification. [. . .] All these sensations and innervations belong to the field of “The
Expression of the Emotions”, [. . .] as Darwin (1872) has taught us. [. . .] Indeed, it is per-
haps wrong to say that hysteria creates these sensations by symbolization. It may be that it
does not take linguistic usage as its model at all, but that both hysteria and linguistic usage
alike draw their material from a common source. (1895d: 181).

In a footnote, Freud adds: “In states in which mental alteration goes deeper, we clearly also find
a symbolic version in concrete images and sensations of more artificial turns of speech” (ibid.).
Steiner goes on to show that Ferenczi followed a similar path in “Stages in the development
of the sense of reality” (1913). When Ferenczi argued that the body and internal perceptions
are projected into the external world, he was drawing on a concept of the symbol which is very
close to what Freud said in Studies on Hysteria, in the sense that pre-verbal and bodily
aspects participate in the construction of symbols. I think that Melanie Klein followed that path
too, because from the very beginning of her work on symbolism she referred to the body. In
1923 and again in 1930, when she wrote “The importance of symbol formation in the devel-
opment of the ego”, Klein argued that primitive unconscious phantasies are related to the
body and that symbolization is very much linked to that aspect. In my view, that is a major
element not only in Kleinian theory but also in Freud’s work on hysteria and in Ferenczi’s
explorations too. There is a historical legacy there that I find particularly interesting; Steiner
highlights it also.
I think it is all the more important to remember the history of the symbolic equation
because it is part of the whole idea of symbols. It is a difficult question. In my view, however, the
most important question for contemporary psychoanalysis – not just for psychoanalysis, in
fact, but also for semiotics – is not the symbol as such, but the symbolic function of the mind.

JMQ: In other words, when you emphasize the symbolic function of the mind rather than the
symbol as such, you are highlighting the possibility for psychoanalysts to make a clinical
assessment of an individual’s ability to grasp the symbolic meaning of unconscious
phenomena?

Of course. An assessment of the quality, if that’s the correct word, of the individual’s symbolic
function. In that sense, Melanie Klein’s work is absolutely fundamental, as are the develop-
ments we owe to Bion and to Segal. Hanna Segal, indeed, changed her conception of symbol-
ism in her 1979 postscript and again in 1986 to take Bion’s work on the container/contained
relationship into account. That’s the important aspect, because Bion too had things to say
about the mind’s symbolic function.

JMQ: Concepts such as the symbolic equation and the early stages of the Oedipus complex
do not seem to be accepted in the same way throughout the psychoanalytic world: some do
accept them under their original name, others seem to ignore them but in fact integrate them
into their thinking, often under a different appellation. Is this tendency to “Babelization”, which
you have explored in some depth elsewhere (Amati-Mehler et al. 1993), specific to
psychoanalysis or does it apply much more widely?

I think that some psychoanalysts find it difficult to accept a concept (or even a terminology)
that was not born in their own particular psychoanalytic culture. From that point of view, I think
we have to distinguish between two different issues.
The first is a question of theory: when analysts are at work with their patients, they try to
create their own little world of theory and concepts. That is a good thing, because each patient
is a unique individual, different from everyone else, and we cannot simply apply theory to
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practice in a mechanical way. That situation gives rise to a certain number of concepts, some
of which may have more or less the same meaning as others although under a different name.
That is inevitable as far as theory is concerned; although it contributes to a certain degree of
“Babelization” within psychoanalytic circles, it does have its positive side too. I have tried to
demonstrate this in my book Psychoanalysis: from Practice to Theory (2006).
The second issue has nothing to do with theory, but with the psychopathology of each
individual psychoanalyst. If some psychoanalysts do not agree with what a given concept is
called simply because it comes from a different psychoanalytic environment, that above all has
to do with their own narcissism. There is also an issue around what I would call the somewhat
idolatrous identification with a particular theory; in such cases, the theory functions as a kind of
internal object and a sort of identity relationship is created with respect to theory, to the group
to which the analyst belongs, to some of the leaders of the local group, etc. I think that this
phenomenon plays an important role in the fact that some colleagues refuse certain ideas,
especially in countries where psychoanalysis has its own specific culture – in France, for
example, as well as in some other countries. It seems to me, all the same, that Green’s tertiary
process is linked to the symbolic equation, which could also be linked to what Arieti says about
the schizophrenic’s way of treating symbols.

JMQ: For Lacan, symbolism is an important aspect of both theory and practice; this is true of
Klein and Segal also. What, in your opinion, are the points of convergence and divergence
between these two conceptual approaches?

I think that there are many divergences and few points of agreement. It all hangs on a
fundamental question. I think that Klein’s conception, like Segal’s, sees the mind in terms of its
heterogeneity – and there I would agree with them. That aspect is important for their concep-
tion of symbolism and of the symbolic function. In other words, it is perfectly clear that Hanna
Segal and Melanie Klein, like Freud and Ferenczi before them, do not believe that “the
unconscious is structured like a language”, as Lacan’s famous formula puts it. If, like Lacan,
we say that the unconscious is structured like a language, that implies that there is homo-
geneity between language and the unconscious. Conversely, for Hanna Segal and Melanie
Klein, there is a significant degree of heterogeneity in the mind, which means that the
unconscious cannot be structured like a language because that would imply bringing all the
different factors together under the one heading, language – i.e. words and linguistic signs. In
my view, the mind is heterogeneous; in symbols there is a constant integration of factors that
come from the body, from the pre-verbal and from the non-verbal dimensions. You cannot
encompass all that under the term “symbols” if what you mean by that is linguistic symbols
alone. In my view, Segal and Bion state that very clearly. That is the major problem with
Lacan’s thinking.
There is all the same close convergence between Lacan and Bion on one point – the sign
that takes the place of the absent object – and that is a good thing. But there is no convergence
as regards their conceptions of the symbolic world, because, for Klein, Segal and Bion there is
an iconographic factor – non-verbal, affect-related, emotional, etc. – which must be included in
any conception of the symbolic world. For Lacan, the situation is quite different: in his view, the
symbolic world has exclusively to do with linguistic symbols.
In my opinion, then, it is impossible to combine these two theories. They do converge on
the point that, in order to think of the existence of a symbol, you have to think of the absence of
the object; that convergence has to do with the logical basis of a conception of the mind. There
too, there are some points of contact between Lacan and Melanie Klein – but not as regards
their conception of the world of symbols as such. On that point, they are very far apart. That, to
some extent, is what Green means when he says that “the unconscious is not structured like a
‘language’ but like a ‘discourse’ ”– in other words, “discourse” includes everything I mentioned
above: the body, pre-verbal aspects, affects, iconography, and so forth.
(Interview, September 2006)

Jorge Canestri (Rome) is a training analyst and supervisor with the Italian Psychoanalytic
Association.
 Chapter 5

THE FUNDAMENTAL CONFLICT BETWEEN THE LIFE

AND DEATH DRIVES
A THEORETICAL HYPOTHESIS CONFIRMED BY CLINICAL PRACTICE

As an adolescent, Hanna Segal read Beyond the Pleasure Principle and Civilization and its
Discontents, so that she discovered Freud and the death drive at one and the same time. “That was
when it clicked with me!” she says; she was immediately convinced of the value of Freud’s hypothesis.
Freud found it extremely difficult to share with even his closest followers his firm belief that the
conflict between the life and death drives plays a decisive role in mental life. Melanie Klein was the
only one who took the idea seriously enough to make use of it in her clinical work. Since qualifying
as a psychoanalyst, Segal has never ceased to emphasize the usefulness of that hypothesis for the
clinical practice of psychoanalysis. She maintains, of course, that she has not contributed anything
particularly new to the concept in comparison with Freud and Klein; nonetheless her real contribu-
tion lies in her efforts to share her firm belief in its validity with other psychoanalysts, several of
whom continue to question the importance of the fundamental conflict between the life and death
drives.
Segal wrote only one article on the topic, several versions of which have been published, with slight
variations from one to the next. Nonetheless, in various other papers by Segal there are many clinical
examples of the manner in which she applies the notion in her everyday work with her patients.

“The death instinct: a protest against the pain of life” (Hanna Segal)
JMQ: In your conference papers and in your writings you lay a great deal of emphasis on the
importance of the conflict between the life and death instincts. Do you think that
psychoanalysts are nowadays more ready than in the past to accept that point of view, which
both Freud and Klein advocated?

Hanna Segal: I really don’t know. I say I don’t know because I only discuss things in terms of
their clinical usefulness. From a certain point of view theories are not absolute. One can’t say
that such-and-such a theory is right with a capital “R” – it can never be any more than a tenet. I
think in an empirical science like psychoanalysis the point is that a useful theory is one which
explains facts, clinical facts – one which fits the facts and explains them best, if you like. And
also a useful theory is one which, if applied clinically, brings about a change in the material
of the kind we expect. You see, there is probably a difference here between philosophers and
psychoanalysts. Every theory – and that extends to scientific theories too – is only a hypoth-
esis. At the moment, the concept of life and death instincts is to me the most satisfactory
hypothesis for understanding certain dynamic processes. My husband was into philosophy
and somewhat ambivalent about psychoanalysis, and he used to say: “It’s not that psycho-
analysis is a wonderfully scientific theory, but for the moment it’s the only one on the market!”
Maybe something better will turn up, but at the moment psychoanalytical theory is the one that
best explains human behaviour and – thanks to Bion – behaviour in groups. You can’t just
apply what you get from the couch to a group as though the group was the patient. You have to
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know something about the dynamics of the group. That’s what I think, and I haven’t seen
anything that would prove the contrary.
Personally I’m not sure I would have become a psychoanalyst if I hadn’t read Civilization
and its Discontents and Beyond the Pleasure Principle when I was in late adolescence.

JMQ: You were really quite young when you began reading Freud!

I know the feeling I had when it clicked with me – “That’s it!”, I said to myself. Though Freud
didn’t apply the idea of the death instinct in actual clinical practice, he did make it both broad
enough and precise enough. It was only Klein that took it seriously enough to apply it in clinical
practice. I think partly because she was for a time analysed by Abraham. Not for very long – he
died prematurely – but she would have got something from Abraham on that particular issue.
And partly also, of course, because when you work with young children, it’s so obvious.

JMQ: How would you define the death instinct?

The way I see the death instinct – this is my way of putting it – is that, to begin with, it’s a protest
against the pain of life. I quote in my 1986 lecture “On the clinical usefulness of the concept of
the death instinct” (published in 1993) the marvellous description by Jack London in his novel,
Martin Eden, of a man dying by suicide, trying to breathe and feeling pain: he calls it “the pangs
of life”. Freud spoke of the deflection of the death instinct, but Klein saw it in greater detail: we
deal with the death instinct by projection – “it’s not me” – and turning our hatred against the
bad object – “s/he is the bad one”. And of course that meets reality because the more reality
is good the more confirmation you get, as it were, of the strength of the wish for love and life.
On the other hand, when the object is perceived as bad in reality, as a result of denial and
projection, that destructiveness is how the death instinct is manifested.
Now the things that I think make it more understandable is the link that Klein makes between
the death instinct and envy, because the death instinct is not directed only towards the external
world. Klein’s theory is object-related; the death instinct is directed not only towards the living
self which wants life (and which therefore is vulnerable to pain), but also towards the life-giving
object. In other words, the death instinct manifests itself in envy because it is the life-giving
breast which is hated and attacked for being the source of life. Also, I think that what I don’t pay
enough attention to in my paper on the death instinct is the fact that the life instinct always seeks
to reconstruct an object; it’s always attached to objects. Freud doesn’t say explicitly that it is
object-related, but it undoubtedly is (the difference between Freud and Klein is that, for Klein,
the ego is aware of the object’s existence from the very beginnings of life itself).

JMQ: Could you be a bit more explicit about what you mean by that?

I’ll tell you a dream that I had recently which I found very amusing. I told it to Betty Joseph and
she said, “Look, it’s about the life and death instincts!” I read a lot of science fiction and one story
that remained with me is about a chap who for some reason gets into a capsule outside the
spaceship, maybe to make some repairs. At one point his harness becomes undone and he
realizes that he’s floating off into the void. For a time he is still in radio contact but then that too
gets cut off; that’s when he knows there is nothing but void. It was years ago that I read that story.
But just a few weeks ago I had a dream in which, for some reason or other, I found myself
getting out of a spaceship; I knew there was a little bit of atmosphere around still but that was
all – the rest was void. Then somebody opened a hatch or something and told me to come
back, somebody got me back inside! And I thought it very funny when I woke up. I thought “I
want to die – but not yet!” So Betty said, “Look it’s clearly a dream about the life and death
instincts.” I thought, it’s not only that – the life instinct is always object-related because in the
dream I don’t turn back – somebody’s there to pull me back. So you see our attachment to life
is our attachment to the object.

JMQ: In 1984, you gave a paper on the death instinct and Green, with his idea of the “de-
objectalizing function”, developed some ideas close to those of Herbert Rosenfeld.

We can all have theories. I think Green sees it as a much more passive thing. And I don’t think
he links it with envy.
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JMQ: How do you see the link between, on the one hand, the conflict between the life and
death drives and, on the other, narcissism?

I think one link which Klein didn’t make but which for me is absolutely basic is the link with
narcissism. Narcissism is the other side of the coin, if you like. Either I am the source of all life
or there is no life whatsoever.

JMQ: Narcissism, then, would be the whole coin, as it were, with its obverse and reverse.
Could we put it this way: either I am the source of all life (narcissism), or there is no life
whatsoever (the death instinct)? Anyway, let’s get back to Klein: you say she didn’t make a link
between envy and narcissism?

Not with narcissism. That came later – with Rosenfeld, with me, and later still with Bion. As
regards the narcissistic structure – you can take it either that narcissism is primary and
envy secondary, or the other way round: that envy is primary and narcissism is a defensive
structure. That’s the beauty of the thing.

JMQ: Could you be a bit more explicit?

If you are in a primary narcissistic position, you are the enviable object (because you are in a
state of non-differentiation as regards self and object). From that point of view, we could say
that we are born totally narcissistic. That would be Freud’s primary narcissism. Thereafter, the
encounter with the object produces envy, in which case envy is secondary.
On the other hand, you could look at narcissism the way I understand it. The primary thing
is the life and death instinct, and the narcissistic structure is a defence against envy. The object
has to be destroyed in order to avoid feeling envious towards it: “I shall forever be the enviable
object! ” I unconsciously project that envy into other people – so that they then become envious
and destructive: “All that is good is in me, and all the bad things are in you! ”

JMQ: So envy becomes a defence against, for example, perception of the qualities of
the object.

Yes, it is one manifestation of that. So long as you can maintain the narcissistic position
everybody is envious of you. You are not envious. That is what primary projection of envy is
all about. In other words, “I am all life and you are all destructiveness.”

JMQ: When did you introduce these ideas?

I don’t know really. John Steiner made a remark about my work which was very illuminating
to me. You know, when I wrote the Introduction to your second book,1 I said that it was a
continuation of the theme that you had in your first book, The Taming of Solitude – and that
was something of a revelation to you. Well, in 1997, in his Introduction to my last book, John
Steiner said something about my work which was quite a revelation to me. He said that my
work centres on two themes: the life and death instincts on the one hand, and reality and
phantasy on the other. He goes on to say that there is a link between the two: since the death
instinct attacks reality, the reality of life, the reality of experience, the two themes are really part
of the same world-view. That was a complete revelation to me! You know from your own
experience as a writer, that when we write about something we are not archivists – we don’t
think of our earlier papers and how they’re all related and so on. Sometimes I refer to my
earlier work to explain certain ideas, but very often the underlying themes – well, it’s other
people who unearth that kind of thing because we are too busy doing what we have to do in the
present.

JMQ: Would you say there is a link between artistic creativity and the death instinct?

Yes, there is a link with art because in my first paper on aesthetics I speak of the artist’s search
for immortality in various ways. I think another thing which kept me close to the death instinct is
my understanding of art. How do you explain that Goya’s war paintings and sketches don’t
depress us but give us a feeling of satisfaction?
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JMQ: Well, how do you explain that?

I wrote about it in a paper on disillusionment – “The story of Adam and Eve and that of Lucifer”
(Segal 2000b). It’s based on Milton’s Paradise Lost. In that paper I discuss the issue in some
detail – the link between omnipotence and psychosis, I mean – and I explore the differences
between the myth of Lucifer and that of Adam and Eve. The Adam and Eve myth is a depres-
sive disillusionment which is in fact creative – you have to give up Paradise in order to live –
and Milton actually says “Maybe the fall of man was a good thing for us.” That disillusionment
gave them life – the desire to work, to live, to procreate – whereas, in the myth of Lucifer, if he
isn’t Number One, if you like, everything is destroyed. He creates a world in his mind in which
he would rather be King of Hell than Number Two in Heaven.
Well, when all is said and done, isn’t it better to suffer all the pains of the Oedipus complex
than to live in some kind of manic disposition – because then the whole world disappears and
all that’s left for you is to be King of Hell. That’s where I think that the concept of the death
instinct is most appropriate – in clinical practice and with its links to poetry. If you like, that
would be my last – in both senses of the word: most recent, and probably final – formulation of
the death instinct. I think it’s one of my best papers.
(Tape 6, side B, 13 March 2004)

“On the clinical usefulness of the concept of the death instinct”

This paper was read as a Lecture given for the Freud Memorial Chair at University College, London in 1986 and
published in 1993.

Segal, H. (1993) “On the clinical usefulness of the concept of the death instinct”, International
Journal of Psycho-Analysis, 74: 55–62; reprinted in Psychoanalysis, Literature and War (1997),
London and New York: Routledge.

All pain comes from living

Segal begins by evoking Jack London’s Martin Eden, and quotes from it an example that quickly
became a classic illustration of the conflict between the life and death drives in psychoanalysis. At
the end of the novel, Martin commits suicide by drowning. As he sinks, he automatically tries to
swim. Realizing that this was a sudden impulse emanating from his instinct to live, he felt contempt
for the part of himself that still wished to live – and he stopped swimming. As he drowned, Martin
felt a tearing pain in his chest, and Jack London brings out the last thought that went through his
head: “The hurt was not death. It was life – the pangs of life.” Segal draws the conclusion: “All pain
comes from living” (1993: 56).
Freud was the first to describe the death drive, in Beyond the Pleasure Principle (1920g). He
described it as a biological drive to return to the inorganic and postulated the existence of a
conflict with the life drive; the aim of the latter is life and reproduction, while that of the death
drive is destruction, dissolution and death. Freud at first tended to emphasize the biological
aspect. In Segal’s opinion, if Freud described his ideas about the death drive as a biological
speculation, this was perhaps defensively, because he expected that this new idea of his would meet
with great resistance. Segal gives this warning: “We must not forget, however, that he was motivated
in those speculations by purely clinical considerations about the repetition compulsion, the nature of
masochism, the murderousness of the melancholic superego, etc.” (1993: 56). Later, in The Ego and
the Id (1923b), Freud made clear the psychological aspect of the death drive and the relevance of
the concept not only to depression and masochism, but also to the neuroses in general.

Annihilating the perceiving self

Nowadays we can formulate the conflict between the life and death drives in purely psychological
terms. For example, both drives confront us with the experience of needs, but in different ways and
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in varying proportions. “One [reaction is] to seek satisfaction for the needs: that is life-promoting
and leads to object seeking, love, and eventually object concern. The other is the drive to annihilate
the need, to annihilate the perceiving experiencing self, as well as anything that is perceived” (Segal
1993: 56). Segal here makes an original contribution to this topic in that, for her, the death drive
(or drive to annihilate) seeks not only to annihilate what is perceived in the external world, but also
the experiencing and perceiving self – later, indeed, she would add the actual organ that does the
perceiving.
In Beyond the Pleasure Principle, Freud (1920g) began by referring to the tendency to annihi-
late any disturbance as the “Nirvana principle”, the idea being that this principle was related to the
pleasure/unpleasure principle through its quest for constancy. Later, however, in “The Economic
Problem of Masochism” (1924c), Freud changed his mind and argued that the quest for Nirvana
was the equivalent of the death drive insofar as the Nirvana principle and the pleasure/unpleasure
principle have the same aim: to do away with any kind of excitation. In his attempt to resolve this
implicit contradiction, he suggested that the libido participates in the process by becoming fused
with the death drive in order to play a part in the regulation of life processes.
Freud postulated also that the organism defends itself against the death drive by deflecting
it, so that it becomes aggressiveness. According to Segal, destructiveness towards external objects
is not simply a deflection of self-destructiveness to the outside, as described by Freud; from the
very beginning, she argues, the wish to annihilate is directed both at the perceiving self and at the
object perceived, hardly distinguishable one from the other.
In addition, Freud wrote that the death drive operates silently within the body. As a result, we
can never see its pure manifestations, only manifestations in fusion with the libido – yet Freud
speaks also of defusion between the life and death drives. For Segal, thanks to new technical
developments, we have become more adept at identifying the components belonging to the death
drive in that fusion. Also, in more disturbed patients, we can often detect the operation of the
death drive “in an almost pure form” (1993: 57) and not simply in those processes in which it is
fused with the libido.

“Pushing the button of annihilation”

Segal gives a clinical example to illustrate the manner in which the death drive operates in a psy-
choanalytic session. Patient A reacted extremely aggressively when faced with any emotional
response, whether it involved other people or herself. She would have liked to annihilate other
people immediately – “I want him dead. I want to kill all of them” – and, as regards herself, she
constantly wished to get rid of her limbs and her organs so as to put an end to any feelings of
frustration or anxiety. In one session, the patient spoke of her fear of nuclear war and wondered
whose finger was on the button; what she could not bear was the thought of surviving in a post-
nuclear-war world covered in devastating radioactive fall-out. The analogy between the patient’s
idea of “pushing the button”, thereby detonating an atom bomb, and her destructiveness aimed at
other people and at herself led Segal to the conclusion that all this was an expression of the death
drive.

Pushing the button was an expression of the death instinct, but combined with immediate projec-
tion, so that the threat of death was felt to come from outside – the fall-out. I think that in that
session she got in touch with an almost direct experience of her own wish for total annihilation of
the world and herself. The interpretation on these lines immediately lessened the persecution and
put her in touch with the psychic reality of her own drives. (1993: 58)

Segal draws the conclusion that a confrontation with the death drive, in favourable circum-
stances, mobilizes the life drive as well.

Projection of the death drive during analysis

With her second example, Segal shows how the death drive can be deflected towards the outside
world and projected on to the object; she had elsewhere expressed that idea in the terse formula
“Instead of dying, killing” (Segal 1979a [1991: 20]). Patient B was nearing the end of his analysis.
Normally, he manifested little anxiety. One weekend, he suddenly felt physically and mentally
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cold and progressively paralysed. Terrified, he felt that the coldness which was invading him was a
sign that he was about to die and that the only way to get rid of this deadness inside was to go
and kill his analyst, Segal. “The experience not only made a shattering impact on him; it had a
strong impact on me. One could dismiss it as a simple agoraphobic attack, but I had no doubt in the
session that we were dealing with life-and-death forces” (1993: 58). In the following sessions, the
patient realized that the inner coldness he had felt had not come from outside but from himself,
because he had wanted to die. Having experienced what it felt like to be invaded by death, he
then realized that in fact he did not really want to die. The experience of the real consequences
of giving in to the death drive mobilized his life forces. “In those sessions, and subsequent ones, he
could feel need, love, gratitude and anger with a strength and depth never experienced by him before”
(1993: 59).
Segal goes on to discuss the similarities and differences between Freud’s and Klein’s views on
the subject. For Freud, the death drive is dealt with mainly by deflecting it outside the individual,
where it becomes aggressiveness turned against objects. For Klein, although this deflection is
converted into aggressiveness, the death drive is projected and directed towards the bad object
created by the original projection. This mechanism accounted for the feelings of nuclear fall-out
experienced by patient A in Segal’s first example.
Projection of the death drive is often very powerful and has a direct impact on the counter-
transference. It can take many forms; Segal often felt paralysed with patient B, while in other cases
the analyst feels pessimism and despair invading the counter-transference. With certain patients,
it is the life drive that is projected into the analyst, leaving all that is life in the analyst’s hands and
stimulating excessive protectiveness and concern as regards the patient.

Where does the pain caused by the death drive come from?
Segal then goes on to discuss the origins of the acute pain involved in the operation of the death
drive. “The question arises: if the death instinct aims at not perceiving, not feeling, refusing the joys
and the pain of living, why is the operation of the death instinct associated with so much pain?”
(1993: 59). Segal argues that pain is experienced by the libidinal ego originally threatened by the
death drive. It follows that the primary source of pain felt by the libidinal ego is the stirring of
the death instinct within and the threat of annihilation. Once the drive is projected, dread and
pain come from persecution and feelings of guilt, both of which are felt as coming from outside
the individual. Freud described the superego of the melancholic as “a pure culture of the death
instinct” (1923b: 53) and, in Civilization and its Discontents (1930a [1929]), he came to the con-
clusion that all guilt feelings arise from the operation of the death drive. For Klein too, anxiety
and guilt have their origins in the death drive. “So the operation of the death instinct produces fear,
pain and guilt in the self that wishes to live and be undamaged” (1993: 60). However, as we shall see,
guilt is not a direct expression of the death drive. Guilt feelings arise from awareness of one’s
responsibility for the object, and that awareness has its origin in working through the depressive
position.

The origin of pleasure in the experience of pain

This is a complex issue, and Segal evokes several aspects of the challenge that pleasure in the
experience of pain represents for psychoanalysis – cf. Freud’s study of masochism (1924c).
According to Segal, the most satisfactory explanation is one which takes into account the conflict
between the life and death drives, viewed from various perspectives.
In the first place, the pleasure experienced in pain is partly the sheer satisfaction of the drive.
“The death instinct, like the life instinct, seeks satisfaction and the satisfaction of the death instinct,
short of death, is in pain” (1993: 60).
It would seem also that in enjoying pain there is the satisfaction of the triumph of the death-
dealing part of the self over the wish to live. This kind of triumph is not a direct expression of the
death instinct. It arises from the destructive omnipotence aimed at the object. To a significant
degree manic defences can explain this phenomenon. Segal pointed out this aspect when she
evoked Martin Eden: surprised by the will to live that took hold of him without his realizing it,
he sneered at that desire before letting himself sink. For Segal, this sneer of triumph, conscious or
unconscious, is an important component of the negative therapeutic reaction, which is not only
84         

the sadistic pleasure of triumph over the analyst but also the masochistic pleasure of triumph over
that part of oneself that wishes to live and to grow.
The pleasure in pain comes also from the fact that libidinization and sexualization are always
present. This can be seen, for example, in people who are constantly searching for sexual pleasure.
Here, the libido is used to cover up their unconscious sadism and masochism – the deep-down
pleasure in inflicting pain and destruction on others and on oneself.
Generally speaking, libidinization is always present as a participating factor in the fusion
between the life and death instincts.

In healthy development the fusion of the life and death instinct is under the aegis of the life
instinct and the deflected death instinct, aggression, is at the service of life. Where the death
instinct predominates, the libido is at the service of the death instinct. This is particularly evident
in perversions. A delicate balance is established between the life and death forces and a disturb-
ance of this balance in the process of analysis is perceived as a great threat. (1993: 60)

Envy also plays a significant role in the conflict between the life and death drives. In that sense,
envy is one of the main manifestations of the death drive, although not, of course, the only one. As
Klein (1957) pointed out, envy is necessarily an ambivalent feeling since it is rooted in need and
admiration. Like all ambivalent feelings, there may be a predominance of libidinal forces or of
destructive forces.

If the death instinct is a reaction to a disturbance produced by needs, the object is perceived both
as disturbance, the creator of the need, and as the unique object, capable of disturbance removal.
As such, the needed breast is hated and envied. And one of the pains that has to be avoided by
self-annihilation and object-annihilation is the pain caused by the awareness of the existence of
such an object. (1993: 60–61)

Segal evokes another clinical example to illustrate this point, then modestly concludes her
paper by saying that, although she has not suggested anything new or added anything to what
Freud and Klein had already stated, she did want to demonstrate the fact that the concept of the
death drive is indispensable in clinical practice. “Beyond the pleasure principle, beyond ambivalence,
aggression, persecution, jealousy, envy, etc., there is a constant pull of the self-destructive forces, and
it is the task of the analyst to deal with them” (1993: 61).

The conflict between the life and death drives: a debate among
psychoanalysts
In 1984, at the first Symposium of the European Psychoanalytical Federation held in Mar-
seilles, I remember that Hanna Segal was able to confront her ideas on the conflict between
the life and death drives with those of Jean Laplanche, Eero Rechardt and André Green. The
debates showed that opinions on this topic are many and varied. Laplanche, for example,
bases his point of view on “instinctual monism” – the death drive is quite simply part of the
sexual drive. For Segal, on the other hand, there exists a dualism of the drives which can
account for the life drive and the death drive. Another crucial question that arises is whether
such a debate is of purely theoretical interest or has some bearing on clinical matters. While
Laplanche and Green argue that clinical material cannot in any way be adduced in support of
the existence of a death drive, Segal maintains that theory cannot be dissociated from clinical
practice in such a manner.
In order to give the reader some idea of the arguments put forward, I shall summarize the
point of view of Laplanche (1986) and that of Green (1986). In the preceding sections of this
chapter, I have summarized the paper that Segal herself read before the Symposium (Segal
1993).

Jean Laplanche: the death drive is necessarily sexual

Laplanche’s point of view is based on the following basic premise: the concept of drive is
fundamental in psychoanalysis, only one sort of drive exists and it is sexual in nature. “Only
          85

sexuality has the right to call itself a drive”, writes Laplanche. “The unconscious is purely
sexual in content” (1986: 19). It follows from this that the death drive must therefore be sexual
in nature. For Laplanche, sexuality ultimately derives from what he calls “primal seduction”.
This is not some kind of sexual manipulation by an adult, but the fact that the immature child is
faced with messages filled with meaning and desire – they are, so to speak, “enigmatic
signifiers”, the key to which he or she does not possess. Thereupon, the sexual content of
these enigmatic signifiers is repressed into the unconscious, where they become the source of
the drives – which, as I have said, Laplanche considers to be exclusively sexual in nature. “The
effort to bind the trauma that accompanies primal seduction leads to the repression of these
original signifiers or their metonymical derivatives. These unconscious objects or unconscious
representations are the source of the drive” (ibid.: 18).
For Laplanche, what was fundamentally innovative in Freud’s theory was not the intro-
duction of the concept of the death drive in Beyond the Pleasure Principle (1920g) but the
observation, developed in “On Narcissism: An Introduction” (1914c), that the sexual drive
can follow two possible directions, such that it can be cathected both in the object and in the
ego.
This is an entirely new exploration – the ego as a love object – and there is the idea that
external objects are reflections of or at least related to that initial cathexis of the ego, since
we love another person either in our own image or thanks to a potential for love which
initially is the potential to love ourselves. Sexuality therefore tends to be absorbed by that
aspect of love. (Laplanche 1986: 19)
That observation led Freud to reaffirm in 1920 that sexuality had a strong tendency to fulfil its
desires and never ceases to strive for complete satisfaction (Laplanche 1986: 20). That aspect
is the “diabolical” dimension of the drive in the service of the primary process and the compul-
sion to repeat. Laplanche goes on to argue that sexuality thus finds itself torn between these
two contradictory tendencies that Freud called life instinct and death instinct. The pleasure
principle itself is also torn apart, by being pulled either towards zero (what was later to be
called the Nirvana principle) or towards a constant level (the principle of constancy). “When
the ‘pleasure principle’ means an absolute decrease in tension, it is said to be ‘in the service of
the death drive’. When the tendency towards absolute zero is designated by the term ‘Nirvana
principle’, the pleasure principle is distinct from that and merges with the principle of con-
stancy: it then represents the demands of the life drives with their tendency towards homeo-
stasis and synthesis” (ibid.: 20).
Laplanche claims that his theory of primal seduction is very close to at least some aspects
of the ideas of both Freud and Klein, in the sense that they are in agreement as regards the
part played by self-destructiveness – the “internal attack of the drives” or the “id’s hatred of the
ego”. It is true that, in Laplanche’s theory of primal seduction, the death drive is quite simply an
internal attack by objects – the adult seducing the immature child – which are both stimulating
and dangerous for the ego.
How does Laplanche resolve the contradictions which his theory implies? On the one
hand, there is a dualism of the drives – the conflict between the life and death drives – while,
on the other, there is an energizing monism, represented by the libido, which is based solely
on the sexual drive. Laplanche argues that, basically, there is a common source of energy
which can only be sexual, while at the same time there is a fundamental dissymmetry between
the life and death drives, the dissymmetry that Freud described in terms of the binding and
unbinding of the drives (Mischung and Entmischung): “A fundamental dissymmetry exists: the
life drive tends towards union between itself and the principle of disunion, the death drive
tends towards the disunion both of its union with the life drive and of the life drive itself” (ibid.:
24).

André Green: the objectalizing and de-objectalizing functions of

the drives
Like Laplanche, Green bases his own hypotheses concerning the drives on Freud’s theory, but
takes a different direction. Comparing the respective properties of the two drives, Green says
that it is impossible to see in the death drive a function which corresponds to that of sexuality in
the life drive. The sexual function is the representative of the life drive (Eros), whereas the only
function representative of the death drive is that of self-destruction.
86         

The real issue lies in attempting to get some kind of answer to the enigma that Freud left
unresolved: what function could play the corresponding role as representative of the death
drive? It will be recalled that, for Freud, self-destruction is the essential hallmark of the
death drive, allo-destruction being simply an attempt to relieve internal tensions. That point
of view is challenged by many post-Freudian theories. (Green 1986: 52)
According to Green, the role of the self-destructive function in the death drive does indeed
correspond to that played by the sexual function in the life drive (Eros). However, unlike Freud,
Green does not think that this self-destructive function operates in a primitive, automatic and
spontaneous manner.
In Green’s hypothesis, object relations play a crucial role, more so than in Laplanche’s
thinking. Given that drives can be identified only through their psychic representatives, Green
argues that it is the object which bears witness to the drive. By integrating object and object
relations with the way in which drives function, Green is able to shed new light on the “binding”
and “unbinding” of the drives, the two principal mechanisms described by Freud as character-
istic of the life and death drives. Green goes on to postulate an objectalizing function, which he
associates with the life drive, and a de-objectalizing function, linked to the death drive.
Green defines the objectalizing function of the life drive not simply as relating to the cre-
ation of internal and external object relations; he emphasizes the fact that cathexis itself
becomes objectalized. Conversely, the aim of the death drive is to fulfil as far as possible its de-
objectalizing function through unbinding. “Such a definition makes it clear that it is not only
object relations that are attacked but also any substitutes for them that may exist – the ego, for
example, and cathexis itself insofar as it has undergone objectalization” (ibid.: 55). In other
words, the characteristic feature of the destructiveness of the death drive is de-cathexis (with-
drawal of cathexis).
Green goes on to say that a parallel can be drawn between, on the one hand, the objectal-
izing and de-objectalizing functions and, on the other, the phenomena of binding/unbinding
between the life and death drives as postulated by Freud.
The closer we get to repression in the true sense of the word, the more the binding/unbind-
ing polarity is backed up by a re-binding in the unconscious thanks to other mechanisms
(displacement, condensation, double reversal, etc.). The further away we are from repres-
sion, the greater the extent to which other kinds of primary defences (splitting, repudiation)
operate; unbinding thus tends to gain the upper hand, with the result that re-binding is
thwarted or at the very least restricted. (ibid.: 56)
In his conclusion, Green states that the objectalizing aim of the life drive has the effect of
supporting symbolization – essential for mental functioning – through the mediation of the
sexual function.

Do we really need a concept such as the death drive?

During that Symposium, Eero Rechardt argued that the compulsion to repeat has both a
destructive and a constructive dimension. He went on to claim that, if need be, he could do
without the concept of the death drive. Clifford Yorke, for his part, felt that many of the ideas
discussed by the panellists had little to do with the death drive; he claimed to be representative
of those psychoanalysts who do not accept the concept.
My own impression at the end of the Symposium was that, compared to the various
theoretical debates, Segal’s clinical examples shed a more helpful light on my daily work with
my patients. Also, I could better understand why Freud said of the death drive that it is “mute
but powerful” (1923b: 59).

Current opinions among psychoanalysts as regards the conflict between

the life and death drives
More than twenty years have elapsed since the Marseilles Symposium, yet Freud’s hypothesis
concerning the death drive remains controversial. Jorge Luis Maldonado is a psychoanalyst
          87

who has made a detailed study of what he calls the “analyst’s iatrogenic interventions” –
interpretations which, insofar as they are a partial re-enactment of some traumatic experience
to which the patient had been subjected, amount to a re-traumatization. Maldonado argues
that the destructiveness which psychoanalysts can observe in their clinical work – this, after
all, is what the idea of the death drive tries to account for – has in fact many component
features.

JMQ: What do psychoanalysts in Latin America think today of Hanna Segal’s ideas about
the death drive?

Jorge Luis Maldonado: Well, I would start off by saying that Hanna Segal’s work is very widely
known among psychoanalysts in Argentina and in the rest of Latin America. Her ideas on
different aspects of psychoanalysis are adopted even by analysts whose conceptual approach
is quite different from hers. The concept of the death drive is accepted in Argentina by those
psychoanalysts – and there are many of them – who follow Melanie Klein’s theories and the
developments that Hanna Segal has brought to these. That said, the concept is challenged by
other psychoanalysts; in my view, their disagreements (which are sometimes justified) arise
from several misunderstandings that are implicit in Freud’s writings.

JMQ: What are the main points of controversy?

I shall mention a few aspects that seem to me to be well worth discussing because of
certain distortions in the use of theory that would later turn out to be distortions of the theory
itself.
The usefulness of the concept of the death drive for understanding pathological states is
important when we see it as highlighting the notion of intra-psychic conflict, as the ultimate
agency of the implicit destructiveness of human beings. In my opinion, however, the use of this
concept may make it more difficult to look for other factors that contribute to pathology, such as
damage that affects one’s sense of identity and which comes from the object.
On another level, there is another misunderstanding, which comes from the use of the
same term – “repetition” – to describe processes that are quite different from one another. At
first, repetition was conceptualized as being the opposite of remembering; as such it could
account for clinical phenomena based on the pleasure principle. These are different from
what is included in the death drive, which is beyond the pleasure principle. Lagache’s (1953)
aphorism “need for repetition” and “repetition of needs” defines the necessary coexistence
between the two ideas. Other writers have highlighted other differences in the concept of
repetition. Lacan, for example, locates repetition in the “Tyké” (the “Real” dimension), the locus
in which there is no capacity for representation, simply the immanent tendency to repeat. This
concept is different from the “compulsion to repeat” which arises from the insistence on going
back to the pleasure principle. The factors that integrate the death drive (repetition and
destructiveness) are, in Freud’s writings, inherent in human nature. However, Hanna Segal’s
development (1993) focuses mainly on destructiveness, whereas Lacan deals above all with
repetition.

JMQ: How can that be identified in clinical terms?

In those repetitive dreams we find in cases of traumatic neurosis, the experience that triggers
them, given that it becomes the subject of a dream, is included in the sphere of representa-
tions, hence the possibility of transforming it. The presence of representation differentiates it
from other forms of repetition. In psychotic processes, however, the representational system is
gradually eroded in parallel with the slow loss of life forces – the end point being a catatonic
state, the paradigm of being inanimate. Repetition tends towards fusion in traumatic dreams
and towards a gradual defusion in other contexts such as that of the psychoses.

JMQ: How would you understand the concept of trauma in this context?

The concept of trauma has always been marked by injustice in a certain sense, because it was
erroneously associated with concrete thinking and mechanical processes considered as
being based simply on reality. The concept found itself associated with non-integration of
88         

phantasies as well as the specific characteristics of the individual. It would be helpful were we
to go back to the original notion of trauma, linked not only to an “event” supposed to have
actually occurred in the past but also to what has been lost since that event. The psycho-
analytic value of the concept of trauma lies in this idea of “what has been lost” – especially in
the structure of lost ideals.
Patients who have lived through traumatic experiences tend to implicate their objects, and
in particular the analyst in the transference – they reproduce the trauma by stimulating in their
analyst his or her own hostility, which is then expressed through the formulation of accusatory
interpretations (Maldonado 2006). That kind of repetition leads to defusion and has to do with
the death drive. The problem is a highly complex one, given that not all trauma is brought about
by the tendency to repeat which is implicit in that drive. I would agree that it is quite possible to
attribute to that drive the capacity to generate and reproduce traumatic experiences, but at the
same time, doing so can be controversial if we consider the drive to have so much importance
that other determinants are excluded, such as significant trauma, that are the work of factors
external to the individual (Maldonado 2006). Failure to differentiate trauma brought about by
the individual’s own destructiveness from those which are due to exogenous factors – by
“exogenous”, I mean also the complex relationship between reality and fantasy – may lead to
disagreements with respect to Freud’s second theory of the instinctual drives.

JMQ: Are there other factors that hinder the investigation of these aspects?

If the transference is seen as focussed only on envy as a determinant of anxiety, this is another
factor that may give rise to obstacles in exploring and evaluating the various elements that go
to make up human suffering. I shall mention some of these without exploring whether or not
they are, for example, failures in what Winnicott called the “facilitating environment”, or failures
in the maternal function of containing and transforming beta-elements in Bion’s sense, or,
again, in the essential value of the paternal prohibition in the Oedipal organization as defined
by Lacan.
In narcissistic rivalry (which is similar to but not identical with envy), the need that the self
feels for the object awakens the wish to destroy it, because the object’s presence casts a
shadow over the self’s feelings of grandiosity based on the illusion of experiencing oneself as
unique and superior to the object world. Perhaps that form of rivalry is one expression of
destructiveness in which the drive remains unmediated and requires a direct interpretation in
terms of destructiveness. Oedipal rivalry (which is different from narcissistic rivalry and from
jealousy) is something else again. It is linked to some other person (brother or sister, father or
mother) insofar as he or she represents an obstacle to possessing the libidinal object; love for
the object precedes and determines Oedipal rivalry. Aggressiveness, implicit in patricidal and
fratricidal wishes, derives from the libidinal link to another object. If the analyst incorrectly
evaluates what can be attributed to primary destructiveness and what to the aggressiveness
derived from the libidinal element, this may give rise to contradictory reactions in the patient
such that any conceptualization will be far removed from actual clinical experience.

JMQ: What role, in your opinion, does destructiveness play in depression?

As for pathology, depression depends on ambivalence towards the object, which reaches its
highest point in melancholia. Ambivalence in turn depends not only on the self’s destructive-
ness but also on factors that involve the actions of the object that triggers them. Projective
identification – not simply that which the self sends out towards the object but also that which
the self receives from the object – hidden behind secondary feelings of guilt also has to be
taken into account. There are other forms of depression which depend not only on ambiva-
lence but also on the loss of an ideal. As for perverse structures, destructiveness is here the
major factor, hidden behind sexuality and by that component of envy which, in my opinion, is
significant for the prevalence of perversion. Nonetheless, there are other elements implied in
perversion, such as the nature of the infant’s primary relationship with the parents, early
losses, the alliances each parent may set up to oppose the other, etc.
I would like to conclude by highlighting the value of Hanna Segal’s thinking as regards the
concept of the death drive. Our appreciation of any given writer increases with the possibility
we have to express not only our agreements but also our disagreements with what he or she
proposes. What Segal says may not coincide with our criteria, but what is indisputable is that
          89

her ideas have dialectical value, and that in itself is highly supportive of the development of
psychoanalysis, the growth of which has, from the outset, been rooted in dialectics.
(Interview, October 2006)

Jorge Luis Maldonado (Buenos Aires) is a training analyst and supervisor with the Buenos
Aires Psychoanalytic Association.
 Chapter 6

PRESENTING THE KLEINIAN APPROACH

TO PSYCHOANALYSIS

I really think she [Dr Segal] is by far the best person both to explain my work succinctly and
also not to be provocative [. . .]
(Letter from Melanie Klein to Marcelle Spira, 8 May 1956)

Explain, give clinical illustrations, avoid polemics

Hanna Segal soon became well known in the psychoanalytic world and beyond thanks to the talent
with which she explained and illustrated Kleinian concepts and to her capacity for establishing
constructive dialogue without needlessly stirring up controversy.
Her ability to do this was explicitly underlined by Melanie Klein herself in one of her letters to
Marcelle Spira, the Geneva-based psychoanalyst (see Chapter 1). In the extract which I quote above,
Klein emphasizes both Segal’s talent for explaining the Kleinian approach and her non-provocative
style, i.e. her ability to avoid needless controversy. What did Klein mean by that? In my view, the need
to explain Kleinian concepts arises from their sheer complexity, which in turn is due to the primitive
nature of the infantile anxieties and phantasies described by Melanie Klein, which emerge much
earlier than Freud had thought. In addition, it must be said that Klein’s style of writing is not always
very clear; her ideas are sometimes difficult to understand, given the somewhat austere not to say
abrupt and blunt manner in which she expresses her thinking. This is particularly the case when she
reports some of her interpretations without saying much about the groundwork that led up to them.
Similarly, it should be remembered that Klein herself never wrote a short guide to her work. Like
other pioneering spirits, she wrote her various papers as she went along, in parallel with her findings as
they developed over a period of some forty years. Segal’s work in drawing up a synthesis of all this
was therefore all the more commendable; it made Klein’s findings more accessible and meant that
those of her principal followers, including Segal herself, became more widely known.
As to the avoidance of unnecessary controversy, Segal’s contribution was particularly valuable,
because a mere explanation of Klein’s ideas and those of her followers does not mean that they will be
understood. It was essential to create a climate of scientific discussion over and above the intolerance
and hostility with which Kleinian hypotheses have often been greeted.
It is not difficult, therefore, to understand why Segal, with her diverse qualities, soon came to be
seen as an ambassador of the Kleinian approach in psychoanalysis and as such has been invited as a
guest speaker in many different countries throughout the world.

Differentiate Klein’s ideas from those that rightly belong to Segal

Before going any further, I would like to make one brief comment. When Hanna Segal puts forward
Klein’s ideas, her discretion and modesty mean that she herself usually stays very much in the
background. As a result, it is often difficult for the reader to know which ideas are Klein’s and which
arise from developments that Hanna Segal herself has made. Nonetheless, Segal’s own thinking
permeates all her writings on Melanie Klein and the Kleinian approach – as any attentive reader will
       91

have noticed. First of all, I would say that the most visible aspect of Segal’s own contribution lies in
the many clinical examples drawn from her own psychoanalytic work which are there to illustrate the
theoretical points made by Klein and her followers, including, of course, Segal herself. Secondly, it
seems to me that we can hear Segal’s voice in the choice she makes of Klein’s concepts – she describes
them in her own way, and goes on to discuss them in the light of her own hypotheses, both from a
theoretical and from a technical perspective.
The need to differentiate Segal’s own ideas from those of Klein seems to me to be particularly
important for the present chapter, in which I examine that part of Segal’s work which presents the
Kleinian approach. The reader will thus see that, beyond the presentation of Melanie Klein’s tech-
nique as such, Segal’s comments show that she has developed her own technique, which does all the
same lie within the general framework of Kleinian theory.

Four major texts

It is of course possible to see all of Segal’s writings as a presentation of the Kleinian approach. Four
of her texts are nonetheless worth highlighting because of their specifically didactic character. Firstly,
two of her books: Introduction to the Work of Melanie Klein (1964) and Klein (1979a), a book which
is both a biography of Melanie Klein and a history of the development of her ideas. I shall then go
on to study two papers that Segal wrote on technique, “Melanie Klein’s technique” and “Melanie
Klein’s technique of child analysis”; these two papers were published in 1967 as chapters in a book to
which several authors contributed, the aim of which was to present different kinds of psychoanalytic
technique. I shall not summarize the above-mentioned two books, since each is itself a synopsis; I
shall simply give a brief presentation of each of them. I shall, however, go into more detail as
regards Segal’s two papers on Klein’s technique, since any reader who is not particularly familiar
with the Kleinian approach may well find them all the more interesting.

Introduction to the Work of Melanie Klein (1964)

Segal, H. (1964) Introduction to the Work of Melanie Klein, London: William Heinemann Ltd.

This Introduction to the Work of Melanie Klein was originally meant for students and is based on a
series of lectures Segal gave at the Institute of Psychoanalysis in London as part of the third-year
curriculum for trainees. Segal notes that a thorough knowledge of Freud’s writings is a pre-
requisite for anyone who wishes to learn about Melanie Klein’s work: “The lectures are meant as an
introduction and not as a substitute for the study of Melanie Klein’s own writings. They can be used as
a guide to reading” (1964: 1). In order not to overburden the text, Segal decided not to append a
complete bibliography, preferring to indicate at the end of each chapter the essential references
to Melanie Klein’s work, as well as to papers by her principal followers – W. R. Bion, P. Heimann,
S. Isaacs, B. Joseph, J. Riviere, H. Rosenfeld and H. Segal.
As regards the order of the chapters, Segal opted to take as her roadmap the psychological
growth of the individual, beginning with early infancy. From a didactic point of view, it is more
useful to proceed in that manner rather than to follow the chronological order in which Klein
and her followers made their discoveries. Just as Freud’s findings proceeded retroactively – his
observations of adult patients led him to discover the child behind the adult – so did Klein’s: her
observations of her child patients led her to discover the baby behind the child. The other reason
that led Segal to abandon the chronological order of Klein’s discoveries in favour of following the
psychological development of the individual was that, in her view, the Kleinian school of thought
had by then done enough solid groundwork to make an overall presentation an entirely plausible
undertaking. “We have accumulated sufficient knowledge, and our theory is sufficiently comprehensive
to warrant an attempt to present it as a whole” (1964: 2).
The initial chapters define some general notions such as unconscious phantasy, the paranoid-
schizoid position and the depressive position. Segal then goes on to examine some major Kleinian
concepts with these as a backdrop – in particular envy, manic defences, reparation and the early
stages of the Oedipus complex. All chapters contain examples taken from Segal’s own practice as a
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psychoanalyst. “In a limited number of lectures it is possible only to give a rather simplified and
schematic description of Melanie Klein’s theoretical contributions, but as psycho-analytical theories
are derived from clinical experience and meant to throw light on clinical material I rely on my clinical
illustrations to convey them more fully” (1964: 1).

An Introduction that is essential reading

JMQ: In 1964, you wrote your Introduction to the Work of Melanie Klein, a book that has been
translated into many languages and which has been highly successful . . .

Hanna Segal: And which was quite a worry to me! Klein knew I was writing the book and she
expected it to appear in her lifetime. However, it took me a long time to write it – at least four
years! I think the reason was that I did not have a contract – I’m a very punctual person as a
rule. If I sign a contract which states that I have to have the manuscript ready in eighteen
months’ time, then I do the necessary. If I do not have a deadline – a knife at your throat – then
it takes me much longer. So the book wasn’t published until after Klein’s death.

JMQ: I wonder whether, when you wrote your Introduction to the Work of Melanie Klein, your
motives had to do with the kind of creative impulse that you describe in your papers on
aesthetics: did you feel the need to re-create a new world out of one that was threatened with
destruction? Perhaps one can understand Klein’s work only after doing the necessary
bringing-together of all the scattered pieces? What do you think?

That is true, but not of all of Klein’s written work. It is indeed the case for The Psychoanalysis of
Children, which is a very badly-written book. I think her writing ability improved enormously
over the years – look at Envy and Gratitude, for example, which is the best written of all. I think
she was so involved in what she was doing that it took her a long time before she could
formulate it properly. Take, for example, her papers on the depressive position then, later, on
the paranoid-schizoid position – that article is only about seventeen pages long, if I remember
correctly, yet the whole of present-day psychoanalysis derives from it. She had so much to
choose from! She discovered a world which was so complex that she needed time to sort
it all out . . .

JMQ: You played an important role in explaining Klein’s conceptions – for example, in
demonstrating the relationship between the depressive position and the paranoid-schizoid
position thanks to your clinical illustrations . . . Klein never wrote a synopsis of her theory as
Freud did with An Outline of Psycho-Analysis (1940a [1938]).

I think that she did synthesize her ideas through the way she formulated the depressive
position and the paranoid-schizoid position with respect to the Oedipus complex. I think she
made that very clear.
Later, she added other elements that made it all much more complex – the concept of
envy and that of projective identification. She did not develop the latter concept at all. In her
paper “On identification” (Klein 1955), she says that projective identification comes long after
the depressive position; it has to do with whole objects, not with primitive levels at all . . . The
development of psychoanalysis after Klein is more than anything else an extension of
the pathology of projective identification, but she herself did not go into any of that. She could
not, of course, do everything – a bit like Freud, who discovered so many things that some
questions had to be left unanswered. I don’t think Klein realized just how revolutionary her
discovery of projective identification was. Just a few lines in a short paper . . .

JMQ: Klein, the second book you wrote about Melanie Klein, was published in 1979. It’s as
much a biography as a history of her ideas, isn’t it?

My first book, Introduction to the Work of Melanie Klein, was meant as a guide for students; it
did not have a proper bibliography, with references to the scientific literature, etc. The second
book, Klein, was a commissioned work: it was due to be part of the Fontana and Collins
“Modern Writers” series. The requirements were very strict: the length of the book, i.e. the
       93

number of pages, as well as other features that were very precisely defined – for example, as
regards the relationship between Klein’s life and her psychoanalytic work. It was much more of
an academic work than any of my other books.

JMQ: When Phyllis Grosskurth wrote her biography of Klein, did she interview you?

She did, yes, but there are some errors in what she wrote – particularly as regards a patient
who had been in analysis with Mrs Klein for several years and who later came to me. I gave
Mrs Grosskurth my version of what had really happened, and she took that into account in the
second edition. [. . .].
(Interview (in French), 15 August 2006)

Klein (1979)
Segal, H. (1979) Klein, Glasgow: Fontana/Collins. Reprinted London: Karnac (1989, 1991).

In this book, Segal looks back on the major stages of Melanie Klein’s life, from her birth in Vienna
in 1882 until her death in London in 1960. She succeeds in the quite daunting task of both giving
an account of Klein’s often eventful personal life and describing the story of her revolutionary
discoveries, which met with as much hostility as enthusiasm. The leading characteristic of that
pioneer’s life was undoubtedly her commitment to psychoanalysis.
Klein is a book that is impossible to summarize, and in that sense resembles Segal’s Introduction
to the Work of Melanie Klein; indeed, Klein is to a considerable extent a development and an
expansion of that earlier work. Here, Segal paints a brief portrait of Melanie Klein, and I shall use
that as a basis for my presentation of the book as a whole. This is, indeed, one of the rare occasions
on which Segal talks of Klein as a person and as she knew her. Klein’s personality is not easy to
describe; she was many-faceted, and accounts of her differ. She was described by some as warm-
hearted, tolerant and good-tempered; by others as intolerant, aggressive and demanding. She once
described herself as primarily a very passionate person. According to Segal, it is that aspect of
Klein that was most striking. “When she discovered psychoanalysis she became wholly committed to
it, and this passion for and devotion to her work was certainly her leading characteristic” (Segal 1979:
170). She was an ambitious woman, particularly in her wish for the future of psychoanalysis, not
for herself. This goes some way to explaining why she was felt to be intransigent, a character trait
that some resented. “Although she was tolerant, and could accept with an open mind the criticisms of
her friends and ex-pupils, whom she often consulted, this was so only so long as one accepted the
fundamental tenets of her work. If she felt this to be under attack, she could become very fierce in its
defence” (1979: 170).
Klein expected a very high standard of work from herself and from others. She could become
quite scathing in her criticism, which made it difficult for some people to show much sympathy for
her. Considering herself to be the main successor to Freud and Abraham, she found it very
difficult to accept not only Freud’s coolness towards her and her work but also the support he gave
his daughter Anna. According to Segal, what was most striking about Melanie Klein as a private
person was her warmth and her quite extraordinary vitality, which remained with her to the end
of her life. “She was a person who aroused strong emotions. She received a great deal of love
and affection from her friends and close colleagues, and often inspired passionate devotion. Her
uncompromising attitude about her work made her many enemies, but she was a powerful personality
and commanded almost universal respect” (1979: 174).

Hanna Segal looks back on Melanie Klein’s work

Innovations in technique, the Oedipus complex, present and past
JMQ: You were in analysis with Klein shortly before she published her seminal paper “Notes
on some schizoid mechanisms” in 1946. What consequences did that major discovery have on
technique?
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Hanna Segal: Well I think that up until now – sixty years on – we haven’t quite fathomed all the
changes that took place in this area because every year, as it were, some new aspects are still
being discovered. In my opinion, Klein always knew that there was something before the
depressive position – a concept she had introduced a few years before, in 1934 and 1940 – but
she couldn’t quite put it all together. I think at the time she analysed me and Rosenfeld she was
learning those things and already using them technically before she wrote the paper. I know for
a fact that she had a conflict with Rosenfeld, because Rosenfeld wanted to write a paper on
schizoid mechanisms and she said, “Hold on. The paper you’re writing is my paper!” And she
stopped him. [. . .] I remember that she had already worked with me a bit on that level.
But the real changes in technique came over the years. We interpreted a lot more phantasy
and related a lot more to actual childhood, paying less attention to the interplay occurring at
any particular moment. Also, we had at that point no way of interpreting the different levels of
communication – that appeared over the years, and quite gradually. I speak about that in quite
an early paper about dreams (1981a), in which I say that you don’t analyse the dream, you
analyse the dreamer; the dream that the patient tells you may be a discharge – if you like,
he leaves the dream with you and there you are, analysing the dream, but he’s already far
away. You have to take that up in the session – it’s not just the content but the function of the
dream – in other words, how the patient gets rid of things into your mind and disassociates
himself from it, or wants to affect your mind by some striking dream. Those were very very
gradual changes.

JMQ: That seems different from the classical approach to dream analysis.

Very different. When Freud analysed dreams it was day by day and, usually, he interpreted
only the content. Nowadays we have come to realize that the simple fact of reporting a dream
and talking about it may be used as a form of concrete projection. And that’s true not only of
dreams but also of many other things that occur in a session. As I say, all these changes came
about very gradually.
(Tape 4, end side A, 1 February 2004)

JMQ: What were the other changes?

Technique evolves, but some things remain unchanged, especially some of Freud’s ideas. The
primary importance of psychic reality and reality testing, the life and death instincts and the
Oedipus complex – all of that remains largely the same as it was in Freud’s day. Except,
perhaps, that nowadays the Oedipus complex is put under a microscope, as it were. It’s not
just the genital form . . . And our idea about the resolution of Oedipal anxiety – we have a very
different view on that.
Freud’s view, I would say, was predominantly paranoid: the resolution of the Oedipus com-
plex had to do with the threat of castration and, to some extent, the loss of the object. Now-
adays we tend to say that there is no final resolution and that the important thing is the ability to
experience Oedipal anxiety, to admit one’s neediness, one’s smallness, one’s desires, one’s
conflicts, one’s hates and so on. That’s the sort of resolution we think of now – being able to
face up to the Oedipal complex and work with it, not getting rid of it.

JMQ: So in that sense we no longer speak of “extinction” but rather of evolution because we
have to work with an Oedipus complex which is present all through life, would that be right?

Everyone has an Oedipus complex. “Tell me your Oedipus complex and I’ll tell you who you
are!” Some are very deeply schizoid for instance. What looks like a normal Oedipus complex,
loving mother/hating father (or the other way round), is not a real Oedipus complex at all – it’s a
splitting. Good object and bad object. The real Oedipus complex is the desire for both, the
hatred of both, feeling guilty about all that and – an essential element in the depressive
position – the restoration of the parental couple as a creative aspect of the inner world.

JMQ: Freud thought that depressive patients could not be analysed because they had what
he called a “narcissistic neurosis”. Did the idea of a transition between the paranoid-schizoid
and depressive positions change the way we treat this kind of patient?
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Yes indeed, because a depressive patient is not in a real depressive position. Real depression
is a defence against the depressive position. It’s still very omnipotent: we think we’ve killed the
parents and therefore we carry inside ourselves a dead parent – depression and mania are
inextricably linked. The depressive patient, real depression, has a lot of manic mechanisms:
keeping the object inside, controlling it, feeling omnipotent and feeling omnipotently con-
trolled. In fact, to analyse a depressed patient you have nowadays to think less in terms of
depressive and schizoid and more as to how psychotic the underlying pathology is.

JMQ: That would mean getting some idea about the extent of splitting, of omnipotence, of
denial and of idealization with respect to manic defences, is that it?

That’s right. All manic defences bring about a regression to paranoid-schizoid positions.

JMQ: So perhaps we could say that there are various levels within the depressive position?

Yes, indeed, there are degrees. There’s the early depressive position, with a very persecuting
superego, which you find in profoundly melancholic patients who are very psychotic; and there
is a normal depression – after all, you’ve got cause to be depressed if you lose a loved object
or all your plans fall apart. The normal depressive position, however, leads to reparation and
reconstruction and is a great positive motivation. This is particularly the case with artists who, I
think, are basically all depressed deep down. Britton describes these different stages very
well. It’s not that we develop in a straight line, if you like, from the paranoid-schizoid to the
depressive; we constantly waver between the two because with each working through of
the paranoid-schizoid level you reach a higher level of the depressive position. It’s a much
more fluid thing.

JMQ: Francisco Palacio-Espasa (2003) also describes different stages in the depressive
position . . .

It’s continuously developing.

(Tape 4, side B, 1 February 2004)

JMQ: Betty Joseph has developed a technique in which she makes a detailed study of the
here-and-now of the interaction between patient and analyst. In order to find the “words that
touch”, as Danielle Quinodoz (2002) puts it, I have the impression that you, on the other hand,
do pay more attention to childhood events and underlying phantasies. Would that be correct?

Your supervision with me was a long time ago and was very very classical Kleinian. It was
before we learned to pay much more attention to the acting-in and the constant attempts to
manipulate the analyst into a certain role. It is true that old-fashioned Kleinians analysed
phantasy material and paid hardly any attention to the interaction.
Since then it has changed a bit towards the Betty way – but not completely. I think it
becomes a bit too arid, all this here-and-now “you and me” and “what you have done” thing. At
some point I would interpret both [the transference] phantasy and [the link to the patient’s]
childhood much more. I would say that, as far as theory is concerned, Betty and I have the
same standards – one has to speak of the transference and follow the immediate here-and-
now of the session. But at some point I would want to link this with the underlying phantasy and
childhood. Where we differ is when this point comes. I’ll interpret more phantasy once I’ve
analysed what the patient is doing in the session – if there’s a clear underlying phantasy to this
here-and-now, I would interpret that, and I think I do make more links to the past.
(Tape 5, side A, 1 February 2005)

People tend to use certain differences between Betty and me to make a split, particularly in
America where there are many who think that psychoanalysis is all a matter of “here and now”
and “you and me” – for them, old-fashioned Kleinians analysed phantasies but didn’t see the
interaction. I’m sort of midway between the two. Klein’s work on projective identification helped
us to understand much better the very concreteness of it, in other words that it’s always acting-
in. That step forward started with Klein but it actually involves a lot of work done by others, with
96      

Klein’s agreement. It enabled us to see just how much projective identification is constantly
acted-in, pushing the analyst to collude with the system.
In fact, Klein always started with the interaction and the here-and-now of the session, with
the immediate feelings, if you like – and always with reference to the transference. The ques-
tion is how much to link this with unconscious phantasy and with the past – if you link too much
with unconscious phantasy and the past you can sometimes get too far away from the
immediate reaction, but on the other hand if you stay with the immediate reaction and don’t
relate it in any way with phantasies, then you lose one of Klein’s most important discoveries –
that both mechanisms are linked to phantasies. Then we lose the link. Some people just
interpret a mechanism and don’t actually interpret the phantasy involved in that mechanism.

JMQ: Let’s stay for a moment with this idea of a link between present and past.

I think that when something is overwhelmingly enacted – and there we would immediately
think that there must be a link with the past – I would tend to relate it to the patient’s childhood
much more than Betty Joseph seems to do. More specifically, much more than the extremists
do – it is a well-known fact that disciples go much further than . . .
I remember once an analyst presenting something of that kind. He had a woman patient
and kept interpreting that he was in touch with her, then out of touch, this and that, and so on –
interpreting only the here-and-now interaction with his patient. I had a vivid picture of a very
small child confronted with a pregnant mother and not being able to get through to her. The
analyst didn’t give any background history. I always think that is an important element. During a
break, I asked him how old she was when her next sibling was born. He replied: “Oh, I don’t
remember but I think the patient was about a year old.” So I said something along the lines of a
little child whose mother’s belly is filled by another child, the patient gets inside, gets confused
and doesn’t know whether she’s the baby or whether she is the mother . . . She’s full of anxiety
and hatred about penetrating into this situation. I would say – even if you don’t actually make
an interpretation relating to this baby experience – that you have to have it in your mind: it’s
not just that she’s trying to get into your mind or that she won’t let you into hers. I suggested
an interpretation linking the here-and-now interaction with the patient’s childhood phantasy,
bringing things together in the psyche . . .
I don’t think that there’s any fundamental disagreement between Betty and me, it’s more a
quantitative thing. It’s my way of keeping a balance between different aspects.
(Tape 4, side B, 1 February 2004)

(For the second part of this interview, see page 104.)

Psychoanalytic technique in the Kleinian approach

“Melanie Klein’s technique” (1967a)
Segal, H. (1967a) “Melanie Klein’s technique”, in B.B. Wolman (ed.) Psychoanalytic Techniques,
New York and London: Basic Books; reprinted (1981) in The Work of Hanna Segal, New York:
Jason Aronson, pp. 3–24.

An extension of Freud’s classical technique

Segal begins by pointing out that the technique introduced by Klein and her school is strictly based
on Freudian psychoanalytic concepts. The formal setting is the same as in classical Freudian
analysis, with the patient being offered five or six sessions per week; the patient lies on the couch
with the analyst sitting behind him or her. In all essentials, the psychoanalytic principles as laid
down by Freud are adhered to. The role of the analyst is confined to interpreting the patient’s
material, and all advice, criticism or reassurance is avoided. Interpretations focus essentially on the
transference situation, both positive and negative. The transference is not only the “here and now”
relationship with the analyst; it includes any references to past relationships and current problems
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that have to do with the analytical situation. “In these respects, the Kleinian analyst may be con-
sidered to be following the classical Freudian technique with the greatest exactitude, more so indeed
than most other Freudian analysts, who find that they have had to alter their analytical technique in
some of its essential aspects when dealing with prepsychotic, psychotic, or psychopathic patients”
(Segal 1967a [1981: 3–4]).
This approach is based on a certain number of new concepts, discovered in the analysis of young
children, which gave rise to new kinds of interpretation as compared to the classical approach.
Examples of these are unconscious phantasy, the paranoid-schizoid and depressive positions,
manic defences, the early Oedipus complex and envy. Segal has a particular gift for explaining very
clearly these concepts, which can be difficult to understand if one has not experienced them
oneself in the course of a personal psychoanalysis.
Segal argues that the Kleinian technique is a development and an extension of Freud’s classical
technique, based on a certain number of new elements that have broadened its domain. “She
[Klein] saw aspects of material not seen before, and interpreting those aspects, she revealed further
material which might not have been reached otherwise and which, in turn, dictated new interpretations
seldom, if ever, used in the classical technique” (1981: 4).

An approach based on the analysis of young children

To appreciate Klein’s innovative contribution, it is best to place it in its historical context. When
she began her work with children in the 1920s, Klein thought that Freud’s method could be
applied more or less directly to children. However, since children do not verbalize as easily as
adults, and since play is their preferred means of expression, she provided each child patient with a
drawer of toys. In her view, these modifications did not alter the essence of the psychoanalytic
relationship or the interpretative process. “She interpreted their play, behaviour, and verbal commu-
nications in the way in which she would have interpreted an adult’s free associations” (Segal 1981: 4).
Klein observed also that children develop a transference, both positive and negative, and that this
transference sets in rapidly and often intensely. She discovered that, through various activities in
the session, children reveal their unconscious conflicts with a clarity identical to or even greater
than that of the adult’s free associations.
Certain new facts emerged. For example, in young children, the Oedipus complex and the
superego seemed to be in evidence at an earlier age than one would have expected; this enabled
pregenital and genital forms of mental organization to be identified. Klein was impressed also by
the prevalence of the mechanisms of projection and introjection leading to the building of a
complex inner world, and by the intensity of projections which colour much of the child’s percep-
tions of reality. She observed also that splitting preceded the mechanism of repression, and that the
child’s development appeared to be a constant struggle towards integration and the overcoming of
powerful splitting mechanisms.
Once these mechanisms were seen in the child, they could be identified, understood and inter-
preted in the material of adult patients.

Unconscious phantasy
Working at the primitive level of the child’s world led Melanie Klein to widen the concept of
unconscious phantasy. In her 1948 article, Susan Isaacs defined unconscious phantasy as “the
mental correlate of the instincts” or “the psychic representative of the instincts”. In the infant’s
omnipotent world, drives are expressed as the phantasy of their fulfilment. “To the desire to love and
eat corresponds the phantasy of an ideal love-, life- and food-giving breast; to the desire to destroy,
equally vivid phantasies of an object shattered, destroyed and attacking” (Segal 1981: 5). From a
Kleinian point of view, phantasies are of a crude and primitive nature, and are experienced in a
somatic as well as a mental way. As development proceeds, later phantasies evolve through contact
with reality and conflicts in the course of maturational growth. These derivatives can be displaced,
symbolized and elaborated and can even penetrate into consciousness as day-dreams, imagination,
etc. These later derivatives – the dreams or images – are what Freud considered to be phantasies.
In classical psychoanalysis we are familiar with the use of phantasy as a defensive function. It
is a flight from reality and a defence against frustration. As mental life becomes more complicated,
phantasy, says Segal, is called upon as a defence in various situations of stress. For example, manic
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phantasies act as a defence against underlying depression. Similarly, a patient may represent
repression by means of a phantasy of a dam holding back floods; denial may be represented by a
phantasy in which objects are actually annihilated; and the mechanisms of introjection and projec-
tion may be represented by phantasies of incorporation and ejection. According to Isaacs, what we
call mechanisms of defence is an abstract description from an observer’s point of view of what is
in fact the functioning of unconscious phantasy. That conception, according to Segal, has decisive
consequences for psychoanalytic technique. “Clinically, if the analysis is to be an alive experience to
the patient, we do not interpret to him mechanisms, we interpret and help him to relive the phantasies
contained in the mechanisms” (1981: 7).
Adopting the point of view according to which psychic mechanisms such as resistance and
defences are an aspect of phantasy life enables Segal to answer an objection that is often raised.
Kleinian analysts are often criticized for interpreting the content of unconscious phantasies while
ignoring the analysis of defences. “This criticism is, I think, based on a misunderstanding of our way
of handling defences” (1981: 7). Segal notes that in the early days of psychoanalysis it was con-
sidered dangerous to analyse prepsychotics in case the analysis of their defences would expose the
weak ego to a psychotic breakdown; this is no longer thought to be the case. “It is far safer to
analyse prepsychotics now, when we do not analyse predominantly resistance or defences, leaving the
ego defenceless, but have some understanding of the psychotic phantasies and anxieties that necessi-
tate these defences and can modify these anxieties by interpretations, which are directed at the content
as well as at the defences against it” (1981: 7). The concept of mental mechanisms as an aspect of
phantasy life, argues Segal, implies also that there is less of a divergence between interpretations
of defence and those of content; this means that interpretations can deal more readily with the
patient’s total experience.
In a similar vein, Segal extended the idea of unconscious phantasy, connecting it with the ego,
id and superego structure. Susan Isaacs had begun to establish a relationship between the instinct-
ual drives, mental mechanisms – resistance and defence – and unconscious phantasy. Segal
extended that hypothesis when she showed that the structure of the personality – which, as we
know, depends on the relationship between ego, id and superego – is the end result of complex
phantasies which involve the introjection of parental figures, as Freud had argued. Segal points
out that this way of understanding the mind has important technical consequences. “The fact that
structure is partly determined by unconscious phantasy is of paramount importance from the thera-
peutic point of view, since we have access to these phantasies in the analytic situation and, through
mobilizing them and helping the patient to relive and remodel them in the process of analytic treatment,
we can affect the structure of the patient’s personality” (1981: 8).

Interpretations are made as early as the first session

This view of unconscious phantasy means that the patient’s material can be looked at differently
from that of the classical approach. From the outset, a Kleinian analyst will try to make contact with
the patient’s unconscious phantasy as it is expressed through the transference. All the patient’s
communications in the session are looked at as containing an element of unconscious phantasy,
even though they may seem to concern events that take place in the external world. Furthermore,
in the phantasy world of the analysand, the most important figure would appear to be the person
of the analyst. It follows, therefore, that all the patient’s communications contain something of
relevance to the transference situation. That is why the interpretation of the transference is often
more central in Kleinian technique than in the classical technique.
That conception of unconscious phantasy in close relationship to the transference affects the
course of the analysis from the very first session.

The question is often asked by students, Should transference be interpreted in the first session? If
we follow the principle that the interpretation should be given at the level of the greatest
unconscious anxiety and that what we want to establish contact with is the patient’s unconscious
phantasy, then it is obvious that, in the vast majority of cases, a transference interpretation will
impose itself. In my own experience I have not had a case in which I did not have to interpret the
transference from the start. (1981: 8–9)

Should interpretations be deep or superficial? According to Segal, this again is dictated by the
level at which anxiety is active. “For instance, to establish contact with a schizophrenic, it is usually
       99

necessary from the start to interpret the most primitive forms of projective identification if one is to
get in touch with him at all” (1981: 9). She illustrates this point with reference to a schizophrenic
adolescent. Even with a relatively healthy individual, oral or anal anxieties may be clearly present
in the transference situation in the very first session, and therefore should be interpreted. That said,
no interpretation is given before some later material enables the analyst to understand the under-
lying phantasy more fully. A full interpretation of an unconscious phantasy involves all of its
aspects. “It has to be traced to its original instinctual source, so that the impulses underlying the
phantasy are laid bare. At the same time, the defensive aspects of the phantasy have to be taken into
account, and the relation has to be traced between phantasy and external reality in the past and the
present” (1981: 10).

Identifying infantile phantasies as the transference unfolds

JMQ: For something like ten years, along with Danielle and myself, you attended Hanna
Segal’s seminars in Geneva and in addition you had individual supervision with her. What
impresses you particularly about her technique?

Francisco Palacio-Espasa: What seems to me to be particularly original in Segal’s work is her

understanding of the theory that underpins her technique, based on the way in which she
identifies the transference phantasies – that is, those aspects of infantile phantasies that are
part of what the patient is actually expressing. Segal is more subtle than Klein in her approach
to this. Nowadays, Antonino Ferro is one of those who try to bring back – to re-create would
be a better word – an attitude of close attentiveness towards the “here and now” of that inter-
personal relationship. That attitude tries to make the analyst’s particular attentiveness into the
patient’s own creation.
Segal’s idea, on the other hand, aims at rediscovering the patient’s past, either real or in
phantasy. In other words, she attempts to reconstruct the past on the basis of what is actually
transpiring in the patient’s transference. That seems to me to be the most interesting feature.
For example, to my knowledge, few people are able to highlight oral phantasies in what the
patient communicates through the psychoanalytic relationship as well as Segal does; the
same is true of anal phantasies. Oedipal phantasies are much easier to identify. I think, too,
that Segal really understands the containing aspects of the maternal object in the transfer-
ence. That, for me, is the most significant feature of what she has given us. In my view, people
like Ferro, who are neo-constructivists, if you like, do not pay sufficient attention to infantile
phantasies in the transference relationship; their ideas are close to those of Betty Joseph’s
followers, who speak of the “total transference situation”.
Segal, then, is the person who helped me most to identify very infantile and regressive
phantasies in the transference. There may well be, of course, other factors, such as trauma,
that have to be taken into consideration. Trauma, however, is not a concept that particularly
appeals to Segal, although of course she does take real-life events, illness, etc. into account
when they come into the transference relationship via the patient’s free associations.
(Interview (in French), 12 August 2006)

Francisco Palacio-Espasa is a training analyst and supervisor with the Swiss Psychoanalytical
Society.

The paranoid-schizoid position

In psychoanalysis, as in most sciences, changes in technique end up by revealing new material
which in turn leads to new theoretical formulations; these new concepts then give rise to modifica-
tions in technique. Melanie Klein described two kinds of structure which she called the paranoid-
schizoid and depressive positions. To each of these positions corresponds a particular type of ego
and object-relation organization.
This is Segal’s concise but nonetheless very graphic presentation of how she would define the
paranoid-schizoid position.
100      

In the paranoid-schizoid position, the infant has no concept of a whole person. He is related to
part objects, primarily the breast. He also experiences no ambivalence. His object is split into an
ideal and a persecutory one, and the prevalent anxiety at that stage is of a persecutory nature, the
fear that the persecutors may invade and destroy the self and the ideal object. The aim of the
infant is to acquire, possess, and identify with the ideal object and to project and keep at bay both
the bad objects and his own destructive impulses. Splitting, introjection, and projection are very
active as mechanisms of defence. (1981: 11)

The analysis of these persecutory anxieties and of the corresponding defences plays an important
part in Kleinian technique. “For instance, if the analyst is very idealized, he will be particularly
watchful for the appearance of bad figures in the patient’s extra-analytical life and take every
opportunity of interpreting them as split-off bad aspects of himself. He will also be watchful for the
projection of the patient’s own destructive impulses into these bad figures” (1981: 11).

The clinical distinction between projection and projective identification

In the paranoid-schizoid position, we find another important mechanism: projective identification.
“In projective identification, a part of the patient’s ego is in phantasy projected into the object, control-
ling it, using it, and projecting into it his own characteristics” (1981: 11). It is a phantasy that is usu-
ally very elaborate and detailed. Projective identification is, from this perspective, an expression of
the drives in that the patient’s libidinal and aggressive desires are felt to be omnipotently satisfied
by the phantasy; in addition, like projection, projective identification is a defence mechanism to
the extent that it rids the self of unwanted parts.
Segal gives two clinical examples in order to illustrate the difference between these concepts.
The first is taken from a supervision case.

A student reported a case in which his woman patient, preceding a holiday break, was describing
how her children bickered and were jealous of one another in relation to her. The student inter-
preted that the children represented herself, jealous about him in relation to the holiday break, an
interpretation that she accepted without being much moved. He did not interpret that she felt that
she had put a jealous and angry part of herself into the children, and that that part of her was
changing and controlling them. The second interpretation, for which there was plenty of material
in preceding and subsequent sessions, was of very great importance, in that it could be shown to
the patient how, by subtle manipulations, she was in fact forcing the children to carry those parts
of herself. (1981: 11–12)

Segal adds that often a transference situation can only be understood in terms of projective
identification: “a situation, for instance, in which the patient is silent and withdrawn, inducing in the
analyst a feeling of helplessness, rejection, and lack of understanding, because the patient has projected
into the analyst the child part of himself with all its feelings” (1981: 12).
The second example is taken from the analysis of a schizophrenic patient, again a case which
Segal supervised. She shows that it is not sufficient for the analyst to use his or her counter-
transference feelings to interpret what the patient seems to be projecting. Sometimes the patient
can experience that as the analyst forcibly and perhaps vengefully pushing these feelings back,
without having transformed them. In the example given by Segal, the patient was reversing the
earlier situation between his mother and himself, reproduced in the transference – he identified
with a rejecting mother, while putting into the analyst the rejected child part of himself. Segal
points out that it was not enough simply to show the patient that he was reversing the situation.
“One has to interpret in detail his introjective identification with the rejecting mother and the project-
ive identification of the rejected child part of himself, identifying and describing its feelings and
interpreting the detail of the phantasy of how this part is projected” (1981: 12).
Segal goes on to say that when projective identification predominates the patient may well feel
depleted (since a part of the self is felt to be missing), persecuted by the analyst filled with the
patient’s projections, and confused with the analyst. Schizophrenic patients, who immediately
form a psychotic transference, may well feel relieved by interpretations of projective identification.
Segal points out, all the same, that the analysis of paranoid-schizoid object relations and defences
is not confined to psychotic and prepsychotic patients only; in all patients, schizoid defences are
repeatedly regressed to and revived as a defence against feelings aroused in the depressive position.
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The depressive position

Having presented the paranoid-schizoid position, Segal goes on to describe the concept of the
depressive position as simply as possible.

The depressive position starts when the infant begins to recognize his mother. Throughout the
paranoid-schizoid position, normal processes of maturation are helped by, and help in turn,
the psychological drive to integration, and eventually, sufficient integration is achieved for the
infant to recognize his mother as a whole object. The concept of the whole object contrasts both
with that of the part object and that of the object split into good and bad. The infant begins to
recognize his mother not as a collection of anatomical parts, breasts that feed him, hands that
tend him, eyes that smile or frighten, but as a whole person with an independent existence of her
own, who is the source of both his good and his bad experiences. This integration in his perception
of his object goes pari passu with the integration in his own self. He gradually realizes that it is
the same infant, himself, who both loves and hates the same person, his mother. He experiences
ambivalence. (1981: 13)

This fundamental change in the infant’s object relations brings with it a change in the content
of anxiety.

While he was previously afraid that he would be destroyed by his persecutors, now he dreads that
his own aggression will destroy his ambivalently loved object. His anxiety has changed from a
paranoid to a depressive one. Since at that stage the infant’s phantasies are felt as omnipotent, he
is exposed to the experience that his aggression has destroyed his mother, leaving in its wake
feelings of guilt, irretrievable loss, and mourning. (1981: 13)

The mother’s absence is often experienced in terms of her being dead.

As the depressive position starts in the oral stage of development, where the infant’s love and
hatred are linked with phantasies of incorporation, this ambivalence is felt also in relation to the
mother as an internal object. And in states of depressive anxiety and mourning, the infant feels
that he has lost not only his mother in the external world, but that his internal object is destroyed
as well. Melanie Klein viewed these depressive anxieties as part of normal development and an
unavoidable corollary to the process of integration. They become reawakened up to a point in any
subsequent situation of loss. (1981: 13–14)

The introduction of the notion of the depressive position highlights the difference that exists
between the Kleinian view and the classical conception of mourning, both normal and patho-
logical. In the classical conception, normal mourning involves only the loss of an external object;
depressive illness (or melancholia, as it was called in Freud’s day) implies ambivalence in rela-
tion to an internal object and regression to an oral fixation (Abraham 1912, Freud 1917e [1915]).
In the Kleinian conception, ambivalence towards an internal object and the depressive anxieties
associated with it are a normal stage of development and are reawakened in the normal mourning
process. That is why working through the mourning process is a major aspect of Kleinian
technique.

It is often contended by classical Freudian analysts that when a patient is actually mourning
it is usually an unproductive period in his analysis. Kleinian analysts, in contrast, find that
analysis of mourning situations and tracing them to their early roots often helps the patient
greatly in working through the mourning and coming out of it enriched by the experience. (Segal
1981: 14)

Segal illustrates what she means by the depressive position with the example of a dream that
one of her patients reported soon after his mother’s death. Considerations of space prevent me
from quoting that extract in extenso here; suffice it to say that in this case the mourning situation
was analysed both in relation to its early roots in the patient’s childhood and with respect to the
transference situation.
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Manic defences
The pain and anxiety linked to the depressive position mobilize new and powerful defences, the
system of manic defences. “The manic defences involve a regression to splitting, denial, idealization,
and projection, basically schizoid mechanisms, but organized into a system to protect the ego from
the experience of depressive anxiety” (1981: 14). Depressive anxiety arises out of the infant’s
recognition of the mother as a whole object on whom he or she depends and of the fear of losing
her because of his or her ambivalence and ensuing guilt. “Because of this, the whole relation has
to be denied. Denial of the importance of his object and triumph over it, control, contempt, and
devaluation take the place of depressive feelings” (1981: 15).
Segal then goes on to show how manic defences can lead to a vicious circle. “The depression
results from the original attack on the object; the manic defences keep the experience of depression
from the ego, but they also preclude a working through of the depressive position and necessitate a
further attack on the object by denial, triumph, and contempt, thereby increasing the underlying
depression” (1981: 15). It is well known that behind manic phenomena there is an underlying
depression. It is less well known, says Segal, that behind depression there are manic aspects that
have to be identified because they impede the working-through of depressive feelings and perpetuate
the situation of depression.

Reparation: the key to working through the depressive position

The working-through of the depressive position in normal development depends on the capacity
to make reparation. “When the infant feels that in his hatred he has destroyed his good external and
internal object, he experiences not only an intense feeling of guilt and loss but also pining and a
longing to restore the lost loved object externally and internally, and to re-create the lost harmony and
well-being. He mobilizes all his love and creativity to that end” (1981: 15–16). Segal gives the
example of a woman patient who dreamt that she was putting together a jigsaw puzzle; her
associations showed that the analytic process was experienced by her as a way of restoring and of
re-creating her very shattered internal world. In addition, her wish to write a book represented the
need to produce a whole picture of her life out of shattered fragments.
Repeated experiences of loss and recovery of the object enable the infant to acquire increasing
confidence in the strength of the good object and in his or her own love and creativity. In the
depressive position, the reality principle develops and the external object is gradually felt to have
an independent and separate existence. In the process of working through, the ego becomes
integrated, and is enriched by the introjection and assimilation of good objects. At the same time,
omnipotence diminishes as well as the infant’s feelings of guilt and fear of loss. “A successful
working through of the depressive position is fundamental to mental health” (1981: 16).
The paranoid-schizoid and depressive positions are not only stages of development, they are
two types of ego integration and organization. It follows that the ego has a constant struggle to
maintain a state of integration. Segal points out that all through life, our internal organization
oscillates between paranoid-schizoid and depressive forms. These oscillations vary in intensity
with each individual’s psychopathology. At one end of the spectrum there is the schizophrenic
patient who may rarely reach a depressive integration, while at the other end there is the fully
mature individual whose inner world is well integrated.

The Oedipus complex

It was by analysing young children that Melanie Klein discovered that the Oedipus complex has
very early roots, earlier than Freud had thought, and that these lay in the oral phase. Later, when
she developed the concept of the depressive position, it became clear that the Oedipus complex
begins at the same time.

If the infant becomes aware of his mother as a whole person, a whole separate person leading
a life of her own, having other relationships of her own, he is immediately exposed to the
experience of sexual jealousy. The fact that his world is still coloured by his omnipotent projec-
tions increases his jealousy, for when he senses the emotional tie between his parents, he phan-
tasies them as giving one another precisely those satisfactions he desires for himself. Thus he
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will experience jealousy first of all in oral terms, but the triangular situation will have the
configuration and the intensity of the Oedipus complex described by Freud. (Segal 1981: 18)

The child’s experience of the Oedipal situation will therefore be dictated by the stage in libid-
inal development that he or she has reached, and will be expressed, to begin with, in oral terms.
“Also, the earlier the stage of the Oedipus complex, the more it will be dominated by the infant’s
omnipotent projections” (1981: 18). This is very important technically, because the analysis of the
early roots of the Oedipal conflict liberates it from the dominance of omnipotent mechanisms and
phantasies. “Tracing the Oedipus complex to its early roots enables one also to analyse the complex
interplay between the early relationship to the breast and the Oedipus complex; for instance, how
anxieties experienced in relation to the breast make the infant turn to the penis or, conversely, how the
Oedipal jealousy may affect the feeding relationship to the breast” (1981: 18).
To illustrate her presentation of the Oedipus complex, Segal gives two clinical examples which
show in detail how the Oedipal situation is processed in her work with her patients.

Mourning and working through

According to Segal, the oscillations between paranoid-schizoid and depressive feelings underlie
the process of working-through. In the analytical situation, the patient relives his or her relation
to the original objects. Attachment to them has to be lived through again and given up again. It is
for this reason that the mourning process lies at the heart of working through.

In Freud’s view, no object can be given up without being introjected into the ego. In the Kleinian
view, this introjection is part of the depressive process. No object can be given up successfully
without a complete process of mourning, as in the depressive position, ending in the introjec-
tion of a good internal object, strengthening the ego. Any new insight of any importance neces-
sitates this process. The pain of the mourning situation mobilizes new manic and schizoid
defences, but with each repeated experience the ego is strengthened, the good object is more
securely established, and the need to have recourse to new defences is lessened. The process of
working through is completed when some aspect of the object has been given up in this way.
(1981: 20–21)

The role of envy

In the Kleinian approach, special attention is paid to envy, a notion which Melanie Klein dis-
tinguished from jealousy. Envy is more primitive than jealousy and has its early roots in the
infant’s relation to the breast. Envy is a two-part relationship in which the envious subject attempts
to take possession of an object or a quality of the object; no other live object need enter into
it. Jealousy, on the other hand, pertains to a triangular relationship. It is a more developed
affect, based on love, and its aim is to possess the love of the loved object and the removal of
the rival. Jealousy is a whole-object relationship, while envy is essentially experienced in terms of
part-objects.
From a clinical point of view, it is important to identify the role played by envy in order to
interpret it, for it interferes with the normal operation of the schizoid mechanisms. “Splitting into
an ideal and a bad object cannot be established since it is the ideal object that is the object of envy, and
therefore hostility. Thus, the introjection of an ideal object, which could become the core of the ego, is
disturbed at its very roots” (Segal 1981: 21–22). Also, the analysis of patients suffering from a harsh
superego often reveals that it is the envious aspect of the superego that is most destructive. This
may manifest itself by a negative therapeutic reaction, with feelings of hopelessness. As soon as the
analysis and the analyst are felt to be good, the superego attacks any creativity on the part of
the ego and tries to do away with it entirely.
Segal points out that the analysis of envy is extremely painful and disturbing but it gradually
reintroduces hope through the introjection of a good desirable object. “Latent appreciation can
be mobilized and the battle can be fought again between love and gratitude and envy” (1981: 22). The
discovery of the part played by envy gave significant impetus to new techniques in psychoanalysis;
in particular it led to the analysis of psychotic patients and of other intractable cases, as not only
Segal herself has shown, but also Rosenfeld and Bion.
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Termination of analysis
Segal ends with the question: has the Kleinian approach modified the criteria for the termination
of an analysis and the therapeutic aim? She says that, in certain basic ways, the criteria remain the
same – the lifting of repression, insight, freeing the patient from early inhibitions, enabling the
patient to form full and satisfactory personal relationships. Given all that, she nonetheless feels
that Kleinian analysts will be guided more by their assessment of the patient’s internal world.
Agreeing with the criteria that Melanie Klein herself laid out in her 1950 paper, Segal adds that the
Kleinian analyst “will try to evaluate the state of integration in the patient’s ego and his internal
objects, and his capacity to maintain the state of integration in situations of stress” (1981: 23). She
would later come back to the question of the criteria for termination of an analysis, in particular in
her 1988 paper, “Sweating it out”, in which she insists on the need for evaluating the patient’s
capacity to cope with anxiety and to deal with the depressive position, given of course that one
never achieves a complete resolution of that situation.

Hanna Segal looks back on Melanie Klein’s work

Integration, counter-transference, the analytic setting, intuition
JMQ: You lay considerable emphasis on the need for balance between different elements
when making an interpretation. What exactly do you mean by that?

Hanna Segal: When people speak of balance they think it means that when you interpret
something bad you must also interpret something good. One example is that of a very nice
child analyst whom I saw on television discussing his work. When a little boy broke some small
toys, the analyst interpreted that the patient wanted to kill his little brother – immediately
adding: “But you love him too, of course!” That wasn’t in the material – it’s an example of
automatic balancing-out: if you say bad you must also say good. I always say that my main
experience of my analysis with Klein was one of balance: nothing exaggerated, never too
much bad or too much good. Klein doesn’t actually use the word “balance”, but John Steiner
and I thought that it was the idea behind much of her work.
Some people feel that Klein over-interpreted the negative. That’s not my experience at
all. When I look at Klein’s early writings, I can see just how balanced they were. Elizabeth
Spillius has the same impression – giving the whole picture, not just one side of it. For John
and I, that was the real balance in her work, even though Klein herself doesn’t describe it that
way – seeing the emotions behind the other emotions. To see love behind hatred and to see
hatred behind love. And never to take only the conscious manifestations. She always spoke of
deep-down integration.

JMQ: In the television example you spoke of, the little boy’s love for his brother is
unconscious . . .

Well, his hatred also is unconscious. He symbolizes it and expresses it, but at that precise
moment the love is just not available. It could turn up in another session, the next day perhaps,
when he comes and brings all the toys together.
I’m thinking also of the paranoid-schizoid and depressive positions. If the patient is really
very split, the analyst may spend quite a long time interpreting mainly on the negative or
mainly on the positive level. Sometimes you can bring them together – but sometimes you
can’t. You have to work for a long time on the persecution and the idealization that lie behind it.
The idealization covers the persecution. When you can bring them together at the same time
in the session, that’s already an integration. That’s what’s meant by balance.

JMQ: That is an important suggestion for technique, one which is often misunderstood.

Klein speaks of anxiety quite a bit, and she always says you must go for the deepest anxiety.
Well, that isn’t quite true. You interpret the anxiety that is active at the moment.

JMQ: But that could in fact be deep anxiety, couldn’t it?

       105

It could be. For example, if somebody arrives for his or her session in a state of acute projective
identification the classical idea would have you start at the top and gradually – but only
gradually – work down to the bottom. Our idea is different: you start with what is presented at
that particular moment. If the patient comes with a completely paranoid delusion about the
analyst you interpret that. If somebody comes presenting things on a different level, let’s say
depressive anxiety, you interpret that.

JMQ: So the idea is not to interpret systematically at the deepest level?

Nor systematically the superficial, just what is going on at that particular moment.

JMQ: What are your views nowadays on the counter-transference?

Our ideas on counter-transference have slowly evolved over time, and that’s one of the
changes I spoke about. Although Klein was not very hot on it, I think that, in fact, she took it into
account a lot . . .

JMQ: . . . In her practice but not in her theory?

That’s right, not in her theory. We seem to have forgotten that the counter-transference, like the
transference, is unconscious. We have to look for the unconscious roots of it because it can
often be very misleading. That’s one of the difficulties. If you find yourself very irritated with a
particular patient, you have to discover not only what the patient uses to irritate you but also
what your own weak points are, the ones that are being provoked. Patients know these very
well – it’s not done by magic. This is especially true of psychotic patients – they have an
extraordinary, almost telepathic intuition about what you’re up to.
I think it is particularly important for analysands, during their training analysis, to be able to
come up against their counter-transference.
I would make a distinction between the counter-transference disposition inside yourself –
the unconscious part – and the actual counter-transference manifestations in this or that
session with this or that patient. I think that the basic counter-transference is ideally one in
which we can recognize both what the patient projects and where it does or doesn’t touch us –
so we have to be in touch both with our infantile self and our parental self. In my view, this is
based on the introjection of a good analytic experience and all that goes with it – a good
experience of the creative parental couple.
That, if you like, is the basic positive counter-transference: being able to identify with a
parent who tolerates projections well. That would put us in a sort of ideal position of always
being able to understand the patient and never showing any reaction, a position that is never
achieved. Then there’s the counter-transference feeling that we have when we become too
fond of the patient or when we are given material of a certain kind – this has to do with the
basic counter-transference models that we have, and we have constantly to examine these in
ourselves.
I think, too, that there is a basic bad counter-transference situation. A bad feeling,
unconsciously, about analysis – that is when you start colluding with the patient and his or her
anxieties. It’s complicated. I speak about that in one of my counter-transference papers (Segal
1997a), where I formulate it much better than I’m doing right now!

JMQ: Would the basic positive counter-transference be something like empathy?

Well, empathy is a word that’s so much abused. What I call positive counter-transference does
not mean loving the patient, but being able to be open-minded in a tolerant way. Have feelings,
but recognize them. Some people speak of counter-transference as though those feelings
were as strong as the patient’s feelings. They are not. If they are, then there is something very
wrong. If you have intense counter-transference feelings, whether positive or negative, then
there is something wrong.

JMQ: So the intensity of feelings could be an indication . . .

. . . Or the opposite – a complete lack of feelings, which also is bad.

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JMQ: In what you say about psychoanalytic technique, you never fail to stress the
importance of the setting.

Very important. As far as the setting is concerned, you can’t get any more Freudian than we
are! The way I formulate it is that the setting represents the analyst’s state of mind. It should
have no intrusions.
Acting-in is very important – just as acting-out is. In the end, all acting-out is also an acting-
in. In a way, the patient acts out partly to protect the analyst – doing it “outside” (hence the term
acting-out). At the same time, the patient partly forces the analyst to listen to all the bad (or
wonderful) things he did. When patients act-in, it’s aimed at the analyst’s state of mind. I’m
thinking here of a patient, a woman, who had intercourse with five men in a single weekend;
that was not simply defensive – the point of the acting-in was to be able to come to her session
and wave penises in front of the analyst! The idea being to stimulate jealousy or envy or anger
or whatever.

JMQ: Nowadays we treat many different kinds of patient, with a whole range of
pathologies from neurotic to psychotic. Do you make any modifications to your
technical approach according to whether you have a neurotic, borderline or
psychotic patient on the couch?

No, not really. Except that the interpretations are different – and maybe I pay even more
attention to the setting with a psychotic patient, because everything is so concrete.

JMQ: Do you sometimes take patients sitting face to face?

Well, if the patient wants to sit up – that’s something you have to analyse. With some patients,
psychotics, sometimes too with adolescents and borderline cases, I wouldn’t push them to lie
down on the couch because they are so afraid of disintegrating. Of course, you do take it up in
interpretations – why they can’t use the couch, I mean – but you don’t make them feel guilty
over the fact that they won’t lie down.
(Tape 1, side A, 28 January 2005)

JMQ: For you, interpreting seems much more important than remaining silent – the kind of
approach in which the analyst waits for the patient to do his or her own processing.

I knew Jean and Evelyne Kestemberg very well, they were friends of mine for a very long time
but of course we disagreed completely on theory. They wrote a beautiful book on anorexia,
and they had very good results thanks to group psychodrama, as you call it – but then they say
that such patients are not suitable for analysis. I said to Jean: “Look, Jean, the difference is that
when you’ve got a patient on the couch, you don’t say a word. Yet when you’re in psycho-
drama, as I understand the description, you interpret all the time! Maybe if you tried interpret-
ing to your patients on the couch, it wouldn’t take five of you to make up a psychodrama group,
you could perhaps get through to them.” I found the difference really amazing – they had so
much clinical intuition and understanding but it just didn’t seem to come into their analytic
work. For instance, they described beautifully the basic narcissism of the anorexic and I think
they were the very first to see that in every anorexic there is a definite delusion, a delusional
system about their body and so on – yet they never used it to interpret to their patients on the
couch. You see, if a patient is silent or doesn’t communicate or talks nonsense and the analyst
says nothing, well, nothing happens.
(Tape 3, side B, 31 January 2004)

JMQ: How do you treat borderline patients? Is the setting still five sessions a week, and on
the couch?

Oh yes, absolutely. I don’t myself put the patient face to face. It depends on the patient. Some
know already about lying down on the couch. When somebody undertakes an analysis, if you
say something about the setting, you say at that point that the usual thing is for the patient to lie
down on the couch.
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JMQ: And if the patient becomes anxious and asks to sit?

Well, you interpret that – but not systematically as a naughty thing to do. Sometimes in terms
of anxiety or perhaps defiance. Sometimes the patient is quite ready for the couch but just
won’t lie down. It must be said, all the same, that I’ve actually had little experience with face to
face. Even my most psychotic patients – there are only two I can think of – always used the
couch. Edward, the very first psychotic patient, wasn’t on the couch in the hospital nor at
home; but he knew that analysis means on the couch. As soon as I had him home – it lasted a
few months – he lay down on the couch even though he was terrified to begin with. It meant
losing sight, losing control. I’ve had patients who sit up. You must never push the patient into
anything. When it’s a case of not lying down on the couch, you can sometimes interpret it as a
resistance, sometimes as an anxiety.
The less ill they are, the more I think it is all about attack and defiance and keeping control.
The more ill they are, the more they’re right not to want to lie down because they’re afraid of
terrible aggressions. But that I know more through supervision, because I’ve never had this
particular problem very much.

JMQ: Your intuition has always impressed me, whether in individual supervision with you
or in groups. For example, you were able to describe very early infantile phantasies that I
would manage to get hold of only several weeks later.

Well, there you’re bringing up a very important concept: psychoanalytic intuition. Mediocre
analysts know the theory by heart, their setting is perfect – but they don’t necessarily have
any psychoanalytic intuition. They know something and so they apply it, but in sessions in
which there are three different ways of looking at the material, when you don’t have time to
think and have to choose which interpretation you give, that all depends on psychoanalytic
intuition. It’s the kind of person you are which decides that. I had a supervisee who was
devoted to his supervisions and everything – but he was totally lacking in intuition. I think that
psychoanalytic intuition is a bit like what I said about counter-transference: it’s a state of mind
in which the thoughts that come into your head are the most appropriate ones to share with
your patient.

JMQ: Do you have any tips for learning about intuition?

Sorry, no – except having analysis! Analysis helps us to be more comfortable with our
unconscious. And, of course, the more experienced you are, the more faith you can have in
your intuition!
(Tape 1, side A, 28 January 2005)

The perspectives opened up by Segal’s work – and the questions it raises

JMQ: You are familiar with Hanna Segal and her work. Over the years, she opened up several
new perspectives and raised many theoretical and technical questions. What are your
thoughts on that?

Juan Manzano: Just as with Freud himself, the concepts Segal introduced over the years have
opened up new ways of understanding and exploring our theoretical postulates and have
raised many stimulating questions. I would like to give a few examples of what I mean.
Nowadays it is impossible not to have some sort of debate going on between psycho-
analysis and the neurosciences, which could well provide the opportunity for both of these
scientific fields to progress even more – independently of each other, perhaps, but in a mutu-
ally rewarding manner. For example: Segal’s developmental theory of symbol formation and
the function of symbols, born of her experience as a psychoanalyst, makes for a fascinating
comparison with what we now know thanks to the contribution of cognitive neurophysiology. I
am thinking here particularly of what we have learned from the discovery of the mirror neuron
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system (Rizzolatti et al. 2001). These neurons, which are activated whenever we accomplish a
specific motor activity, are activated also when we observe someone else doing that particular
activity. Recent research on the brain mechanisms involved has enabled further progress to be
made in our understanding of phenomena such as imitation and identification, thereby high-
lighting more and more the foundations of the infant’s communication and language. So it is no
longer simply a matter of mechanisms involving motor activity – here we are talking about the
organization of affects and pre-verbal mental activity which includes representations and
coded concepts (Stern 2006).

JMQ: But isn’t there sometimes a problem with some of the ideas Segal has put forward?

Among the questions raised by Segal in her work there is one issue that to my mind goes right
to the heart of the Kleinian conception of psychoanalysis: the relationship between the theory
of the “positions” and Freud’s theory of psychosexual development. These questions have to
do also with the link between Freud’s formulation in terms of the life and death drives and his
earlier drive theory. For example, when Segal makes use of the concept of sublimation in her
explanation of the aesthetic experience (the artist’s as well as that of the audience), that
sublimation, as far as she is concerned, has to do with the drive to possess the object. As
regards the aesthetic experience, that may well be related to what Freud calls the pregenital
drives; it would then follow that these pregenital drives play a role also in the pleasure that one
feels when contemplating a work of art.
In the same vein, the question arises as to the significance of Segal’s developmental
theorizations in the context of the theory of narcissism – so conspicuous by its absence in
Kleinian thinking (Manzano and Palacio-Espasa 2006). It is of course clear that formulations in
terms of manic and schizoid defences necessarily imply narcissistic object relations, but this is
seldom stated explicitly. The reason for this absence seems to me to lie in the exclusive or at
any rate predominant use of the theory of the life and death drives. Adopting that stance does
make for an in-depth understanding of clinical phenomena, but it does not give sufficient
weight to narcissistic libidinal satisfaction.

JMQ: Segal, it would seem, gives little weight to narcissistic attitudes in her papers on the
danger of nuclear warfare. Would you agree?

Yes, indeed. The extraordinarily perceptive insight that Segal has brought to individual and
group attitudes as regards the nuclear danger focuses exclusively, I think, on defensive reac-
tions against the threat of destruction coming from one’s own death drive and of the guilt which
that generates. Here, too, we could argue that she does not give enough weight to the pleas-
ure obtained via the individual and group narcissistic-grandiose structures that have arisen as
a consequence of that phenomenon. That, to my mind, means that we are left without certain
interpretative tools that could contribute to the kind of awareness that Segal herself is trying to
develop.
Segal’s hypotheses are a major contribution to Kleinian theory, but – inevitably, one is
tempted to say – they do at times differ significantly from that approach. For instance, both
Klein and Rosenfeld argue that the distinction between self and object exists from birth and is
only later blurred by the operation of defensive phantasies of a symbiotic kind; in Segal’s
theory, however, particularly when we think of the “symbolic equation”, the distinction between
self and object is less obvious.
In addition, I would say that, as regards guilt feelings, Segal seems to hesitate between
seeing these as a direct expression of the death drive and Klein’s more structural definition
which sees guilt as the outcome of a positive integration of the depressive position.
(Interview (in French), February 2007)

Juan Manzano (Geneva) is a training analyst with the Swiss Psychoanalytical Society.
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The Kleinian approach in child analysis

Segal, H. (1967b) “Melanie Klein’s technique of child analysis”, in B. B. Wolman (ed.) Psycho-
analytic Techniques, New York: Basic Books; reprinted (1981) in The Work of Hanna Segal,
New York and London: Jason Aronson, pp. 25–37.
Segal, H. (1979b) “The play technique”, in Klein, Glasgow: Fontana/Collins, pp. 35–44
Segal, H. (1979c) “Psychoanalysis of children”, in Klein, Glasgow: Fontana/Collins, pp. 45–62
Segal, H. (1979d) “The ‘Controversial Discussions’ ”, in Klein, Glasgow: Fontana/Collins,
pp. 91–111.

Hanna Segal’s contribution to the psychoanalysis of children is contained in several papers, some
of which are aimed at a more general readership, while others are more for the specialist. For
example, in the chapter she wrote in 1967 on “Melanie Klein’s technique of child analysis”,
accessible to those who are not particularly familiar with child analysis, she points out the innova-
tive features of the Kleinian approach. For those who do have a good knowledge of the subject,
Segal gave a detailed presentation of Klein’s conception of child analysis in her 1979 book, Klein,
to which I refer those who are interested in the topic. In that book, Segal devotes three chapters
to child analysis: “The play technique”, “Psychoanalysis of children” and “The ‘Controversial
Discussions’ ”. As part of Segal’s biography of Melanie Klein, these chapters shed light on the his-
torical circumstances in which Klein was developing her technique and on the controversy between
her and Anna Freud in the 1940s. Since then, of course, the points of view of those two schools of
thought, with their different theoretical backgrounds, have drawn closer together. For that reason,
in her 1967 paper – which I shall discuss later in this chapter – Segal makes no mention of the
controversies that opposed Melanie Klein and Anna Freud.

The specific issues involved in child analysis

JMQ: What experience do you yourself have of child analysis?

Hanna Segal: One day, my friend Evelyne Kestemberg said to me: “A child analyst is someone
who, twenty years ago, once analysed a child . . . .” I have indeed analysed a child patient, but
that was when I was still in training. My first supervision was with Mrs Klein – the analysis of the
little girl I often talk about in my articles. She was the youngest patient of all, I think – Klein’s
youngest patient was 3 years old, but that little girl was only 2½. She was adorable, but the
analysis was not particularly successful. I have analysed adolescents too.
I would say that once I had children of my own, it became very difficult to find a proper place
in which to do child analysis. My consulting room has always been in my home. It’s one thing
when your Mummy is locked away working with adults, but quite another when she’s not
available for you because she’s playing with another child! I never treated child patients in
my own home. I used to rent from Sydney Klein a room that I used as a consulting room. It can
be quite time-consuming when you work quite far away from home. Then I had neighbours
who didn’t use their kitchen at all, so they leased it to me – just next door to where I lived. There
was running water and everything – it was great to work in an old kitchen, with children in
analysis.
The other thing is that I did not want to specialize in child analysis; I preferred working with
adults.

JMQ: You worked with adolescents too, didn’t you? Isn’t it sometimes difficult to keep them
in analysis for any length of time?

With some adolescents, I managed that quite well. And young adults of around 20 or so, well
they’re still close to their adolescence.
I did, however, supervise many child analyses. You asked me what changes in technique
have occurred over the years. I have an idea about that. I think things have become more
rigorous than in Melanie Klein’s day. Nowadays, I think that analysts do not play as much with
their child patients, they tend to interpret more. You could ask other people, Betty Joseph, for
110      

example, who have specialized in child analysis. Six or seven years ago she analysed a young
psychotic boy, and the analysis was a success. I used to do a lot of supervision work – less,
nowadays, because there are fewer child analysts interested in that.
I always wanted to avoid being labelled a “specialist” in one field or another – child analysis,
psychotic and borderline patients, elderly patients, etc. – I wanted to be a kind of general
practitioner.

JMQ: Has the technique changed a lot?

Nowadays, more attention is paid to acting-in. That’s Betty Joseph’s influence. There’s more of
the “here and now” technique. No reference to the real parents, not too much interpretation of
unconscious phantasies, more focus on interpreting acting-in and using the analyst’s counter-
transference.
(Interview (in French) 15 August 2006)

“Melanie Klein’s technique of child analysis” (1967b)

Segal, H. (1967b) “Melanie Klein’s technique of child analysis”, in B. B. Wolman (ed.) Psycho-
analytic Techniques, New York: Basic Books; reprinted (1981) in The Work of Hanna Segal,
New York and London: Jason Aronson, pp. 25–37.

Transference in child analysis

For her presentation of the Kleinian technique in child analysis, Segal goes back to Melanie
Klein’s first papers on the subject. That is where one finds a clear description of the basic prin-
ciples of her technique, a technique which has remained essentially unaltered since then. There are
three basic points to the Kleinian approach: transference, the analytical situation, and the play
technique.
According to Melanie Klein, children, like adults, develop a real transference with respect to
the analyst. It had been thought that children could not develop a proper transference because of
their attachment, in reality, to their real parents; nevertheless it could be seen that a transference
did develop on the basis of the child’s projection on to the analyst of internal parental figures.
“Since the child’s object relation already had a long history in which parental figures were both
internalized and distorted, it is those figures, pertaining to the internal world and to the past, which
form the basis of the transference” (Segal 1967b [1981: 25–26]). It is not the current parental figures
that are projected on to the analyst, but the internal ones, just as in the case of adults. Melanie
Klein observed that splitting is an important mechanism, particularly in small children, and that
they tend to split the internal parents into ideal figures and extremely bad ones. Splitting enables
young children to defend themselves against their ambivalence with respect to their parents; both
the ideal aspect and the persecutory aspect can be transferred on to the analyst.

The analytical situation

Melanie Klein’s aim was to establish with children as strict an analytical situation as was possible.
Contrary to the theories current in her time, she discovered that such an analytical situation could
be established and maintained with children, no matter how young, if one relied on interpretative
work and gave up any attempt at a moral, educative, or reassuring attitude. “These two aspects of
the situation were, according to [Melanie Klein], interdependent: one could not observe the transfer-
ence if one did not establish a proper analytical situation, and a proper analytical situation could not
be established if one did not analyse the transference” (1981: 26). In Klein’s view, reassurance comes
from the analytical situation itself, i.e. from the analyst’s uncritical understanding and from his or
her reliability and capacity to relieve anxiety. In other words, reassurance results from the psycho-
analytic process itself, which takes place in depth and brings about real changes in the child’s inner
world, not from a reassuring attitude.
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The play technique and setting

Melanie Klein very quickly understood that children’s play was a symbolic expression of their
conflicts and anxieties, hence her use of it as an analytical tool. She treated their play, together with
their verbal communications, as the equivalent of the adult’s free associations, and used the
symbolic content of both as a basis for her interpretations.
Over the years since she first introduced the play technique, the use of toys for child analysis
and for other forms of treatment derived from it has become commonplace. Given that the setting
and the toys used, however, vary enormously depending on the analyst’s approach, it may be
worthwhile looking again at Melanie Klein’s original recommendations. It is important, she noted,
that every child has his or her own individual drawer or box, so that the toys that particular child
uses quickly become his or her own. The kind of toys that are available are: small bricks, fences,
a few small cars or trains, balls, small containers, some animals of various sizes and human figures
also of different sizes, etc. In addition, the child is provided with paper, pencils, glue and model-
ling clay; if possible, running water should be provided, as well as some towels and soap. “The aim
of this material is to provide the child with toys which leave maximum scope for his imagination”
(1981: 27).
The room should not contain anything easily breakable, the walls should be washable and the
floor covering robust. “The room should be so organized that the child is free to express aggression
without danger to himself or actual damage to the surroundings” (1981: 27). There should be a table
and a couple of chairs, as well as a couch on which the child can lie down if he or she feels like free
associating. Within this setting, the analyst should maintain a strictly psychoanalytic role; unlike
the situation with adult patients, however, the analyst is also an adult in charge of the child and
must therefore take responsibility for the child’s safety. “He must be able to stop an action of the
child that is dangerous to the child himself as well as put a brake on any physical aggression against
the analyst. He may also have to restrain the child from destructive behaviour in the room which would
lead to lasting damage and prevent the room being used by other patients” (1981: 27).
Segal notes that children are quick to grasp the difference between the toys in their individual
drawer, which are for their use only, and the therapy room, which represents the setting and the
analyst’s other child patients. “While they are free to do what they please with their own equipment,
and what they do with it is an object of interpretation, what they do to the room has quite a different
character and sometimes has to be restrained as well as interpreted” (1981: 28). Depending on the
child’s age and degree of illness, it may be necessary to alter the setting somewhat. One may,
for instance, have to remove toys which could be used as weapons by psychotic children or by
abnormally aggressive children in latency or at puberty.

The technique of interpretation

Establish from the outset a contact with the unconscious
Through the child’s play and other communications, the analyst aims from the start to establish
contact with the child’s unconscious. “From the first contact, the analyst tries to understand the
child’s communication and relies on the fact that his interpretation relieves unconscious anxiety
to maintain the child’s interest and co-operation” (1981: 28). There is no attempt to get the child
used to the situation or to cater to his wishes by providing the kind of toys that might interest him.
To show how she makes contact with children, Segal gives as an example the first session with
a little girl of 2 years 9 months. When she went to collect the patient from the waiting room, the
little girl clung to her mother and refused to go into the playroom. Segal observed the little girl’s
attitude, and suggested some interpretations as to what seemed meaningful to her; these helped the
child to let go of her mother and go into the playroom. At the second session, before going into
the playroom, the little girl again hesitated. When she heard the interpretation that Segal sug-
gested, the little girl laughed and followed the analyst into the room, showing that henceforth she
felt able to trust her analyst. In the course of the session, the little girl responded to the analyst’s
interpretations by showing both her astonishment at what the analyst said and her wish to learn
more. She said to Segal: “You talk very funny, but go on talking” and, later: “Go on talking . . . tell
me” (1981: 29).
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Different ways of beginning

There are as many ways of beginning as there are children. Sometimes the first contact will be
made with anxiety, as in the preceding example, sometimes with hope, which makes the beginning
much easier. Segal gives the example of a latency boy who, after having expressed his hopes and
expectations at the beginning of the first session, suddenly became anxious. The analyst was able
to interpret both the boy’s hopes and expectations of the wonderful things the treatment would
give him and his anxiety linked to the rivalry and jealousy that the other children in therapy might
feel at the gifts he would be receiving.
Segal gives the example of another first session which was handled well by a candidate in
training. In this very vivid report, the analyst describes in some detail the way in which she
followed the development of the patient’s unconscious phantasies and transference, and how she
adjusted her interpretations by taking into account the young adolescent’s responses as the session
progressed.

Adjusting the approach to the child’s age

Child analysts have to accept all the modes of communication that are presented by child patients,
and whenever possible, to communicate back to the child through their interpretations. Modes of
communication vary with the age of the child. Young children communicate primarily by move-
ment and play. Latency children can alternate between communication through speech and some-
times free association, and communication through play and behaviour. Adolescents are capable
of free association, but are more inclined than the average adult to express themselves through
their behaviour: acting-in and acting-out.
Unlike the analyst of adults, child analysts must up to a point also co-operate in the child’s
play. They have to do things that the child cannot do him- or herself, such as sharpening a broken
pencil or participating in a game that requires two players. To what extent the analyst should
participate in the child’s play is a very tricky question, the answer to which demands a lot of
experience. “The main principle should be that the analyst should participate as little as possible in
action and co-operate only to the extent to which his co-operation is necessary for the child to express
himself or herself fully” (1981: 32). In other words, from the point of view of the analyst, the child’s
play is a communication that has to be understood and interpreted, and all the analyst’s actions
should be directed at furthering this communication. Segal goes on to describe a session with a
little girl of 6 who wanted to play at being a teacher, with the analyst in the role of the child. In her
role as the child, the analyst had to be stupid and ignorant, while the little patient playing the
teacher was cruel, mocking the child and humiliating her. The little patient began by resisting the
analyst’s interpretations, screaming and shouting the analyst down. Her attitude changed, how-
ever, once it was interpreted to her. “It could be interpreted to her how she needed to put herself in the
role of the teacher because she felt it so unbearable to be little and not to know, but also how in doing
that she stopped herself from learning (this being one of her important symptoms)” (1981: 33). After
that interpretation, the little girl changed the game; the analyst was henceforth the teacher, and the
little girl the pupil, showing that the young patient had given up her initial reversal of the situation.

The compulsion to repeat

Quite often, latency children will insist on going on and on with the game; this may correspond to
a feeling of gratification derived from the position of control over the analyst. Here the game is no
longer a communication but a repetitive “acting-in”, an expression of the compulsion to repeat. In
such situations, the analyst may have to stop acting the role demanded by the child and simply
offer interpretations. Segal emphasizes that interpreting the compulsion to repeat is technically
more difficult with children than with adults. The analyst has to participate in the child’s game in
order to understand the pattern of repetition, but at the same time there is the risk of colluding
in the repetition compulsion. “Any situation in which the analyst participates can be easily used for
purposes of repetition compulsion and/or direct gratification of instincts” (1981: 33).
It is for that reason, observes Segal, that child analysts have to be active to a far greater extent
and must therefore examine the child’s response very carefully in order to take it into account. “We
always have to watch the patient’s response, not only to our interpretations but also to our behaviour.
A cough, a squeaking of the chair – all actions are experienced by the patient as communications.
[. . .] The apparently most innocent actions become imbued with meaning” (1981: 33).
       113

Using simple language

How well can young children really understand verbal interpretations, particularly complex ones?
That question is often raised, and this is how Segal answers it. “It has invariably been my experi-
ence, both in analyses and in supervisions, that, provided the interpretations are put in simple lan-
guage, and provided they are correct and close to the child’s experience, the child can follow the
interpretations, on the whole more easily than a sophisticated adult, who tends to mobilize intellectual
defences much more readily” (1981: 34).
Segal gives a clinical illustration of the way in which she managed to make herself understood
by a little 4-year-old girl patient; the case was supervised by Melanie Klein. Segal had given such a
condensed summary of the material that Klein looked at her with a really shocked expression and
then said, very quietly, “I think I would rather like to see this session: I do not quite see how you
interpreted all that to a child under 4.” Segal then told Klein in much more detail what had gone
on between her and her little patient: the girl had had the phantasy that her analyst was pregnant.
From the girl’s responses to Segal’s interpretations, it could be deduced that she had understood
them quite correctly.

At no time in the session did I have the feeling that my interpretations were too complicated
for her or that she could not follow them. And though she verbalized little in this session, in the
next she spoke quite freely of her anxieties that either I or her mother would go on producing
new babies, and of her envy and wish to be a “mummy full of babies” herself. One can well see,
however, that in summarizing one’s interpretation one may sound as though one were talking a
language which would be complete gibberish to the child. (1981: 35)

Melanie Klein agreed with the line of interpretation chosen by Segal.

The problem of language can sometimes present difficulties with adolescents who use a
vocabulary more appropriate to their own age group. To what extent should the analyst adopt the
patient’s language, with the risk of being in collusion with the adolescent’s opposition to the adult
world, or stay with his or her customary language, with the risk of being experienced as a superego
figure, unable to understand? Segal’s general rule of thumb is as follows: “I have always used the
patient’s own language – ‘groovy’ or ‘high’ or whatever the current ‘in’ word is – when referring to
what the patient has said himself. When interpreting, however, I use the current ordinary English”
(1981: 35–36).
The patient’s language itself may also become an object of analysis. Often those slang expres-
sions that adolescents use prove to be rich in unconscious phantasy content. “If one can analyse the
patient’s language itself, one can make him experience that one does indeed understand his language
and does not reject it, but that one is not oneself involved and identified with the patient’s unconscious
processes as expressed by his language” (1981: 36).

The relationship with the child’s parents

The relationship with the child’s parents is a problem specific to child analysis, one which is not
encountered in the analysis of adult patients. The child’s external environment is largely deter-
mined by the parents. For example, as the child’s analysis progresses, his or her parents may modify
their attitudes. Some parents respond to their child’s improvement by having a better relationship
with him or her; on the other hand, it can happen that the parents react adversely to their child’s
improvement if, for example, the child’s illness was necessary to the family equilibrium.
Analysis cannot alter the environment itself, but, by strengthening the good internal figures
and the ego, the analyst can enable the child to deal better with whatever situation he or she has to
face. It is often a great temptation to try to influence or educate the parents, but this does not lead
to favourable results and is liable to interfere with the relationship between analyst and child.
Generally speaking, if the parents are looking for help and advice, it is always better to refer them
to somebody other than the child’s own analyst.
With respect to the question of contacts between analyst and parents, their frequency, etc.,
Segal points out that there is no general rule because each situation is different. The answer, in
other words, varies with the personality of the analyst and the needs of the parents. “I do not think
that in all my experience of analysis and supervision there have been two situations in which I would
deal with the parents in the same way” (1981: 36).
114      

The aim of child analysis

A question which is often raised is “What is the aim of child analysis, and in what way does it
differ from the analysis of an adult?” In Segal’s view, the aim of psychoanalysis is fundamentally
the same whatever the age of the patient: “it is always to get the patient in touch with his psychic
realities. The analysis of defences and of object relations, in phantasy and reality, should help him to
differentiate between external and internal realities, and to foster the process of psychic growth”
(1981: 36).

Linking Klein’s approach with that of Bion in child analysis

Child analysis in Sao Paulo
Teresa Rocha-Leite Haudenschild is the present Head of the training programme for child and
adolescent psychoanalysts in Sao Paulo. Her work bears witness to her own specific synthe-
sis of Kleinian and post-Kleinian developments, in particular those of Segal and of Bion. In
her 1997 paper, “Retaking the first steps towards symbolization”, she describes her work
with a 6-year-old girl who, after emerging from adhesive identification, manages to acquire a
capacity for symbol formation.

When I embarked on the work of analysis with Amanda, I felt that here was a child who did
not yet have the capacity to contain her own emotions and anxieties. Their containment by
an internal object capable of understanding is the beginning of mental stability (Segal
1975). I therefore took it that the main function of the analysis would be to enable her to
introject a comprehensive object that would make her emotional experiences meaningful
to her and allow her to “think” them (Bion 1961). (Rocha-Leite Haudenschild 1997: 735)

JMQ: Psychoanalysts who begin by working with children generally tend to move on and work
exclusively with adults, leaving child analysis behind them. You seem to be something of an
exception . . .

Teresa Rocha-Leite Haudenschild: Well, I was 36 when I first had a child patient in analysis; now
I’m 64, and I still treat child patients. For example, at present, I have two children in analysis
with three sessions per week and another with two sessions per week – I’m hoping we will
soon be able to have at least three sessions per week.

JMQ: Do trainees and newly qualified psychoanalysts still take on child patients in Sao
Paulo and in Brazil as a whole?

Yes. In the training programme, the Psychoanalytical Society requires the supervision cases
for trainee child analysts to be four-sessions-per-week analyses. It is, all the same, becoming
more and more difficult to find child patients able to come four times a week. The main obstacle
at present is the distance they have to travel and the traffic jams that are so endemic in Sao
Paulo. It’s too difficult for parents to accompany their child four or even three times a week.

JMQ: To what extent is the Kleinian technique employed in child analysis by you and your
colleagues?

Our Society has a solid Kleinian basis. Virginia Bicudo, one of its founder members, had
supervision in London with Kleinian psychoanalysts and even with Klein herself, I think. Over-
all, our evolution has paralleled that of the Kleinian movement as a whole. Hanna Segal, Betty
Joseph, Edna O’Shaughnessy, Martha Harris and Donald Meltzer came here to offer supervi-
sion. Bion, as you know, used to spend his holidays here and he agreed to supervise child and
adolescent analyses. We have learned a lot also from Esther Bick, Winnicott, Tustin and Anne
Alvarez, particularly as regards children whose mental apparatus, at least at the beginning of
their analysis, is underdeveloped. Fundamentally, though, the Kleinian approach remains our
reference.
       115

JMQ: What influence did Hanna Segal have on the training of child analysts in Brazil and
more particularly in Sao Paulo?

A tremendous influence. All the more so for me, in fact, because she links Klein’s theories with
those of Bion in a very clear and simple manner. In my opinion, that helps us a great deal in our
clinical understanding of certain situations.

JMQ: You have worked with Hanna Segal and with Betty Joseph. Are their ways of looking
at certain situations very different?

I would say that Segal has a deeper understanding of certain phenomena that emerge in
psychoanalytic treatment than Betty Joseph has. I feel she gets closer to the patient, that she
is more “with” the patient, as Bion put it. Betty Joseph, to me, seems to be much more “analyst
here – patient there”, if you like – her interpretations are very accurate, but they come from her.
(Interview (in French) October 2006)

Teresa Rocha-Leite Haudenschild (Sao Paulo) is a training analyst and supervisor with the
Brazilian Psychoanalytic Society of Sao Paulo.

Child analysis in Los Angeles

Yvonne Hansen has spent many years practising child analysis and training future child ana-
lysts. She has thus been very much involved in how psychoanalytic technique has developed
as a result of various post-Kleinian developments.

JMQ: What changes in psychoanalytic technique have you noticed since you began practising
as a child psychoanalyst?

Yvonne Hansen: My exposure to Melanie Klein came through the treatment of very young
children in Geneva and the discovery of Klein’s book The Psychoanalysis of Children, at the
time a revelation for my work. This exposure was followed by visits of several British Kleinian
analysts to our small “Kleinian” study group, among them Don Meltzer and Herbert Rosenfeld.
With that input, the fundamental components of Klein’s approach were established in my
work-setting.
Within that structure, changes have occurred in my work with children (and adults) as new
influences have modified my approach and understanding. Input of Bion’s theory and for me
the experience of my analysis with him have had a significant impact. The influence of Bion
has also penetrated the analytic community of the Psychoanalytic Center of California (PCC).
Other British analysts also influenced that way of working, such as Segal, Betty Joseph,
Tustin, Meltzer or Winnicott. Infant Observation, which is taught in the first year of classes to all
candidates, opens an “in vivo” emotional experience of primitive expressions and interactions,
as it resonates in the candidate’s infantile experience and helps to develop the equipment of
analysis. Several members of our Institute, mostly adult candidates and analysts, have had
supervision with Segal, and of course her ideas are passed on and respected in LA.
The Institute offers a two-year child analytic programme following the completion of the
adult programme. However, few candidates are involved in training. They seem to experience
that, after the relatively demanding programme of adult analysis, an investment in additional
training is too heavy. In addition, difficulty in finding child control cases able to be seen four or
five times a week keeps them away from the programme. In consequence, there are few
candidates that avail themselves of that training.
(Interview, October 2006)

Yvonne Hansen (Los Angeles) is a training analyst and supervisor with the Psychoanalytic
Center of California.
 Chapter 7

INTERPRETING THE FUNCTION OF DREAMS ALONG

WITH THEIR CONTENT

Reciprocal feedback between clinical practice and theory

Her expertise in clinical matters means that Hanna Segal relies heavily on dream interpretation in her
work. This can be seen in the many clinical examples we find in her writings – such an approach really
does make her work with her patients come alive. These examples, however, are not simply clinical
illustrations; Segal uses them to shed new light on clinical matters through her use of theory and on
theoretical issues through her use of clinical examples.
This constant to and fro movement between clinical practice and theory is typical not only of her
lectures and articles but also of her book Dream, Phantasy and Art (Segal 1991), which to a large
extent focusses on the psychoanalytic theory of dreams and on the technique of dream interpret-
ation. The chapters of that book which deal with dreams will be the focus of this chapter; those
sections of the book devoted to art have to a considerable extent already been discussed in my
earlier chapter on the aesthetic experience.
The first chapter of Dream, Phantasy and Art opens with an in-depth discussion of Freud’s
ideas seen from two angles. Given that Freud made few modifications to his theory of dreams after
1900, Segal takes a fresh look at it in the light of concepts that Freud himself subsequently
introduced – for example, the conflict between the life and death drives (Freud 1920g) and the
concepts of ego and superego (Freud 1923b). Her study of these issues is all the more interesting in
that few psychoanalysts have dared re-examine Freud’s ideas on dreams in the light of the sub-
sequent theoretical developments that he himself introduced. Secondly, Segal takes another look
at Freud’s theory of dreams with respect to more recent post-Freudian developments and her own
ideas on the subject. In the chapters that follow, she deals with the relationship between dreams
and unconscious phantasies and with the process of symbol formation.
With respect to the analysis of dreams, perhaps the most innovative of Segal’s ideas springs from
the distinction she draws in Chapter 5 of Dream, Phantasy and Art between the content of the dream
as such and the function it has in the patient–analyst relationship. She observes, for example, that
with certain patients her interpretations seemed to have no effect whatsoever when she interpreted
the content of their dreams in the classical manner. Her attention was thus drawn to the way in
which these patients used their dreams when they reported them in the session: they seemed more
to want to be rid of them rather than to try to understand their meaning with the help of the
analyst’s interpretations. In other words, for these patients, reporting a dream was a way of
unconsciously doing something to the analyst – an acting-in; this could be, for example, an attempt
at seduction, making the analyst confused, attacking the analyst, and so forth. In such cases,
argues Segal, the function of the dream must be interpreted in order to be able to interpret its
actual content.
          117

Dreams as communication and/or as a means of action in the

psychoanalytic relationship
JMQ: You make a distinction between the content of dreams and their function in the analyst–
patient relationship. In cases where the patient uses dreams to act upon the analyst rather
than in an attempt to understand what they might mean, it is therefore useful to interpret the
function of any given dream before dealing with its actual content . . .

Hanna Segal: Well, I would say rather that its function should be interpreted along with its
content. It depends a great deal on the actual circumstances, which tend to vary over time.
There are dreams that can be interpreted in the way Klein would have done, i.e. in a wholly
classical manner – but that kind of patient is much more in touch with the depressive position.
In these more approachable cases, you can distinguish dreams that are used in the analyst–
patient relationship for communicating something from those that have acting-in as their aim.
In this latter case, positive actings-in – the infant’s earliest means of communication is, after
all, through acting-in – are to be distinguished from their destructive counterparts. I wrote
about that a long time ago in an article, but at the time I don’t think I sufficiently analysed the
way in which that obsessional patient was using his dreams to act on me. He would write his
dreams down in his diary and report them whenever he felt like doing so – sometimes he
would report a dream that he had had six months previously, sometimes it would be from the
night before. Very often it would be a complete acting-in as far as the session was concerned.
I think I have described the mechanism underlying this kind of dream in several of my papers
but, for reasons of discretion, I have never given any clinical examples. There will be a chapter
on this in the third volume of my collected papers, to be published in 2007 under the general
editorship of Nicola Abel-Hirsch.
(Interview (in French), 15 August 2006)

Dream, Phantasy and Art (1991)

Segal, H. (1991) Dream, Phantasy and Art, London and New York: Routledge.

Freud’s theory of dreams re-examined by Segal

The royal road
In The Interpretation of Dreams (Freud 1900a), Freud’s study of dreams goes far beyond an
attempt to understand nocturnal dreams as such, for he came to see the analysis of dreams as the
royal road to a knowledge of the unconscious. Hence the famous aphorism that is often quoted:
“The interpretation of dreams is the royal road to a knowledge of the unconscious activities of the
mind” (1900a: 608). Unfortunately, as Segal points out, that sentence is often quoted in a much
less complete version: “dreams are the royal road to the unconscious”. Doing away with the idea
that it is the interpretation of dreams – and not dreams as such – that leads to a knowledge of the
unconscious – and not directly “to the unconscious” – is tantamount to eliminating the role of the
“psychic work” of both patient and analyst which Freud emphasizes.
Freud thought that dreams were predominantly sexual in nature, but, contrary to common
belief, not exclusively so, as Segal points out. In her view, Freud probably underestimated the
importance of repressed aggressiveness, equal to that of sexuality. At that time Freud had not yet
introduced the concept of the superego; he calls the agency that forbids the fulfilment of wishes
unacceptable to consciousness the “censor” or “dream censorship”. Freud saw dreams as being the
result of a compromise between the repressed and the repressing forces, which is a way of bypass-
ing the dream censorship – it follows that, for Freud, the dreamer’s ego does not disappear while he
or she is sleeping.
118         

Dream-work and dream language

A dream is the product of what Freud calls “dream-work”, which converts the dream thoughts
unacceptable to the ego even in the state of sleep into the apparently innocuous manifest dream
content. According to Segal, the idea of dream-work foreshadows that of a wider form of mental
activity, that of “psychic work” (Freud 1900a), which, to my mind, implies a kind of working-
through that is similar to the mourning process. “The dream-work is Freud’s first description
of a wider concept which is, I think, fundamental to the understanding of psychoanalysis, that is,
psychic work” (Segal 1991: 5). Psychic dream-work uses a particular mode of expression – the
“dream language” – which aims at fulfilling the unacceptable wishes by disguising them. In order
to do this, the dream language uses such classic mechanisms as displacement, condensation,
indirect representation, and symbolism. Segal then goes on to describe each of these mechanisms
in more detail and illustrates their functioning by means of examples taken from her own clinical
practice.

Displacement
Segal begins by pointing out that displacement can be of two kinds: one concerns psychic values,
the other feelings or phantasies belonging to one situation that are displaced on to another. When
displacement involves psychic values, the dream appears to emphasize a dramatic situation, to
which it apparently gives some importance – but some insignificant detail in fact contains the most
important latent dream thought. Segal gives an example of this. One of her patients dreamt that he
was walking with a girl in a place which reminded him of Venice. This, at first sight, was a pleasant
dream, and had to do with the analyst’s forthcoming holiday. But there was a detail in the dream
which had no apparent emotional significance: a concrete structure on the Lido beach, which
reminded the dreamer of a bunker built during the Second World War. That dream fragment, says
Segal, had to do with the patient’s most significant thought at that point in the analysis, that is, his
unconscious wish that she should perish in a concentration camp.

Condensation
Condensation is an invariable feature of dreams. However short the dream, many contradictory
thoughts and wishes are contained in the dream as a whole and in its various elements. The work
of decondensation often brings in its wake a whole series of meanings, giving the impression that
the analysis of a dream could go on for ever. “That is one of the reasons why it is difficult to report
fully on the analysis of a dream, and indeed a dream can never be analysed fully in one session. In the
next session the patient brings new associations and new dreams long before the analysis of the first
one can be exhausted – if indeed it can ever be” (1991: 6). Segal illustrates the idea of condensation
with a dream from a patient who suffered from a gastric ulcer. In his dream he was completely tied
to a chair in a half-lying position. From all sides he was threatened by some elongated animals
with crocodile mouths. When the dream was analysed, it became apparent that condensation was
operating on several different levels. There was a very primitive and concretely psychosomatic
level, referring to when, up to the age of 3 or 4 months, the patient had been completely swaddled;
this included the anxiety of being devoured by the babies contained inside his mother, etc. In
addition, the dream referred to much later levels involving punishment for masturbation and
castration anxiety. That patient had another dream in which a number of different people were
condensed into a single character; in that case, the condensation involved the many possible rivals
the dreamer felt he had – another analysand, the analyst’s husband, and her son.
According to Segal, what Freud so beautifully called the “dream thought” is of much wider
and more complex significance than he allowed. “I think Freud originally had in mind simply the
repressed wish, disguised in the dream. But wishes are contradictory and complex and I think the
dream thought is more than a simple wish. It is itself a complex organization of wishes and defences.
[. . .] The dream thought, as I see it, is an expression of unconscious phantasy and our dream world is
always with us” (1991: 8–9).
Segal does not completely share Freud’s point of view on condensation; in her opinion, con-
densation is much more extensive than Freud thought. Freud saw it more as various strands
arising from different impulses and trends of thought, converging together and being expressed in
one condensed element, whereas, for Segal, condensation is a connected “story”.
          119

Indirect representation
Segal illustrates indirect representation with examples of dreams of a patient with a manic char-
acter structure. She goes into quite some detail in her analysis of his dreams, and shows that every
element in them is reversed in order to disguise the true meaning: the lucky number is the bad
number; benevolence and generosity replace rage and meanness. “In this dream I think we can see
how complex dream language is. One could say that in the dream everything is represented by its
opposite, by the reverse, but at the same time that way of representing it changes a deeply traumatic
situation into a wish-fulfilling one” (1991: 11).

Symbolism
As far as symbolism is concerned, Segal challenges some ideas that Freud put forward. She
reminds us that Freud excluded symbols from dream-work, because he considered symbols to
be universal and derived from the ancient past. In support of her argument, Segal quotes the
following extract from Freud’s The Interpretation of Dreams:

Things that are symbolically connected today were probably united in prehistoric times by con-
ceptual and linguistic identity. They are, one could say, given, not achieved by psychic work
implied in other methods of indirect representation. (Freud 1900a: 352)

That point of view was later challenged, firstly by Melanie Klein’s work on symbolism and
then by Segal’s own research, as we have seen.
In her discussion of symbol formation in the light of Bion’s developments, Segal notes that the
alpha-function is closely linked to the symbolic function. Alpha-elements are the elements that go
to make up thoughts, dreams, myths and symbolism. Since they are “unsaturated” – in Bion’s
sense of the term – alpha-elements are available for various “realizations” and reality-testing, in
other words for all sorts of transformation such as those we observe in dream-work.

Associations are not the latent content

The process of analysing a dream consists in doing the dream-work in reverse, based on the
associations to the dream which expand what had been condensed, rectify the displacement, and
decipher the indirect representation. Segal points out, all the same, that analysing dreams is not an
easy task, because it proceeds against the general trend of resistance. Part of the dreamer’s associ-
ations will lead to the latent meaning, but other trends of association break off and acquire a
defensive character. This implies that the patient resists seeing the significance of the dream
because repression continues to operate in the form of resistance. That is why it is important,
warns Segal, to distinguish between associations to the dream and the latent content as such. “But
the associations to the dream are not, as some therapists think, in themselves the latent content. They
are only a path leading towards latent content, because repression continues to operate and to mani-
fest itself as resistance” (1991: 12). This is the point at which the interpretation of the analyst will
seek to demonstrate the resistance and indicate the latent content. “Where the patient’s own work
falters, the analyst’s interpretation provides the missing link. The psychic work of deciphering the
dream-work is essential in the analysis of dreams. This is done jointly by the patient and the analyst”
(1991: 12).

Secondary elaboration
Secondary elaboration is a further factor which aims to conceal dream thoughts. After waking, as
we remember the dream, so we distort and transform it. The process that leads to distortion in
the actual remembering of the dream is called “secondary elaboration”. This, says Segal, rather
tends to call into question the value of the memory that we have of our dreams. In the final
analysis, the memory of a dream is rooted in unconscious phantasy. “What is remembered may be
altered as the dream reveals new aspects and deeper levels. The remembered dream has its roots, in
my view, in an unconscious phantasy the full depth and extent of which can never be remembered”
(1991: 13).
120         

Dreams and the conflict between the life and death drives
Segal notes that, after the publication of The Interpretation of Dreams in 1900, Freud never much
altered his theory of dreams; in particular, he made no attempt to bring it into line with later
developments of his theory, particularly after 1920, when he wrote Beyond the Pleasure Principle.
If we take into account the conflict between the life and death drives, as Segal suggests, the work of
the dream is not only to reconcile the forbidden wish and the superego or the ego, as Freud
thought, but also to find a compromise or resolution for the unconscious wishes contained in the
basic conflict between the life and death drives.
Segal concludes her discussion of Freud’s thinking on these issues with three comments. She
observes that, although Freud did develop the concept of working-through, he did not explicitly
apply it to the dream-work as one of the ways of working through a conflict in her sense of the
term. Her second remark concerns psychosis. Freud spoke of dreams as being similar to psychosis
but happening entirely in sleep. Segal cannot agree with that. “This seems to me in some way
questionable, since the kind of psychic work elaborating a conflict, akin, I think, to a working through,
which happens in the dream, is precisely what is lacking in psychosis” (1991: 14). In her third and
final comment, Segal wonders what happens when the ego is too damaged to carry out the psychic
work involved in dream-work. Freud left the question open, she says, because he was more con-
cerned with describing the formidable task that the ego accomplishes in creating a dream. In doing
that work, it has to carry out repression adequately, but not excessively. The post-Freudians would
subsequently shed new light on the development of the ego and its pathology.

Unconscious phantasy and dreams

Phantasy, for Freud, is much the same as day-dreaming
Segal begins by examining the differences between Freud’s concept of “phantasy” and that
of “unconscious phantasy” in the writings of Melanie Klein and those of Susan Isaacs. In her
view, the Kleinian concept of unconscious phantasy is one of the most significant post-Freudian
contributions to the psychoanalytic theory of dreams.
The idea of unconscious phantasy plays in many ways an important part in Freud’s work, says
Segal, despite the fact that he never worked out in full a theory of the concept. The idea was
already present in his work on hysteria. “Freud’s discovery of unconscious thoughts underlying
hysterical symptoms can be seen as equivalent to the discovery of unconscious phantasy” (1991: 16).
Later, Freud abandoned his original seduction theory in favour of the view that seduction scenes –
which were apparently remembered – were most frequently a child’s wish-fulfilment phantasy,
rather than actual facts. “Hysterical symptoms are not attached to actual memories but to phantasies
erected on the basis of memories” (Freud 1900a: 491). As early as 1914, Freud sometimes spoke of
phantasy as being the psychic reality, observes Segal. However, he never devoted a book, or even a
paper, wholly to that subject, despite the importance of the concept in his work.
One could say that for Freud, phantasy is fairly close to day-dreaming. Phantasy activity comes
into play when an unconscious wish is frustrated. Phantasy is then worked on by the capacity for
logical thought so as to give rise to an imaginary fulfilment of the drive-related wish. In a case like
this, the phantasy is known not to be true. When the wish-fulfilling phantasy is unacceptable to
consciousness it is repressed and becomes unconscious phantasy. Segal reminds us that “in the
System Unconscious phantasies ‘proliferate in the dark’, as [Freud] put it” (1991: 17).

Phantasies and drives in Freud’s theory

Freud intuitively sensed that there was some kind of relationship between drives and phantasies,
but he did not take the question any further. According to Segal, he saw phantasies as highly
organized and referring mainly to whole objects. Given that, for him, phantasy was similar to day-
dreaming, more primitive phantasies do not enter much into his description. “More primitive
functioning on a pre-verbal, even pre-visual, psychosomatic level is not included in his concept of
phantasy” (1991: 18). Segal adds that mostly Freud referred to unconscious phantasy as connected
with pathology, but he was also very aware that there was only a “short step” to be taken for
phantasy to result in a symptom or in artistic creativity. “It is as though Freud had opened a door to
a fascinating, rich, mysterious world, but did not quite take the full measure of his own discovery and
          121

the connections between that and his other major discoveries, such as the dream-work and the dream
language” (1991: 18).

Unconscious phantasy in Klein’s theory

Segal then goes on to discuss the idea of unconscious phantasy as introduced by Klein and Isaacs,
pointing out that it was the psychoanalysis of children which revealed the ubiquity and the
dynamic power of unconscious phantasy. From that perspective, unconscious phantasies are active
from the very start, contrary to what Freud thought. That difference of opinion comes from the
fact that Freud and Klein did not share the same conception of the early ego. In Klein’s view, from
the beginning of life there is sufficient ego to experience anxiety, to form some object relationships
in reality and phantasy, and to use primitive defences. Unlike Freud, she did not hold the view
that phantasies can only be formed when the infant or child has developed a capacity for logical
thought.
In order to bring out the difference between Freud’s conception of unconscious phantasy and
that of Klein, Segal makes a highly evocative comparison. “Most of Freud’s statements give the
impression that he thought of unconscious phantasies as if they were like islands in the sea of mental
life. Reading Klein’s work with children, one gets a glimpse of an internal phantasy world like a
vast continent under the sea, the islands being its conscious, external, observable manifestations”
(1991: 19).
The view that phantasy is operative from the beginning, at the most primitive stages of devel-
opment, implies that this phantasy is to begin with physical. Segal again has an apt way of putting
it: “the hallucinated breast is not to begin with a visual experience, but a bodily one. Early experi-
ences, such as hunger or satisfaction, are experienced and interpreted by the infant in terms of object-
relationship phantasies” (1919: 20). With maturation and increasing experience, the phantasies
become more complex with more differentiated sensory components and motives, and elaborated
in various ways. It follows that unconscious phantasies underlie dreams, symptoms, perception,
thought and creativity. “They do not intrude into a dream; they are ‘such stuff that dreams are made
on’ ” (1991: 30).

Symbolism and dreams

In the third chapter of Dream, Phantasy and Art, Segal examines the relationship between symbol-
ism, dreams and unconscious phantasy. She reminds us of her own ideas on symbolism, in particu-
lar of the distinction she draws between concrete symbolization – the symbolic equation – and
symbolic representation, and of the conclusion she came to that these two modes of symbolism
pertain respectively to the paranoid-schizoid and the depressive position. In her discussion of
symbolism in dreams, Segal argues that here too different levels of functioning can be observed.
“It is arguable that for the imagery of dreams to be formed at all a depressive level of functioning
must have been achieved. Nevertheless, in some dreams, or some elements in some dreams, a regres-
sion occurs to concrete symbolization with all its consequences for the nature and function of the
dream” (1991: 48). Where there is a failure of symbolization, patients tend to use their dreams
as a way of producing some effect on the analyst’s mind – acting-in – instead of putting their
transference phantasies into words.
In the fourth chapter, “Mental space and elements of symbolism”, Segal explores the signifi-
cance for mental processes of concepts such as projective identification and containment, in the
light of Bion’s analysis of them. She mention dreams only passim; I shall therefore go directly to
the following chapter of Dream, Phantasy and Art, more in line with the topic I am at present
discussing.

Interpreting the function of dreams along with their content

Dreams can have several functions
In Chapter 5, “The dream and the ego”, Segal develops the highly original idea she introduced in
1981 according to which dreams may function not as symbolic communication but at a more
primitive level of communication. Dreaming means that the ego has to take on an arduous task in
122         

order to accomplish the dream-work, i.e. to express and process the unconscious phantasy. At
times, the ego may be temporarily or permanently unable to carry out the tasks involved in
producing a neurotic or a normal dream. The dream then functions as a symbolic equation and is
used to evacuate certain elements in the manner that Segal goes on to describe. For example, in
borderline cases, we find patients whose dreams occasionally or habitually do not fulfil the dream
function as described by Freud. “The dreams of these patients serve the function not of elaborating
and symbolizing latent dream thoughts, but the function of getting rid of psychic content (Bion 1958)”
(Segal 1991: 64–65).

Dreams and the function of evacuation

The process of evacuating something from the mind can take various forms. “Dreaming is thus felt
as an expulsion and is sometimes equated with actual urination or defecation” (1991: 65). Writing
one’s dreams down in a notebook may be a way of getting rid of dream content. Sometimes it
is dreaming and telling the dream to the analyst that accomplishes the evacuation. The aim here
is twofold: one, to split off and get rid of certain unwanted psychic contents; and two, to affect
the object, in other words to produce some effect on the analyst in the analytical situation. Segal
illustrates this twofold function in one of her patients who used to flood her with his dreams.
She gradually came to realize that the patient’s main objective was not so much to get rid of
his dreams as to make the analyst feel moved by the emotional content of the dreams he was
evacuating.
When people experience dreams as concrete events or objects – a stream of urine, a stool, or
anal gas – which are expelled into an object, their reality perceptions are unavoidably affected. For
example, one of Segal’s patients would complain that the analyst’s room smelled of gas; it was
only later that the patient remembered that she had a dream in which a gas balloon exploded.
When she had a quarrel in a dream, the analyst was perceived as a quarrelsome person.
In these evacuation dreams, the dream-work has partially or completely failed. One of their
characteristics is a certain crudity in symbolization. “It is as though the barest minimum of effort
went into symbolization” (1991: 70).

“Predictive” dreams
Evacuation dreams are more often than not acted out, either in the actual session or in the outside
world. Sometimes the dream content is evacuated by means of a very precise and detailed enact-
ment. Segal gives the example of one patient who had numerous dreams in which he would be late
for a meal or a meeting by a precise number of minutes – and who then would come late to his
session by exactly the same number of minutes. “I have called this kind of dream a ‘predictive
dream’, because it seems to predict future happenings as they are almost automatically acted out”
(1991: 69). Of course all dreams are to a certain extent enacted, either in the session or outside
of it. This is what Rosenfeld (1964) described as “normal acting-out”. However, the dreams Segal
is speaking about in this chapter, especially predictive dreams, are exceptionally compulsive,
particularly in the session.

Dreams as part of the whole situation

The analysis of evacuation dreams encouraged Segal to devise a technical approach that takes into
account the function that the dream serves in the session. In the case of dreams in which the
dream-work is defective, it is useless, she says, to try to interpret only the content of the dreams,
since analysing the content in a classical way has no therapeutic effect. What must first of all be
done is to analyse the function of the dream, and only then its actual content. “Generally, in these
dreams, which are primarily used for acting out in the analytic session it is this function of the dreams
that has to be interpreted first of all. Only gradually, and where it connects with this function, can one
address the actual content of the dream” (1991: 72).
In her concluding paragraph, Segal observes that if the interpretation of dreams is the royal
road to the understanding of the unconscious, as Freud thought, it is not always sufficient to limit
oneself to the interpretation of the content of a dream.

As I suggested, following only the content of the dream has its limitations. If we analyse not the
dream but the dreamer, and take into account the form of the dream, the way it is recounted, and
          123

the function it performs in the session, our understanding is very much enriched and we can see
how the dream’s function throws an important light on the functioning of the ego. (1991: 73)

This fifth chapter brings to an end the part of Dream, Phantasy and Art that Segal devotes to
the study of dreams. The final three chapters of the book deal with the relationship between art
and psychoanalysis, a topic that I have discussed in Chapter 2, “Psychoanalysis and the aesthetic
experience”.

“The Interpretation of Dreams one hundred years on” (2001, 2003)

Segal, H. (2003a) “Le rêve et le moi” [The dream and the ego], in A. Nakov et al. Le rêve dans la
pratique psychanalytique [Dreams in psychoanalytic practice], Paris: Dunod.
Segal, H. (2007) “The Interpretation of Dreams: 100 years on”, in N. Abel-Hirsch (ed.) Yesterday,
Today and Tomorrow, London and New York: Routledge.

This short paper, several versions of which have already appeared in print, summarizes, with
her customary clarity of style, Segal’s main ideas on dreams.
 Chapter 8

THE ANALYSIS OF ELDERLY PATIENTS

AN AREA THAT PSYCHOANALYSIS HAD LEFT LARGELY UNTOUCHED

Hanna Segal analysed a patient who was a little over 73 years of age when the analysis began. The
short paper she wrote about it had important repercussions, because at that time most psychoanalysts
were reluctant to take on patients who were already over 50 years old. Freud, of course, had said that
50 years of age was something of a watershed as far as psychoanalysis was concerned: “on the one
hand, near or above the age of fifty the elasticity of the mental processes, on which the treatment
depends, is as a rule lacking – old people are no longer educable – and, on the other hand, the mass
of material to be dealt with would prolong the duration of the treatment indefinitely” (Freud 1905a:
264). Many psychoanalysts, of course, have not followed Freud to the letter as regards this issue;
people in their fifties and sixties have had classical psychoanalytic treatment. Not much was said
about this, all the same – in fact it was hardly ever mentioned, and psychoanalytic literature as
a whole tended to echo that silence.
Given that state of affairs, Segal’s 1958 paper was quite definitely ground-breaking – all the more
so, indeed, since the patient she treated was not suffering from neurotic problems but from a psychotic
illness with delusional ideas of persecution: the kind of symptom that many psychoanalysts tended to
see as incompatible with a classical psychoanalytic approach.
Segal’s paper encouraged several psychoanalysts to take elderly patients into analysis – with, it
must be said, some success. A new domain for the exploration and treatment of the internal world thus
opened up; the many papers that are published nowadays on this theme often quote Segal’s pioneering
article.

“Now death is really present!”

JMQ: In 1958, when you wrote an account of the analysis of an elderly man, that was the first
time anything like that had been done in psychoanalysis. Since then, have you taken other
elderly patients into analysis?

Hanna Segal: Oh yes, especially elderly colleagues. But I would like to say firstly that the
patient I describe in that paper was almost 74 years of age, and nowadays that’s not really so
very old. I think people no longer consider age to be such an absolute criterion as regards
beginning analysis: it all depends on the circumstances. I learned one thing too: my patient
and I were lucky, because not many people as old as he manage to have analysis. That
patient’s son brought his father to London. The patient’s wife was with him every day, she
accompanied him to his sessions and waited for him in the waiting-room. She developed a
positive alliance with me. In the postscript I wrote to the paper, I mention how he died. His wife
was looking after him, and he said he was feeling hungry; she gave him a sandwich and a
glass of milk. For him, dying always meant dying of hunger – as a child, he was very over-
weight. His wife was by his side, and she gave him a glass of milk, whereupon he fell asleep.
      125

How lucky he was, at his age, to have had such a caring environment. The only patient I envy –
the only one of all my patients – is that man! Now that I no longer have my husband with me,
when I wake up in the middle of the night, lonely and afraid, what am I to do?
Nowadays, analysing elderly patients is quite common.
The Tavistock Clinic published a good collection of papers on the issue of growing old –
there is a paper by me in it as well as others. Also, there is a department at the Tavistock called
the “Workshop for old age psychotherapy”.

JMQ: Your 1958 paper opened the way for the psychoanalytic treatment of elderly people.

It has now become quite a common practice in Britain – and in the US too, I think – because
70 nowadays is not looked upon as being particularly old.
You were asking if I had other elderly patients in analysis. I had for example – several years
ago now – a woman who came for a second analysis with me, when we were both over 70.
She is still very active; that analysis gave her a new lease of life, and she was very grateful to
me for that. [. . .]

JMQ: Is there any difference, in your view, between the analysis of elderly people and that
of younger patients?

Yes. The great difference has to do with the fear of dying, which of course is a much more
acute issue. Also, difficulties about becoming dependent, because it is really very humiliating
when people become so infantile. Fear of death is always present – it existed before, of course,
perhaps in the form of infantile anxiety. But now, death as such is really present! Even when
your health is still excellent, there are often complications of one kind or another – for example,
physical disorders linked to growing old and the constraints that they entail.
I would just like to remind you that Karl Abraham had older people in analysis. Abraham
was a pioneer in so many ways. He was really very gifted, perhaps the most gifted of all of the
people in Freud’s circle. Unfortunately, Freud had a great liking for people who were charis-
matic; I don’t think he liked Abraham as much as he did some others – Ferenczi and Jung, for
example. At the very beginning, indeed, Freud didn’t have much taste when it came to choos-
ing his friends. In 1920, Abraham wrote a paper on the psychotherapy of an elderly male
patient, so he did not hold with the idea that older people are unsuitable for psychoanalysis.
(Interview (in French), 15 August 2006)

“Fear of death: Notes on the analysis of an old man” (1958)

Segal, H. (1958) “Fear of death: Notes on the analysis of an old man”, International Journal of
Psycho-Analysis, 39, 178–181; reprinted (1981) in The Work of Hanna Segal, New York and
London: Jason Aronson.

A psychotic breakdown
This patient consulted Segal after suffering an acute psychotic breakdown two years previously in
Rhodesia, where he lived. He had had the usual psychiatric treatment (electroconvulsive therapy,
medication). He settled into a chronic psychotic state characterized by depression, hypochondria,
paranoid delusions and attacks of rage. Given that he had shown no improvement, his son, who
lived in London, brought him for psychoanalytic treatment. This lasted eighteen months, with five
sessions per week, and was not a completed analysis. It did, however, enable the patient to resume
normal life and activity, and to achieve for the first time in his life a feeling of stability and
maturity. Eighteen months later, the patient was back in Rhodesia, enjoying good health. “In his
analysis I came to the conclusion that the unconscious fear of death, increasing with old age, had led
to his psychotic breakdown. I believe that the same problem underlies many breakdowns in old age”
(1958: 178).
126     

Born in the Ukraine, the patient came from a very poor Jewish family and had seven siblings.
His father died when the patient was 17. He emigrated to Rhodesia, became a salesman, and
married. Several factors precipitated his illness, writes Segal, all of which were related to his fear of
death. The first occurred when he was visiting his son in London: he learned that all the members
of his orthodox Jewish family had perished in Nazi death camps during the war. Back in Rhodesia,
he learned that various dubious financial transactions entered into by one of his associates had
been discovered; he was terrified at the idea that his own financial misdeeds might also be brought
to light. Within a matter of hours he was in a state of acute psychosis with delusions of persecu-
tion – he believed that he was being talked about in the press and on radio. According to Segal,
this breakdown had to do with the patient’s fear of death. “I suggest that my patient was
unconsciously terrified of old age and death, which he perceived as a persecution and punishment; that
his main defences against this fear were splitting, idealization, and denial. [. . .] When he returned to
Rhodesia he was faced with the fear of punishment, which to him at that point represented death”
(1958: 178).
From the point of view of the patient’s anxiety about death, Segal divides the analysis into
three phases.

First phase: complete denial of ageing and fear of death

The patient described himself, before falling ill, as working and looking like a young man. This, it
soon became clear, was a complete denial of growing old and of his fear of death. He felt his illness
had robbed him of his youth, and he unconsciously expected that his treatment would give him
back his youthfulness. This denial was reinforced by the patient’s idealization of his son, who
represented for him another self, young and ideal, into whom he had projected all his own
unfulfilled hopes and ambitions. In addition, this relationship to his son was partly a repetition of
the one he had had with his own father: he was his father’s favourite, and he felt that so long as he
had his father’s love, he would be protected from starvation and death. In his relationship with his
son, he identified with his father and projected himself, the favourite son, into his own son.
Accompanying this idealization was a splitting thanks to which any unconscious feelings of per-
secution linked to the idealized object were immediately split off and projected into another
object, which then became the persecutor. He could therefore idealize his father completely,
because any negative aspects were immediately split off and projected into his mother, whom he
experienced as unloving and cold, or into his brothers.
During this initial phase, the analyst represented mainly the patient’s ideal father and son,
occasionally an ideal feeding mother. His bad feelings and figures were projected into remote
persecutors, either geographically remote – in Rhodesia – or belonging to the distant past.

Second phase: splitting between idealized object and persecutory object diminishes
After an interruption in the analysis due to the first holiday, the split between consciously idealized
objects and unconsciously dreaded ones lessened, so that persecutory feelings came nearer to the
transference. Instead of being projected into remote persecutors, his persecutory feelings centred
on the very cold English winter which was going to kill him. Death was no longer denied. “Grad-
ually it was possible to point out to him how much [. . .] the cold climate and country that was going to
kill him was the other aspect of the analytical treatment and of myself” (1958: 179). At that point,
the patient was able to acknowledge his disappointment in his son, whom he no longer
unconditionally admired as he had done before. Although his son was devoted to him, he had his
own life to live; this was felt by the patient as losing his greatest hope, namely that his son would
give him a new lease of life.

At this point it became clear to the patient that his ideal and his persecutory object were one and
the same person. In the past he had split off his fear of his father on to his brothers. Now he saw
clearly that it was his father’s retaliation that he was afraid of. He feared that his son would
leave him to his persecutors and to death and disown him, as he had left and disowned his family.
(1958: 179)

In the transference, the patient had either to placate or to control the analyst in order to prevent
her from becoming a persecutor. He felt that his idealization of the analyst was his only protection
against death. She was the source of food, love and warmth – but she was also the one who could
      127

kill him by withdrawing all that. “Idealization and placation of me alternated with only thinly veiled
persecutory fears” (1958: 180).

Third phase: acknowledgement of ambivalence and depressive anxiety

Changes in his perception of the object, in particular of the analyst, meant that gradually the
patient was able to become aware of his aggressiveness towards her.

Slowly he was beginning to realize that if his symptoms now appeared only during breaks and
weekends it was not simply because I, the ideal object, abandoned him to his persecutors; he was
beginning to realize that everything I had given him – interpretations representing the good breast
and food or the good penis – turned in my absence to bad burning, poisonous, and persecutory
substances, because when he was away from me, hatred welled up in him and turned everything
bad. (1958: 180)

At the same time, he began to admit how greedy he was for the analyst, and how impatient and
angry he felt when away from her.
Then memories of his early childhood came back to him, especially of when he was about
2 years old – he recalled his fury at being weaned when his baby brother was born. The memories
were relived by him with so much intensity that, when he expressed the fury he had felt towards his
younger brother, the fine tremor that for years had affected his hands disappeared immediately – it
had been diagnosed as a senile form of Parkinson’s disease.
The analysis made it possible to trace the beginning of the patient’s secret drinking to the
outbreak of the war, in 1939. He admitted that, had he thought about it, he could have brought his
family over to Rhodesia and thereby save them from extermination. Unable to bear his depression
and guilt because of this, he split these feelings off and denied them, and turned to drink. He
gradually became aware of the contempt in which he had held his mother and of the hard struggle
she had had to keep the family alive. He had turned away from her and from his own depression
towards an idealized, homosexual relationship with his father, thereby robbing her both of his
father’s affection and of his own.
With this changed relationship to his mother and his family came a very different relationship
to his own death. The end of the analysis had by then already been fixed, and symbolized for him
his approaching death, of which he now spoke freely. For the first time he could mourn the loss of
his mother and of the breast. This was no longer experienced as retaliation and persecution, but as
a reason for sorrow and mourning for the loss of something that he had deeply appreciated. This
mourning and sadness, however, did not amount to clinical depression, and seemed not to interfere
with his enjoyment of life.
At this point in the analysis, he began to feel hopeful. “He felt that his life was worth living and
that, however old he was, his internal objects were rejuvenated and worth preserving. It was also clear
that his children and grandchildren were no longer felt by him as projections of himself, but as his
objects that he loved, and he could enjoy the thought of their living on and growing after his own
death” (1958: 181).

A major contribution to the analysis of elderly patients

According to Segal, the patient had been unable, from his early childhood on, to face up to his
ambivalence and the depressive anxiety that resulted from his fear of losing his objects. Con-
sequently, he could not face the prospect of his own death, and defended himself against those
anxieties by denial of depression, splitting and projective identification. Idealization and denial
were defences against both depression and persecution. In old age, when he had to face up to the
prospect of approaching death, the loss of his life appeared to him to be a situation of persecution
and retaliation. That was when he had his acute psychotic breakdown. The analysis of his anxiety
and defence mechanisms in the transference enabled him to work through the infantile depressive
position, so that he could then face up to old age and death in a more mature way.
In the postscript she added in 1980, Segal informs us of the fact that after his analysis the
patient returned to Rhodesia and had a very active life. He suffered from time to time from mild
depression, but did not have to take anti-depressive medication. He remained in excellent health
until he died suddenly in his sleep, in his 85th year. “This analysis has illuminated for me the
128     

problems of old age. Certainly it has altered my views on the prognosis of analysis at an advanced
age” (Segal 1981: 182). I would add that Segal’s account of that analysis also changed the way in
which many psychoanalysts thought of the prognosis of analyses that begin when the patient is
already an elderly person.

What does the future hold for the analysis of elderly patients?
Gabriele Junkers has brought to our attention the new possibilities opened up by the psycho-
analytic treatment of older people. This field of study, which represents a new challenge for
psychoanalysis, nevertheless remains relatively unexplored (Junkers et al. 2006).

JMQ: In 1958 Segal was one of the first analysts to write a paper on the psychoanalytic
treatment of an elderly man. What impact did that article have?

Gabriele Junkers: Hanna Segal’s paper was really the first to have such an impact on the
psychoanalytic world. It shows very clearly that Freud was wrong when he advised against
beginning analysis with elderly patients. Segal shows that older people have a very rich
emotional life and that neither the “mass of material” nor the lack of “elasticity” of which Freud
wrote should be thought of as obstacles to their treatment. Segal writes of her elderly patient’s
transference and describes how it developed. She argues that it is above all the unconscious
anxiety about death that lies at the root of mental problems in older people.

JMQ: Do psychoanalysts nowadays take more elderly patients into analysis, or are they still
reluctant to consider this form of treatment?

Nowadays, population growth is quite alarming: elderly people make up an ever-increasing

proportion of the population and, in 20 years from now, half the population will be over 50 years
of age. From that point of view, there will be an increasing demand for therapeutic help for older
people, but more often than not they are treated by medication rather than by psychotherapy.
Many psychoanalysts are reluctant when it comes to working with older people: there seems
to be a tendency for people in general to turn away from those who are getting old . . .

JMQ: At what age nowadays do analysts feel that someone would be too old to begin
analysis, given that, for Freud, the upper limit was 50 years of age?

I would say that it is not one’s chronological age that should determine the limit. What is
important is the patient’s motivation – is he or she distressed, is there some interest in his or
her mental world and past history? Elderly patients must also have adequate hearing and not
have too many lapses of memory. The oldest patient of whom I have heard – in analysis with
four sessions per week – was 84 when he began.

JMQ: Have you noticed any differences between the analysis of an elderly person and that
of adults in general?

When you present clinical material from the analysis of an elderly patient, the audience is
usually surprised by the fact that the material does not appear to be in the slightest bit different
from that of younger patients. In my view, all the same, the analyst’s position is more difficult,
and this is for the following reasons:
• older patients tend to bring to mind a parental figure towards whom one would tend to be
submissive;
• the analyst is faced with material of which the main themes are loss, madness and limited
time – those aspects attack the analyst’s narcissism and trigger unpleasant feelings;
• the analyst has to be careful that his or her wish not to hurt the patient does not get in the
way of the duty to give proper interpretations.

JMQ: What personal experience do you have of analysing elderly people?

      129

I have had only two elderly people in analysis. The first was 68 years of age when she began,
and the other, 62. My other elderly patients decided to choose psychotherapy rather than
psychoanalysis. The first patient had a cardiac problem and her husband had just left her. She
had had some consultations with a psychiatrist, who referred her to me for psychotherapy. I
found her very motivated and willing to go much deeper into herself, so I suggested psycho-
analysis. In the German health service, up to 300 psychoanalytic sessions can be reimbursed.
We began analysis, four sessions per week, and it lasted for about three years.

JMQ: The analysis was interrupted at that point?

Yes, because she couldn’t afford to pay out of her own pocket.

JMQ: Stopping like that after 300 sessions – wasn’t that a problem?

Hardly at all, surprisingly enough. What was specific about that patient was that she had
gone through hard times, especially with her daughter – for years they had not got on well at
all. During the analysis, her daughter fell ill with a serious neurological condition; the patient
was able to make peace with her daughter and take care of her. After the analysis, the
patient wrote to me saying that the main benefit she had drawn from the work we did
together was the opportunity to talk to her daughter again; she no longer felt rejected by her
daughter, who accepted her mother’s offer of help. I could then understand that the patient
had made some reparation, and that in itself had given her much relief. It also made me
think that, as we grow old, that time of life is all the more difficult because reparation can no
longer be projected into the future. In that patient’s case, it was fate that made reparation
possible.

JMQ: And your other elderly patient?

She was referred to me by a member of her family who had had analysis. She had problems
which had to do with certain events that had taken place during the Second World War, in
particular reliving nights when the bombs prevented her from sleeping. Her husband too was
ill. In my opinion, he was suffering from mental deterioration consequent on a neurological
condition. The patient, however, saw this not as an illness but as a means whereby her
husband put pressure on her. We began analysis, with three sessions per week; she made use
of several kinds of defence linked to music. Gradually, she began to see her husband in a more
realistic light. She realized that he wasn’t being aggressive towards her, nor wicked – he was
ill, and there was nothing he could do about it.

JMQ: Is that also a kind of reparation?

Yes, because the patient was able to go through a mourning process and say how sad she felt
about his being unwell. The analysis helped her to put less pressure on him; as a result, she
was able to approach her own distress at growing old, and thereby process her feelings of loss
as old age drew near.

JMQ: According to Hanna Segal, it is the fear of death that is the major issue in analyses of
elderly people. Do you share that point of view?

There could well be some misunderstanding about that. If somebody who knew very little
about these issues read what Segal has to say, he or she might well think: “Well, I’m not afraid
of death!” But that would mean forgetting that what Segal is talking about is the unconscious
anxiety about death, not its conscious equivalent. But there is more to it than that. Linked to
unconscious anxiety about death, there are primitive phantasies such as feelings of distress,
the inability to move about, to see, etc. – Mary Chadwick pointed all this out in a paper she
wrote (1929) about fear of death in children.
To get back to your question about whether or not I agree with Segal. In my opinion, when
she says that the fear of death is the most important issue you have to deal with in the analysis
of elderly people, that is perhaps putting it too concisely. I do agree with her when – this is my
reading – she says that the fear of death corresponds implicitly to an unconscious anxiety
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linked to a feeling of distress, the inability to move about, to see, and all the losses with which
you have to deal as you grow old.

JMQ: What are the counter-transference issues an analyst has to deal with in treating older
patients?

As you know, Segal was the very first psychoanalyst who described the transference/counter-
transference process in the analysis of elderly people. That aspect did not strike many chords
among analysts when she wrote about it in 1958. It took twenty years – until the IPA Congress
in New York – before Pearl King, in her keynote address on the counter-transference at
different ages in life, mentioned that counter-transference issues do occur with elderly patients
too (King 1980).

JMQ: How would you explain that gap?

When Segal wrote her paper, the London Kleinians were not all that well known, at least in
Germany. Anyway, it often happens in psychoanalysis or in psychology that new discoveries
with adult patients are put into practice much later with elderly people, sometimes ten or
twenty years later.

JMQ: Does the counter-transference with elderly patients have any particular features?

It often happens that analysts do not like working with older people because of the counter-
transference. It is sometimes unpleasant: older people are in their declining years, they may
have various disabilities, they are getting towards the end of their life . . . Some therapists
prefer to have a series of consultations with elderly people rather than psychoanalysis or
psychotherapy as such. They know then that they will not feel too emotionally involved as
regards disability or other experiences of loss that are linked to growing old. Outward appear-
ances also play an important part. I have tried to find out if anything has been written about the
influence outward appearances can have on the counter-transference, but without success.
For the moment, all scientific interest as regards the counter-transference focuses on internal
processes, not on the reaction one may have to outward appearances – you know, things like
wrinkles, white hair, perhaps a particular smell, and so forth. The kind of thing that clearly
shows the patient is an elderly person . . .
(Interview, October 2006)

Gabriele Junkers (Bremen) is a training analyst and supervisor with the Deutsche Psycho-
analytische Vereinigung (DPV).
 Chapter 9

SEMINARS AND SUPERVISIONS

Hanna Segal became a member of the British Psychoanalytical Society in 1947, at the remarkably
young age of 29. She soon extended her teaching activity beyond Great Britain; as more and more
invitations were addressed to her, she began teaching in other European countries, in Latin America
and in the United States. From the 1950s until the present day, she has participated on countless
occasions as supervisor, seminar leader and keynote speaker in round tables and in various symposia
with audiences ranging from specialists to the general public; she has been interviewed by journalists
from newspapers, radio and television — and much more besides. In 2006, in her 88th year, Hanna
Segal had the signal honour of being the guest on BBC Radio 4’s iconic programme Desert Island
Discs as part of the celebrations for the 150th anniversary of Freud’s birth.
Why do so many people want to hear what Segal has to say? Firstly, because her articles and
papers have been so widely read. In addition, in my opinion, they appreciate her talent as a speaker —
in other words, the clarity of her presentations — as well as her open-mindedness and her willingness
to take what other people think into account.

Creating a climate of freedom

Seminars and group phenomena
JMQ: What can you tell us about your experience of teaching seminars?

Hanna Segal: Well, I have certain views about seminars. I think that the most important thing in
a seminar is to create an atmosphere in which people feel really free to bring their problems
without being put down or criticized. Yet at the same time, I never wear gloves. What I mean
is, I say what I think . . . although I do not put down people’s contributions. People are at the
seminar to engage the whole group.
I learned that lesson during a seminar in Geneva in the 1980s, perhaps you remember it. At
the first seminar somebody presented material and one of the participants started very
aggressively, telling him “It’s all to do with your homosexual counter-transference” etc. With an
atmosphere like that people are afraid of presenting. I immediately put a stop to it. I said, “What
you think of your colleague’s counter-transference, you tell your analyst. But we’re not going to
have that kind of fight in the seminar.” I didn’t say that in an authoritarian way as seminar
leader, but in order to make relationships easier in the group. The participants were really quite
aggressive with one another – with that kind of atmosphere, people are reluctant to present
anything. Later, some of them explained to me that it wasn’t that they were frightened because
the seminars were very aggressive, but because that particular participant would often be
sarcastic and attack the other students. So it was a sort of competition, a battle on his part.
Criticism yes, everyone should be open to criticism – but I don’t allow any sort of hostile
comments that are meant to undermine other people.
I think that I made it very clear at that point, when I said that the counter-transference was
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his business and his analyst’s business. I wasn’t trying to exclude discussion of the counter-
transference, because now, of course, we do pay a lot of attention to it. I am, however, very
much against people speaking for half an hour about what they feel, etc. It’s all right if some-
body says, “I’ve got a problem – this patient really irritates me . . . .” If the presenter then talks
about what he or she felt in reaction to the patient’s transference, with the idea that it would
be worthwhile discussing it, that’s fine. Sometimes I would simply say: “Well, that perhaps
has to do with your analysis, but here we’re more interested in the actual material.” Counter-
transference is a very good guide but a very bad master!
In a seminar, the relevant material is not only what happened between patient and analyst
but also what the whole group feels about it. And, remember, quite a lot of people choose not
to present what they did best but the problems they come up against.
Then there’s the problem of the relationship between technique and theory. I think it’s not
good to put in too much theory, but you do need a theoretical framework in order to do things.
So sometimes one has to put in a bit of theory on some particular point or other, like projective
identification for example, or the transference, because from time to time people can’t quite get
hold of it.
Nowadays I do some supervisions over the phone – it works quite well – but in that case it
is very much better if you occasionally see people; otherwise, it’s not quite the same . . .

JMQ: Are phone supervisions very different from live seminars? You have spoken about
non-verbal communication – is that what’s lacking?

Yes, you do miss that a bit. Now I wear headphones for the phone so I hear better, but my voice
doesn’t carry as well as it used to.

JMQ: You have given seminars in countries all over the world, so you must have encountered
many different ways of thinking about psychoanalysis. How did you react to these various
thought patterns in your seminar participants?

Actually, nowadays Kleinians are popular in unexpected places. Also, there’s a difference
between small postgraduate groups made up solely of Kleinians, and the mixed groups, where
there are candidates from various groups, plus foreign seminars. These are not necessarily
Kleinians. [. . .] If you have a small group you’ve been working with for years, you don’t have to
go back to basics. But if you have a seminar with people from various groups and orientations,
sometimes you have to be very tactful – and not say to them, for example: “That’s rubbish”, but
rather something like: “Well, from my angle, I would do this . . .” I always try to show how things
come from the actual material; I don’t start with theory . . . I look at what’s happening in the
material and show them from that why such and such . . .
[. . .]
(Tape 1, side A, 28 January 2005)

JMQ: In your seminars, on what technical points did you feel there was divergence?

Sometimes I was dealing with colleagues who were analysing really very superficially. I would
say that they think an analysis is going well if nothing nasty happens in the transference, so
that they are always sort of stroking their patients. In the seminars, some are very good and
get the idea very quickly, but I do have tremendous difficulty with others and sometimes it
takes years to correct that.
For example, I heard that at a recent meeting of training analysts, one of them [. . .] said
that a supervisor should always be positive and encouraging and never critical towards the
student’s presentation. I’m absolutely against that. Some analysts are very soft with their
patients, I think – it’s almost as though they feel that the session was a good one because the
patient didn’t get angry. They’re always trying to pacify and collude in idealization. I’m not
saying that those analysts are more sadistic than we are – we’re all the same – but very often
there’s a combination: they’re so goody-goody that it becomes an unconscious cruelty.
I think that we are there to teach and the best way of teaching is always to show from the
material what is upsetting, or damaged, or wrong, and why another approach would be better.
But you have to teach; that’s what you’re there for. And also, once again, never humiliate a
supervisee. They are often just beginners.
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I can give you another example to show how some colleagues deal only with the positive
transference and don’t take into account the negative aspect of it. There was a very interesting
symposium some years ago. We were two psychoanalysts, each presenting a case. The two
patients were depressed women, very similar, but my colleague’s technical approach was very
different. For example, the patient he presented always complained that, during her childhood,
her mother never paid any real attention to her. There was plenty of material about how she
resented the analyst’s silence from the outset – but none of this was ever taken up and
interpreted in the transference. She was always complaining about it, but it was never taken up.
Even negative interpretations were communicated with gloves: “Of course you might be angry
with me today.” The patient kept on complaining about her husband’s analyst, saying that her
husband was not doing well at all. For me, this was the split-off negative transference that just
wasn’t being addressed. She kept on complaining that her analyst had sent her husband to the
wrong analyst; she went on and on about it, but the colleague just kept telling her: “But I didn’t
recommend that analyst. No-one told him to go to that analyst.” She never once took it up that
she was putting on to the husband’s analyst her feelings about her own analyst.
Some people you meet immediately take that kind of thing up. Their analytical approach
changes and they do very good work. But with people who for years are used to turning a blind
eye to real transference, you just have to wait for the right angle to come up. It takes years and
some never manage it. It’s a very different perspective. I’ve got examples and examples – it
can take years to get them to shift their perspective.
One last example. A patient said at some point that his father had given him some money.
“Oh, how wonderful”, said the analyst, to which the patient responded: “Nonsense. That was
nothing for him. He’s so rich that it only amounted to a few pence.” So I took the analyst up on
that, saying that, next time, your patient will expect you to say how awful it is. “What are you?”
I continued, “A Greek chorus just repeating what he says in an exaggerated way?” Three
weeks later the father fell ill and the analyst I was supervising said: “Oh, how awful for you.”
The patient replied: “Awful for me? You know I hate my father. Anyway, he’s not as ill as all
that.” I showed him how the patient uses what he says to completely devalue him as a psycho-
analyst, implying that he’s not strong. But that colleague repeats and repeats, not in any way
changing his approach.

JMQ: Have you met supervisees who use “self-disclosure” and communicate their counter-
transference directly to the patient?

I am absolutely against that, because it’s an acting-in and it only increases the patient’s
omnipotence.

JMQ: Your papers show that you have an extensive knowledge of art and literature – Proust,
Apollinaire, for example. Do you make use of that with your patients?

I think I use it in my thinking, but I wouldn’t quote anything to a patient. Then again, it depends.
You could say: “You’re behaving like Hamlet.” If you use it again it’s giving some of your
experience, imposing something; and also, if the patient doesn’t know the painting or the book
you’re referring to, that could be very humiliating. And if the patient does know – “Hooray, we
can talk about something else!” I used literature in relation to one girl because she knew
Shakespeare by heart and in one session she was turning round and round, dancing and
doing this and that. I said, “You’re being Ophelia.” I knew she was completely familiar with it
and it turned out to be one of the best sessions we had; it was all about the death of her father
and the dispersal of her feelings about it. But I use that kind of thing very very rarely.

JMQ: In any given seminar, I imagine that not all the participants necessarily adopt a
Kleinian approach.

You want to know how I managed the seminars abroad and the mixed seminars? Of course,
it’s even more important to be able to get the right atmosphere when there are so many
different points of view. Also in some seminars participants can be very hostile to the Kleinian
approach, so again the point is to try to remain courteous. I think courtesy is very important.
You don’t have to be courteous with your patients, but in my opinion we have to be courteous
within the Society. We have to try to defuse the hostility by saying: “Well, that is one point of
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view, but what I would like to share with you is how I personally would look at this material.”
In my interventions, I try to encourage the Kleinians – who may be very enthusiastic and
very hostile to the others – to behave themselves: to listen carefully, to see what points of
agreement there are, and what makes for disagreement. Sometimes it’s quite difficult.

JMQ: And you stress the importance also of being tactful with people.

Not to say certain things, even if you think them! But you mustn’t convey that. Just emphasize
that you’re simply presenting a point of view. Even if you can see in the material that
the presenter is a very anti-Kleinian person, just point out how you would look at the
material.

JMQ: Have you learned anything through your contacts with colleagues who have a
different approach to and experience of psychoanalysis?

Oh yes! Well, yes and no. I have learned an enormous amount about how they see things, etc.
I can’t say that I learned an awful lot that would make me change my own technique. But some
things resonate with me. I remember that one of the younger Kleinians presented a paper – a
very good paper in some ways – about thinking and interferences with thinking, how some
things get divided from one another, how links are attacked, etc. At the meeting, one colleague
asked him: “In your world, does anything ever happen below the waist? Do people ever
actually fuck?” I thought that remark hit the weak point of some developments that go too far
into things which, of course, are tremendously important and new – but sometimes they forget
the body and the ego. You have to remember that part too.

JMQ: You have chaired seminars in many psychoanalytic Societies – you came regularly to
Geneva, for example, between 1980 and 1990. When did you start to travel for teaching
purposes?

The first such trip abroad I made was to Uruguay. I think I was the first Kleinian to travel that far.
They wanted me to be a training analyst in their Society, but I turned the invitation down. I have
taught in Argentina and in Brazil. Invited by the Americans, I have twice taken part in meetings
in the US on various different topics. I have been in Los Angeles, and very recently in San
Francisco. The first time I was officially invited to the US was by Roy Schafer – he was at
Harvard University – but I don’t remember now which Society it was. I have something very
important to say about Roy Schafer. He was a complete ego psychologist. In 1968, he wrote a
book about internalization that is a thousand pages long and in it he mentions Klein just once,
and then only to dismiss her. But despite that, he was the first to invite me to America to give a
series of seminars on clinical work. They asked me to present a case, over several weeks, if
I remember correctly. Much later, I went to Los Angeles several times. I’ve been to Baltimore
and New York, but that was more occasional. I’ve never been to Boston. Boston never officially
invited me but I did attend a major symposium on the war situation. In Europe, I was recently in
Stuttgart and Heidelberg.

JMQ: Have you been to Italy too?

Oh yes, a long time ago. Also, I had a seminar in Geneva and in the University of Bordeaux
too, with Pierre and Claudine Geissmann; Pierre was Professor there. At one time, I travelled
to Barcelona a lot. I don’t remember all of it, I must say. And now I have two German groups
that come to me.
For many years now, I have had a seminar group of psychiatrists who are also psycho-
analysts and who work in a mental hospital. They had a seminar with me three times a year on
the analysis of psychotics. That seminar ran for several years in Vienna. [. . .]
(Tape 1, side B, 29 January 2005)

JMQ: And California?

Some years ago, there was a group who were very keen to bring in Kleinians. I was the first to
go there, and they very much wanted me to stay on, but I wouldn’t. Then Rosenfeld came, so
    135

he was second. He did some work there, but he wouldn’t stay either. Then Bion went and they
asked him and he did stay.

JMQ: Why did Bion stay?

The version they like to put out is that he wasn’t respected enough here in Britain, particularly
by the Kleinians, which isn’t true. He was the first Kleinian to be made President of the British
Society. He was respected by all the groups. He was very much respected by the Kleinians. He
had a little seminar for a few years to which all the senior Kleinian analysts came – well, no, not
a seminar really, but sort of conversations. There were seminars too, I think. So we all learned
from him.
I think there were two or three reasons why Bion left. One is that he was getting very old,
and very concerned about money for realistic reasons. He had a very young family, because
he married very late – that was one reason. The other reason, a bit strange perhaps, was that
he felt flattered that they invited him. He came back saying, with a catch in his voice – “and do
you know what? They invited me to stay!” I said, “Wilfred, they invited me to stay, they invited
Rosenfeld to stay. Have a good think about whether you really want to go.” The other thing is –
Bion’s relation to death was very strange. For me, the most beautiful book he wrote is not
psychoanalytic but the book in which he describes his experience in the army – The Long
Weekend – he was very traumatized. He had, I think, a pathological fear of death – which he
was aware of. [. . .]
He really was adored and deified and became a kind of guru. He still had flashes of
extraordinary insight [. . .]. He later started cutting sessions, telling the people: “It’s not analy-
sis, we have analytic conversations.” But they all treated it as analysis. He became very much
a sort of prophet, and to my mind a bit mystical. I asked him: “Wilfred, what do you mean
by O?” He replied: “Oh, I don’t know. It may be God or it may be Gracia Belle!” There was
something of the prophet about him.
(Tape 8, side B, 31 March 2004)

“What she says always has a solid clinical basis”

What do French-speaking psychoanalysts think of Hanna Segal’s ideas? That was the ques-
tion I asked Colette Chiland, from Paris.

JMQ: You have often met Hanna Segal, what is your impression of her?

Colette Chiland: I have heard her speak on many occasions, sometimes in Paris — we invited
her because she speaks French and some of us are not particularly well-versed in English. We
appreciate what she has to tell us because every theoretical point she makes has a solid
clinical background. She never just tacks Kleinian formulae on to things — one day I jokingly
said to her: “When I hear you speak, I think I’d like to be a Kleinian too!” What strikes me most
of all about Segal is that the extracts she gives show that her analyses are very lively. There
are many transference interpretations and her interpretations are easy to follow. All this seems
to me to give rise to analyses that are more enthusiastic and more lively than the way we do
things in France — you could say that our technique is more silent. Even if a certain number of
French analysts do make quite a lot of comments, we do not always make transference
interpretations as, it seems to me, she does. With Segal, I have never had the impression that
her use of Kleinian theory is in any way artificial. It really is an instrument that helps her to think
and she communicates very clearly what that means.

JMQ: Do you find Segal different from other Kleinians you know?

I used to travel to London on a regular basis, for example to the Weekend Conferences
organized by the British Society — that was where, for instance, I heard Rosenfeld: do you
remember his manner of speaking? Not at all as energetic as Hanna!
136   

JMQ: What do they think of Segal in Paris?

She was always invited to meetings involving child psychoanalysis because they were organ-
ized by the Alfred Binet Centre. Our discussions, however, extended well beyond child analy-
sis. She herself would often allude to a child patient she had had, supervised by Melanie Klein,
but she was never really a child analyst, she no longer took child patients. She would talk about
psychoanalysis in general and of psychoanalysis with psychotic patients. René Diatkine, who
was very familiar with Kleinian concepts, did not reject them. I surprised Danielle, your wife,
one day during a discussion about projective identification when I said to her that René
Diatkine was perfectly familiar with the concept and that he made use of it.

JMQ: That surprises me too because when he came to Geneva, René Diatkine was
somewhat critical of the Kleinian approach . . .

Let me give you another example. In the book that Diatkine wrote with Janine Simon on the
analysis of a little girl, La Psychanalyse Précoce (Diatkine and Simon 1973), he refers really
quite often to Melanie Klein as far as theory is concerned. We were not sectarian by any
means. On the other hand, I was very surprised at the Hampstead Clinic (now the Anna Freud
Centre), where some of us used to go. Anna Freud was unquestionably an intelligent woman
and at over 80 years of age her intellectual ability was still outstanding. Whenever she made a
summary of discussions it was always very much to the point. But, for example, she would
never use the word “projection”, what she said was “externalization”: anything remotely Klein-
ian was banned. In 1978, I heard her give a talk at a meeting of the Association for Child
Analysis on the topic “Various trends in child psychoanalysis”. At the end of her talk, I asked
my colleagues: “Did I hear that correctly? Anna Freud spoke about child psychoanalysis and
didn’t once mention Melanie Klein or any other Kleinian for that matter! And Winnicott got just
one mention!” Over here, at the Alfred Binet Centre, it wasn’t like that at all. We were not, by
any means, “devout Kleinians”, but we did read Klein’s articles and those of other Kleinians.
For instance, in 1972 we organized an international symposium on the long-term treatment of
psychotic states. I was the scientific secretary and I edited the report on the proceedings.
Naturally enough, we invited Herbert Rosenfeld.

JMQ: Since then, there has been something of a reconciliation between the two groups . . .

People have since become more open-minded and they have a good relationship now with
their colleagues from the Tavistock Clinic — the Tavistock used to be thought of as Kleinian in
outlook. For a long time Anna Freud argued that children do not establish a transference, so
that child analysis was simply not possible. Melanie Klein, on the other hand, built up quite a
significant part of her theory on child analysis. I think that these controversies have calmed
down; some people are even talking of doing away with the groups in the British Society.
I have always felt particularly close to Winnicott. I met him, listened to him and read a great
deal of his writings. What I like about reading Winnicott is the fact that it is not an intellectual
discourse; he always says something that helps you associate to your own patients, to your-
self, to your own analysis. There are so many psychoanalysts nowadays with whom you have
the impression that you are reading some kind of philosophical treatise. Although I find Anna
Freud’s written work pretty boring, I did enjoy listening to her because she could at times be
quite amusing — that side of her does not come through at all in her writing.
I remember one day asking Hanna Segal why, when she arrived in England, she chose
Melanie Klein. She told me that she found Melanie Klein’s written work very lively and interest-
ing, whereas Anna Freud was so boring . . . I like Hanna a lot, she sometimes has a sharp
tongue, she is not always easy to get along with and she can be uncompromising at times. But
overall, she is a very warm-hearted person.
(Interview, 23 August 2006)

Colette Chiland (Paris) is a training analyst and supervisor with the Paris Psychoanalytical
Society.
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Hanna Segal in New York

Not long before he invited Hanna Segal to New York for the first time, Roy Schafer wrote a
book on internalization. Segal tells us in the above interview how surprised she was to find that
Klein’s work on that topic was hardly mentioned. Since then, Schafer’s interest in the Kleinian
approach to psychoanalysis has grown steadily, and he and Hanna Segal have become close
friends.

JMQ: When you first invited Hanna Segal to New York, what did North American
psychoanalysts think of the ideas developed by Melanie Klein? To what extent were they
accepted or rejected, and for what reasons?

Roy Schafer: During the 1950s, 1960s, and 1970s the large influx of European refugee ana-
lysts, most of them clearly loyal to Anna Freud, and the virtual absence of Kleinians in the US,
except for the Los Angeles area (Bion, Mason, etc.), assured exclusion of Klein from serious
consideration. Kleinian thought was left vulnerable to unchallenged and consistent mis-
representation and derogation, some of which continues today. Reference to it focusses on
early Klein. Sympathetic mention of Klein was professionally risky back then, as I believe it
was for Elizabeth Zetzel of Boston who returned from London and wrote positively on what she
understood of the depressive position. In Los Angeles, Fenichel showed Klein’s influence, I
would say clearly but not with strong emphasis. In New York, Edith Jacobson, a strong and
independent thinker about the self, the object world and internalization processes, made some
acknowledged use of Kleinian thought in her important writing, but her influence was pretty
limited by the writings, teaching, and politics of the dominant group of “ego psychologists”
organized around Hartmann, Kris and Loewenstein in New York.
My careful reading of that New York triad and their numerous followers, especially of
Kris who championed studies of child development, found that the ego psychologists’
otherwise extensive scholarly references seemed carefully to exclude mention of Klein
while their texts seemed to offer Anna Freud-compatible, subdued, substitute versions of
Klein’s emphasis – for example, on early aggression, the signs of superego-like functioning,
and in general pre-Oedipal psychic life. I saw this as a mix of actual debate and censorship
by otherwise worthy contributors to analysis. My own primary teacher for many years,
David Rapaport, also an active contributor to ego theory, dismissed Kleinian thought as a
“demonology”.
As a student I was for some time obediently blind and biased, but in the 1960s, as I began
my studies and writings on internalization, I began to break free and read a lot of Klein, Riviere,
and others. My second analysis helped me pay more respect to my own observations and
subjective experience, especially in working with borderline patients and doing analysis
myself. Sometime around 1970, I began teaching an elective course on British analytical
thought in my relatively open-minded Institute (the Western New England Institute), adding
that teaching on to my role as a major teacher there of the received versions of meta-
psychology and ego psychology – still doing so ambivalently, however, as one can tell from my
references to the Kleinians in my 1968 book on internalization. I was, however, learning as
I went along. With all my differences from Jacobson on internalization, I was taking a careful or
compromised stand alongside Jacobson.

JMQ: What gave you the idea of inviting Hanna Segal? Have you invited other Kleinians
since then?

When I heard that Hanna Segal would be coming to a meeting in or around New York some-
time around 1970 (my memory for the date is vague here), I induced my boss, Dr Robert
Arnstein, at the Yale University Health Service psychotherapy clinic where, on a part-time
basis, I then taught and practised psychotherapy, to invite Dr Segal to one of our clinical
conferences. She accepted. As I recall, she talked about a case she wrote up and published,
that of her brilliant analytic, crisis-like intervention with the old man. That meeting was an
exciting occasion.
I was able to meet and talk with Dr Segal and Betty Joseph and enjoy their hospitality when
in London in 1975–1976 as the first Freud Memorial Professor at University College, after
138   

which, since 1985, my wife (Dr Rita Frankiel) and I have steadily developed a warm friendship
with Betty Joseph and the group around her.
In later years, Rita and I were instrumental in bringing contemporary Kleinians other than
Segal (Betty Joseph, John Steiner, Michael Feldman, Liz Spillius) to specially organized
workshops (cases presented for commentary and discussion) in our home and also our
country home, each time capitalizing on the Londoner being in the US. Groups of 25–35
attended most of these workshops. We also organized and ran two ongoing Klein study
groups for a couple of years. Responses were varied but it did some good. Additionally, I
conducted clinical workshops in San Francisco and later in Cleveland, each time working as
best I could along contemporary Kleinian lines and touting the virtues of these analysts,
especially Betty Joseph, and soon these study groups were inviting Betty Joseph regularly,
perhaps having been influenced by me to do so. And my book on the contemporary Kleinians
of London appeared in 1997 and, from what I hear, has been taken up in a number of
study groups across the country. Over the past 10–20 years a fair number of senior US
analysts have been attending West Lodge conferences and the Melanie Klein Trust meetings
and also going to London or communicating by phone to get supervision from the London
Kleinians.

JMQ: And now? Are psychoanalytic circles in New York or in North America as a whole still
interested in the Kleinian approach?

In recent years, Dr Henry Smith of Boston began to invite the same analysts and also Ron
Britton to the two-day clinical workshops he organizes each year at meetings of the American
Psychoanalytic Association. These workshops are well attended (double the officially limited
size of 25–30) and generally received with interest and appreciation, and showing, each time,
the greater readiness of US analysts to think along object-relation lines, so that, even with
weak case presentations, the meetings are always exciting.
Our London visitors also speak at major Panels at these meetings. By now, they have also
been invited to lecture and do workshops at various Institutes and special conferences in the
New York area and elsewhere across the country and continue to do so as interest and use
steadily increase. They are now a definite presence here in the East – also in Los Angeles and
elsewhere on the West Coast.
This development has been greatly facilitated, I believe, by the growing interest in, and
influence of, Winnicott, Loewald, Ferenczi, Kohut’s self psychologists, and the so-called
Relational School of Analysis, all representing or urging some form of object-relations
approach to theory and practice. Kleinian references have had to be included and understood
but not centralized. Also, there has been some influx over the years of South American trained
analysts who, as far as I can judge, practise a version of Kleinian-Bionian analysis as it is
practised in London.
Nevertheless, strictly defined Kleinian analysis remains not widely practised nor endorsed
in the US, and some of those who claim to teach it and practise it do not impress me or our
London friends as having an adequate and exact grasp of it.

JMQ: What about Segal’s influence in North America?

Where is Hanna Segal in all this? Relatively speaking, she has been an infrequent visitor here,
though she did make an unforgettable appearance – it was in 1990, I believe – at the Winter
Meeting of the American Psychoanalytic Association: she was on a panel with Ed Weinshel, a
politically and educationally influential San Francisco analyst, each of them discussing a case
presentation by the other; after which they were joined by yet others, including Otto Kernberg,
to make up a full Panel discussion. At this meeting, Segal’s presentation was impressive; she
re-analysed Weinshel’s presentation brilliantly and, I think, awed many in the huge audience.
Earlier, at an IPA in Rome in 1987 or 1989 as I recall, she, as a discussant, did the same with a
case presentation by Anton Kris of Boston, also showing the finest clinical grasp, above all of
transference/counter-transference interplay in what seemed to be a confusing presentation,
though this time Hanka’s was only one of a number of small-group discussions attended by a
limited group of international analysts.
Personally, Rita and I can say that Hanka fills the room with her presence (with or without
cigar smoke) when she is on the scene and has always been interesting, good-humoured
    139

company and – being an avid reader – a great source of significant, non-analytic reading
recommendations.
(Interview, September 2006)

Roy Schafer (New York) is a training analyst and supervisor with the American Psychoanalytic
Association.

Los Angeles – London: Supervision with Hanna Segal

JMQ: For some years you had supervision sessions with Hanna Segal, partly by phone, partly
in London. How did you come to choose her in particular as a supervisor?

Joseph Aguayo: As a graduate analyst of the Psychoanalytic Center of California (PCC) in Los
Angeles, I had trained in the only Kleinian institute of its kind in the United States. By this,
I mean that only this institute has had training analyst members who themselves had been
either trained at the British Psychoanalytical Society or analysed by members of the British
Society. Here I’m thinking primarily of Albert Mason, a graduate of the British Society who was
analysed by Hanna Segal, and James Grotstein (among others) who was analysed by Wilfred
Bion here in Los Angeles. The influence of the first generation of post-Kleinians has been
tremendously inspiring to both candidates and members of the PCC. Also, through the institu-
tion of the annual Melanie Klein Lecture, we have brought members of the Klein group in
London here to Los Angeles for decades now, beginning in the 1960s, when Hanna Segal,
Wilfred Bion, Herbert Rosenfeld and Donald Meltzer first came and regularly gave lectures,
supervisions and seminars to our group.
I first heard Hanna Segal lecture in 1997 in Los Angeles and was so impressed by her
clinical acumen, candour and directness in dealing with clinical material that I sought her out,
first to conduct a historical interview with her concerning her involvement with so many other
illustrious members of the British Society – Melanie Klein herself, Joan Riviere, D. W. Winnicott
and others. After this interview was published in a journal in northern California (Aguayo
1999), my own analyst, Albert Mason, gently broached the issue of my seeking supervision
from Hanna Segal. This required quite a bit of working-through since I would have not imagined
my work to be good enough to present to Hanna Segal, but with encouragement I finally
phoned her, and we began working on a weekly basis beginning in September 2000. We
continued meeting by phone on a weekly basis for over five years.
Once a year, when I would go to London on an annual research project involving the
Melanie Klein Archives, I would always include visits to Hanna Segal for in-person supervision.
I might add that since I am also trained as a historian, I found Hanna Segal’s supervision so
illuminating that I asked for and received her permission to audio-record our work, which
also included many interesting asides about the history of the British Society. So it is no
exaggeration to say that I benefited in two very different but complementary ways by having
supervision with Hanna Segal.

JMQ: When did you meet her for the first time?

While our work began in September 2000, my first actual in-person clinical meeting with her
was on 14 March 2001. Since I recorded all my supervisory sessions with Hanna Segal, the
memories of that first meeting are quite vivid – I arrived by taxi in the Queen’s Avenue area
where she lives and walked in brisk spring weather around the neighbourhood, watching the
schoolchildren leave school and then arriving on time for an hour and a half supervision.
Sitting in her study amongst all her books, her papers and her cat was quite thrilling, and after
a most stimulating discussion I left her home wishing that I could live in London.
140   

JMQ: What brought Segal’s psychoanalytic approach to your attention?

What struck me immediately once we began working on a weekly basis was Hanna Segal’s
capacity to root herself in the patient’s internal experience. For a fifty-minute session of super-
vision, I would generally e-mail two sessions ahead of time and then we would focus on the
two most recent sessions over the phone. Hanna Segal would begin by making some sum-
mary comments on themes that were either latent for the patient or on interventions/interpret-
ations that I had made, which could be further refined and thought about. The whole process
was amazingly efficient, allowing us to go easily through four sessions and thus stay current
with the patient’s experience.
Of course, Hanna Segal’s disinclination to mince words is legendary. One always senses
that one is in the presence of someone who knows what she thinks and puts it forward with a
directness and brilliance that can be breathtaking. Segal embodies the value of being in
contact with one’s own psychic reality as it attunes itself to the patient’s experience, and then
puts it forward as an interpretative hypothesis. I tend to be somewhat obsessive, pre-
occupied with the patient’s early history – in a Bionesque quip, Segal once said of my style that
I had a “desire for memory”, one which frequently left in the lurch the patient’s immediate and
spontaneous feelings of the moment. All too true!
Hanna Segal also made constant reference to what good technique, good boundaries and
a solid frame were. She commented on my verbosity, word-choice: going on too long in inter-
pretations when a shorter, more compact style would do. And of course, the proof of the
pudding lay in watching my professional and personal development – while Hanna Segal
remained solidly and consistently dedicated to helping me build my psychoanalytic identity,
I was inspired to work harder and become a better analyst. In a time when so many analysts
have complained about waning psychoanalytic practices, I have watched my analytic practice
grow as a function of this most excellent training.

JMQ: Could you describe the way she works in supervision?

From what I have read and understood about Melanie Klein’s method, it seems to me that
Hanna Segal works in both the spirit and technique of her analyst. By this, I mean that Segal
draws upon concepts like projective and introjective identification to root her supervision in the
internal subjective experience of the patient. Segal hovers closely around the patient’s experi-
ence, most especially with the ebb and flow of the shifting transference reactions as they
become manifest in any given analytic hour. Also, very much like Klein, Segal factors in the
importance of the patient’s early remembered history, be it through conscious recollections or
what Klein herself termed “general childhood situations”. In short, Segal subscribes to the
shaping aspect of the past in the present, but does so in a way that remains actively attuned
to the patient’s current subjective and emotional experience. Klein herself, in one of her
unpublished seminars on technique, talked about how the transference is “a feeler towards
early situations”, and it is in this sense that Hanna Segal works according to the notion that the
analyst must bear some interpretative responsibility for linking the past with the present – and
all this is done with great brevity so as to not become stuck in the past.

JMQ: What characterizes her interpretations? Do you have a clinical vignette that could
illustrate this?

Brevity and directness. Segal in her many contributions has also elaborated on the importance
of the death instinct, but does so in a way that is accessible and extremely helpful in under-
standing “difficult” patients. Regarding projective identification as often an aggressive, evacu-
ative process, Segal (1992) has discussed the importance of destructiveness in the clinical
setting, where she sees this drive as anti-life simply because all pain comes from living,
whether it be in the form of thinking, perceiving or feeling. The murdering-off of one’s mental or
emotional capacities is a process to which Hanna Segal calls attention in her supervisions.
One representative example from a very difficult narcissistic patient I talked to Hanna
Segal about for years: after much interpretative work had been done with the patient’s ten-
dency to turn up late – or sometimes not at all – for her sessions, the patient had a dream: “I
arrived at a murder scene ten minutes before the crime was committed.” The irony was that
this dream was reported on a day when the patient in fact did arrive ten minutes late! Segal
    141

commented on what a pre-emptive action arriving late for one’s session is. As she said: “The
patient disposes of ten minutes of valuable time before her analyst can know what has hap-
pened! This enactment is an attack on the analyst’s working and perceiving mind because he
is prevented from exercising his proper function of analysing and understanding.” In short, the
patient’s murdering-off both of analytic time and of the analyst’s mind reflects the annihilation
of her own perceiving functions.

JMQ: Could you give some examples of points of convergence and divergence between
Kleinian psychoanalysts in Los Angeles and Hanna Segal?

I find many points of convergence between Albert Mason – who was after all analysed by
Hanna Segal – and her actual technique. There are many points of convergence: the linking of
the past to the present, the ubiquitous nature of infantile phantasy, the ever-hovering attention
paid to the patient’s internal subjective experience – and the emphasis on destructive, envious
attacks.
Contrasting Hanna Segal’s technique with that of James Grotstein (who was analysed by
Wilfred Bion), I would say that there are many similarities but some notable differences, which
are more ones of degree than of kind. For instance, Grotstein (by whom I have also been
extensively supervised) roots himself more in the living moment as it emerges in the clinical
session, often bringing in the patient’s subjective reactions as well as the personal reactions of
the analyst himself (i.e. personal feelings, reverie, counter-transference). While Hanna Segal
tended to see these more personal feelings and reactions to be within the domain of one’s
personal analysis, Grotstein tends to actively “play in” these reactions into the actual supervi-
sion itself. He is at times rooted in Bion’s idea that the patient is actively recruiting the analyst
to play one important role or another in the patient’s psychic life.

JMQ: What can you tell us of the personal relationship you had with Hanna Segal during
supervision?

It’s hard to answer such a question simply, because I think Hanna Segal has been so
immensely influential in my work. I think of her enduring qualities – her tenacity, rigour and
steadfastness in rooting herself in the patient’s internal experience are an inspiring model of
sticking to it, especially in such a demanding profession as psychoanalysis. And of course, as
I have mentioned before, Hanna Segal has been doubly important to my professional growth
because of her lucid memories of the many illustrious members of the British Society with
whom she had personal contact. When time has allowed, Hanna Segal has been most gra-
cious in providing me with support and encouragement in my historical research into both
Klein and the post-Kleinians of the British Society.
Not that this support has been easily garnered – I recall that when I sent her an early
version of a paper, which was published eventually in The International Journal of Psycho-
Analysis, she carried on for half an hour about what a shoddy piece of research it was, but
then turned around immediately and took the time to show me how the paper could be
improved. And of course she was right – the revised version of the paper was accepted
immediately by the Journal.
I cannot finish this brief interview without also saying something about Hanna Segal’s
sense of humour. In such an arduous field, it is important to laugh – and there have been many
instances in which Hanna Segal has made me laugh very much, sometimes to the point of
tears. I remember her once telling me that she personally had to make up for my having lacked
a rather strict English governess in my upbringing! Although I can be affable, she got onto my
thick-headedness with patients rather quickly – and penetrated it many times with her sense of
humour. It got to the point where my own wife was thrilled that I was working with Hanna Segal
– not because she was such an illustrious psychoanalyst, but because my wife finally had
someone who could commiserate with what she herself had long complained about!
(Interview, October 2006)

Joseph Aguayo, who trained initially as a historian, is a psychoanalyst in private practice in Los
Angeles; he is a member of the Psychoanalytic Center of California (PCC).
 Chapter 10

NUCLEAR TERROR, PSYCHOTIC ANXIETIES AND

GROUP PHENOMENA
CAMPAIGNING FOR THE PREVENTION OF NUCLEAR WAR

Attentive to the growing risk that the nuclear arms race represents for the entire planet, Segal has,
from the 1980s on, campaigned actively in the anti-nuclear movement which, in Britain as well as in
other countries, aims to shake out of their apathy not only the general public but also those in
government circles. In that sense, she went back to the political and social vocation that she had given
up when, as a young student, she chose to take up medicine then psychoanalysis.
According to Segal, psychoanalysts have a specific contribution to make to the psychological
understanding of the causes and dangers of the nuclear arms race. For example, because of the risk
of total annihilation they imply, the existence of nuclear weapons triggers anxieties and defence
mechanisms that are much more primitive than those evoked by ordinary warfare. These primitive
fears are reinforced by psychopathological phenomena involving groups under the influence of their
leaders. In 1983, Hanna Segal and Moses Laufer founded an association called Psychoanalysts for
the Prevention of Nuclear War (PPNW) in order to heighten the awareness of their colleagues and
open up a public debate to fight against the pervasive denial in the face of the sheer madness threaten-
ing the whole planet. Her fame as a psychoanalyst greatly increased as a result of her work on
this issue. “From then on, I began to be really well known by the public at large”, said Segal in an
interview with the present author in March 2004.
Segal has written several versions of her articles and lectures on this theme. I shall present her
main papers in chronological order; in order to avoid too much repetition I have highlighted the
elements that correspond to each of the four relevant historical periods.

First period (1945–1990)

From the A-bomb to the fragile equilibrium of the Cold War
“Silence is the real crime”
Segal H. (1987) “Silence is the real crime”, International Review of Psycho-Analysis 14, 3–12. With
Postscript (2002), in C. Covington, P. Williams, J. Arundale and J. Knox (eds.) Terrorism and
War: Unconscious Dynamics of Political Violence, London: Karnac; also in J. Steiner (ed.)
Psychoanalysis, Literature and War: Papers 1972–1995, London and New York: Routledge, 1997.

Towards a conceptual model of understanding

Hanna Segal: I wrote “Silence is the real crime” during the time when there were two opposing
blocs, but things have changed very much since then. It was a stable paranoid-schizoid
organization. “They” were the Devil, and “we” were the Angels. Both were equally omnipotent,
hence the absolutely terrible and despicable danger the world found itself in. These two blocs
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functioned in a completely mirror-image manner. My inclination was, of course, to think of

Freud and the “battle between Eros and Thanatos”, but Klein was necessary too.
At the time of the First World War, psychoanalysts had no conceptual apparatus for formu-
lating any ideas about wars like that. There were texts – I can think of Reich and others – but
there were no concepts for really looking at it. To have some sort of basis, I needed, as it were,
two legs. One was the conceptualization of the death instinct, and the second was Klein’s
theory of the paranoid-schizoid position and the transition towards the depressive position –
including the whole area of splitting and projective identification, identification with an ideal
object, fighting the bad object and projecting all the badness outside. Thanks to those two
conceptual tools from Freud and Klein, by the end of the Second World War we did have a
conceptual apparatus that helped us to define what was happening between the two blocs in
what we then called the Cold War.
(Tape 7, side A, 13 March 2004)

The ever-increasing threat of complete destruction

After the Second World War, the nuclear arms race between the Soviet Union and the United
States produced enough bombs to blow up the planet many times over. And all that under the
pretext of greater security. Exploding only part of that arsenal would bring about a nuclear winter
with, in all probability, no survivors. What are we doing to counter that danger?
Many seem happy with the idea that mutual deterrence will be enough to prevent such a
catastrophe. Deterrence, however, implies a constant search for a new equilibrium, so that the
nuclear arms race turns into a vicious circle. Therefore, far from being reassuring, the theory of
mutual deterrence could actually lead to our own destruction.
Psychoanalysis can shed light on such issues, because it can help us understand why the theory
of deterrence could well lead to annihilation. The idea of deterrence implies a wish to be stronger
so as to frighten the enemy and block any attempt at aggression. But what would be the reaction of
a frightened enemy? That is impossible to predict. In other words, it is because it is based on fear
that the nuclear arms race actually increases the risk of instability. “Preparing for war on both sides
promotes the likelihood of a pre-emptive strike out of fear and the equilibrium of a system of mutual
deterrence is inherently unstable” (Segal 1987: 4).

The vicious circle of hatred and fear

Psychoanalysis is very familiar with the vicious circle of hatred and fear: hatred leads to fear
and fear to hatred. That said, our clinical experience teaches us also that destructive and self-
destructive drives can be modified when individuals can get some insight into their motives and
visualize the consequences of their actions on others and on themselves. However, as regards
nuclear warfare, powerful defences are raised against any awareness of danger. Denial is the
dominant mechanism – denial of the danger and of our own fear. To this is added a particular
form of denial and splitting, described by Freud, thanks to which we retain intellectual knowledge
of reality but divest it of emotional meaning. That attitude explains why people in their vast
majority know of the threat posed by nuclear weapons but do not take any active steps to change
the situation. In addition, the fact that manufacturing nuclear weapons is usually kept secret –
governments are apprehensive of public opinion – contributes to reinforcing denial of the danger.

Demonizing and despising the enemy

We all tend naturally to disguise our own aggressiveness. We hide it “for security reasons” by
having recourse to projective mechanisms that lead to an increase in persecutory feelings: “It’s not
our fault, it’s theirs!” The enemy is presented as the devil. Margaret Thatcher spoke of the Soviet
Union as “our hereditary enemy”, and Ronald Reagan called it “the evil empire”. Similarly, for the
Communist world, capitalism was the worst of all evils.
In genocide, another element is added – contempt for the victims, who are presented as
144  ,     

subhuman or not even human at all. The corollary of that attitude is that contempt for other
people makes us ourselves inhuman.
From a psychoanalytic point of view, this kind of functioning corresponds, in individuals,
to the regression from a more developed stage to one which is more primitive. The more developed
stage here is what we call the “depressive position” and regression leads back to the “paranoid-
schizoid position”. The depressive position is characterized by the capacity to recognize one’s
own aggressive drives, to experience guilt and mourning and to function in reality with the wish to
make reparation. Regression to the paranoid-schizoid position is characterized by such mechan-
isms as denial, splitting and projection.

From individual regression to that of the group

What psychoanalysts have observed in clinical situations with individual patients can also be
applied to groups. According to Bion, groups can function in various different ways. The “work-
group” has a constructive function because it is reality-oriented and can contain the psychotic
phenomena that occur within it. However, in situations of excessive anxiety, a group may behave in
a destructive and self-destructive manner which, in an individual, would be called mad. Since this
kind of group functions on the basis of a guiding principle shared by all of its members, Bion calls
this a “basic assumption” group. Segal gives as a particularly worrying example of this kind of
group the born-again Christians, a movement which flourished in the United States during the
1980s. This group actually recommended a pre-emptive nuclear attack on the Soviet Union.
Thanks to this Armageddon – God’s war – the born-again Christians would cleanse the earth of
all evil and pave the way for peace and happiness. It is astonishing that some governments shared
these mad ideas, denying the disastrous outcome of nuclear war.
In every group situation, leaders play an important part because they contribute to an overall
feeling of safety within the group. In addition, when a group functions in a psychotic way, it tends
to throw up leaders who represent that shared psychotic element, as history has so often shown.

The group: for better or for worse

Hanna Segal: The group both generates psychosis and helps to deal with psychosis, because
group formation is also based on love, on giving up one’s own selfishness and developing
concern for the group. We start life as a group, in the initial stages as a baby at the breast. The
baby overcomes its ruthlessness with the breast, then the whole family comes into the picture,
and the baby’s concerns widen. So there is something very positive in group organization
which protects us from the combination of fear and hatred. It also sort of socializes us, or
socializes our psychosis, which is the dangerous part of ourselves, the part Bion wrote about.
In certain situations, it can be a matter of the tail wagging the dog.
For example, so long as a country lies in disputed territory, it’s a good thing to have an army
because you have to be safe. I have had many discussions with Air Commodore Mackie about
how important the feeling of security is socially. It’s OK so long as the army serves the whole
social organism. Of course, people who join the army must in essence be paranoid and
combative – it’s one way of keeping them in place, and of organizing the security of the whole
group. But it can very easily get out of hand, because the group actually increases psychosis, it
doesn’t just control it. We know what happens when the army or church take over government.
People who know more about this topic are those who actually work with groups.
(Jacqueline Rose interview, 1990)

The threat of total annihilation

One of the consequences of the nuclear arms race is the production of great anxiety and the
setting up of massive defences to counteract this. For the first time in history, humanity has the
power of total self-annihilation. Beliefs such as Armageddon reveal almost nakedly the death
drive. Universal death is seen as universal salvation – the “Nirvana” aspect of the death drive, as
  ,      145

described by Freud: “requiescat in pace” would be another way of putting it. It follows that the
existence of atomic weapons can only awaken a schizophrenic view of the world, one of the
characteristics of which is the blurring of the frontier between reality and phantasy. “Omnipotence
has become real, but only omnipotent destruction” (Segal 1987: 7). We can henceforth, at the press
of a button, annihilate the world.
One of the worst consequences of the nuclear danger is that the idea of annihilation of
humanity destroys the possibility of what Segal calls symbolic survival. In natural death or even in
conventional warfare, men die with the conviction that they will survive symbolically through their
children, through their grandchildren, through their work or through the civilization itself of
which they are part. That attitude is a sign of maturity, writes Elliot Jaques: “Coming to terms with
the prospect of one’s own personal death is a necessary step in maturation and in giving full meaning
to life” (Jaques 1965, quoted in Segal 1987: 7). The prospect of nuclear war makes difficult a
growing acceptance of death and symbolic survival, because it produces terror of a different kind.
Confronted with the fear of annihilation, our schizoid defences increase and we regress to primi-
tive kinds of relationships that exclude empathy, compassion and concern both for other people
and for ourselves.

The loss of “symbolic survival”

JMQ: You have said that one of the things that has changed as regards the nature of terror
since the advent of nuclear weapons is the fact that we have lost the possibility of symbolic
survival. That’s a pretty original idea.

Hanna Segal: Yes, it is, but I’m not the only one to have said that. An American called Robert
J. Lifton worked a lot on the idea. The main point is that acceptance of death is needed for life
to be meaningful, otherwise we live in cloud cuckoo land. If we can’t accept our death, we can’t
really face any other reality. In a way – strangely enough – the death instinct is full of destruc-
tion yet death is not viewed as the normal end of life; it is seen as an effect of the death instinct.
And then either we go to Heaven – if we’re on the right side – [. . .] or, if you’re on the wrong
side, well, you’re destined for Hell. So that there is really a continuation – there is no true
acceptance of the finality of things, i.e. that there is neither Hell nor Heaven – it all just comes
to an end!

JMQ: Would you agree that Western civilization is more than ever under the impact of the
conflict between life and death?

The death instinct is present everywhere. It invades everything now. You know what Euripides
said: “Whom the Gods would destroy, they first make mad.” Nowadays, we have an anti-mind
civilization. It goes also with sexual perversions. Normal sex is perverted – it’s no more part of
the life instinct of forming a couple, creating a family – all sorts of distortions are now possible.
All of this is an attack on the mind and on human relationships.
(Tape 7, side A, 13 March 2004)

“Nukespeak” – when language itself becomes meaningless

In all wars, there is a distortion of language, the aim of which is to cover up the absurdity of the
destructiveness of what is being carried out. The idea is to remove any aggressiveness from warlike
impulses so as to make them more acceptable. For example, if we take the term “nuclear deter-
rence”, we can see how, over the years, it has completely changed its meaning. Initially, possessing
an atom bomb was meant to discourage any attack from another country which did not have the
atom bomb. But once the potential enemy also had the atom bomb, there was a kind of equilibrium,
so that each would deter the other. What if more and more countries began stockpiling nuclear
weapons? More recently, the idea of deterrence has changed again, when some people began to
speak of a “rational nuclear war” and of “flexible response” – another attractive phrase invented
to cover the change from a defensive posture to the aggressive use of strategic nuclear weapons.
146  ,     

The same is true of the expression “Star Wars”, which conjures up the picture of a war in space
that would not affect our planet in any way.

The fragmenting of responsibility

Given that there are no clearly defined areas of accountability as regards nuclear weapons,
responsibilities are fragmented – a mental phenomenon typical of schizophrenia. For example, it is
impossible to hold any one government accountable for the proliferation of nuclear weapons,
given that developing programmes of this nature extends over several decades, during which
governments come and go – no one government, therefore, can be held responsible. In addition,
the military–industrial complex increasingly acquires its own dynamic, beyond the control of
governments, whether in a capitalist or in a totalitarian system. All these factors contribute to the
fragmentation of responsibilities not only as regards the development of this kind of weapon but
also with respect to the increasing number of command centres – the number of army com-
manders authorized to press the nuclear button is increasing, and they are deployed in many
different locations. The danger of nuclear warfare has increased in recent years because of the risk
of proliferation: an ever greater number of countries or groups may well come into possession of
such weapons.

Mechanization and dehumanization

The growth of technology gradually leads to depersonalization and dehumanization. Pressing a
button is enough to annihilate parts of the world that we have never seen. From a psychoanalytic
perspective, this too has to do with mechanisms such as denial and splitting. Further, counter-
attack response is being delegated more and more to highly sensitive machines – for example, the
nuclear early-warning system – so that the danger of an unstoppable nuclear exchange can only
increase. Having recourse to machines with no human control generates in each of us feelings of
increasing terror and helplessness. We protect ourselves against such anxiety by denial and projec-
tion: we say that there is nothing we can do about it – denial – and that the real responsibility lies
with the government or with the military – projection.

Is the situation hopeless?

According to Segal, we should nevertheless remain hopeful. In individual analyses, we learn that
when drives and defences are taken over by the death instinct, hopeless situations are the result.
But we learn also that destructive and self-destructive tendencies can be reversed, so that more
constructive tendencies can come to the fore. In normal development, the life drive (Eros) can
integrate the death drive and turn it into useful life-promoting aggressiveness. It is in situations of
acute anxiety that the vicious circle between the death drive and the defences against it precludes
any such movement towards integration.
In 1930, Freud was already envisaging the possibility that different groups might exterminate
one another until there was no-one left. He argued that the fateful question was whether and to
what extent the development of civilization would allow the human species to master the conflicts
linked to the need for living together. These conflicts, he wrote, are closely bound up with the
aggressive and self-destructive drives that are part of every human being (Freud 1930a [1929]).

What role can psychoanalysts play?

Firstly, we must look into ourselves without turning a blind eye: even though we are psycho-
analysts, we are in this respect like other human beings; we have the same destructive and self-
destructive drives, we use the same defences and we have the same desires. We have to keep
ourselves informed of the facts not only of external reality, but also of internal psychic reality:
“We must face our fears and mobilize our forces against destruction” (Segal 1987: 10–11).
Secondly, we have a specific contribution to make. Thanks to our clinical work, we are familiar
with mechanisms such as denial, splitting and magic omnipotent thinking. We should therefore be
  ,      147

able to contribute something to the overcoming of apathy and self-deception in ourselves and in
others. “We who believe in the power of words and in the therapeutic effect of verbalizing truth must
not be silent” (1985: 11).

Second period (1990–1991)

From the collapse of the Soviet Union to the Gulf War
The search for a new enemy
Segal, H. (1997c) “From Hiroshima to the Gulf war and after: socio-political expressions of
ambivalence”, in J. Steiner (ed.) Psychoanalysis, Literature and War. Papers 1972–1995, London
and New York: Routledge (pp. 157–168). This chapter contains material from two articles:
Segal, H. (1992) “The achievement of ambivalence”, Common Knowledge, 1: 92–104 and Segal,
H. (1995) “Hiroshima, the Gulf War and after”, in A. Elliott and S. Frosch (eds.) Psycho-
analysis in Contexts: Paths between Theories and Modern Cultures, London: Routledge.
Segal, H. (2002b) “Not learning from experience: Hiroshima, the Gulf War and 11 September”,
International Psychoanalysis, 11(1): 33–35.

Missed opportunities
Hanna Segal: Then came perestroïka and we wrote a lot about it – about the missed opportun-
ity, because perestroïka was the time when we realized that this fantasy world, the Cold War,
had really fallen apart – there was no enemy any more. That could have been used in very
perceptive ways. Instead of which, we took it as a triumph of our superior power – I saw it as a
kind of violent negative therapeutic reaction. There was a bit of getting together on mutual
projects, and I – no, I’ll say “we”, because we discussed it a lot even though I did most of the
conceptualization – we put forward several ideas. If we did stop this split then we would have to
face up to our own unemployment, our own guilt about unjust wars, for instance Vietnam, our
own guilt about colonization, and our own internal problems. That’s what happened in the
other war – Galtieri and Thatcher (the Falklands War): they both felt completely threatened as
regards their power. Thatcher had the lowest ever rating of an incumbent Prime Minister, yet
the moment the war started she won the election. We went into all that in our discussions, and
of course we predicted the Gulf War. One judges the validity of any scientific theory very much
on its power of prediction. We said: “Look, if we don’t change our attitude to perestroïka, on
either side we are bound to have another war.” We needed another enemy – which then
became the Asians. Of course economic factors came into it too, unfortunately for the oil-rich
countries. Iraq’s disaster is that it has so much oil.
Then came the second phase. We wrote papers. Again, I say “we” because there are many
unpublished papers – Geoffrey Baruch wrote a lot about the manic defences in this situation:
we employ powerful manic defences against the depressive position. That was when we
predicted the Gulf War – except we never thought it would be Saddam Hussein because he
was the darling of both sides in his opposition to Iran. He was a friend until he massively
gassed the Kurds – and we were the ones who supplied him with the wherewithal to do so. In
my view, we lost the Gulf War, but that was completely denied.
Now the situation really has changed – there are no longer two blocs. It’s the bloc of the
American/British and even European imperialism – we’ve got the power, now, and we have
GOD on our side! All of them are religious fanatics. God is on the side of the big battalions. But
there is a tremendous rebellion against that; I really don’t think the Islamic world was anywhere
near united enough, rich enough, to represent a threat. The threat was to global capitalism.
You see, what are the real rogue countries? Not those that have a horrible record like
Saddam Hussein, because we still have among our allies some equally awful people. I think
that the worst rogue states with weapons of mass destruction are America and its little vassal,
Great Britain. These are the rogue states. If you define a rogue state as one which threatens
world peace with bloodthirsty dictatorship, one where nothing is banned, one where they give
themselves the right to use, pre-emptively, nuclear weapons – what state could be more of a
rogue than those two?
148  ,     

JMQ: Was the group Psychoanalysts for the Prevention of Nuclear War active at that time?

Well, it was like this. The group was extremely active until perestroïka, and then people said,
“That’s it! Now we’ve got peace, so forget about it.” As a result, the membership has dwindled
completely.
(Tape 7, side A, 13 March 2004)

Saddam Hussein: the new enemy who fitted the bill

Sensing that in the immediate aftermath of the disappearance of the Soviet threat a new danger
was looming for the Western world, the different groups that were campaigning against the danger
of nuclear weapons published repeated warnings in the media: if we do not have a change of
mentality and refuse to take the new political and military situation into account, we will soon
start looking for a new enemy.
Unfortunately, these warnings went unheeded. Perestroïka did not last very long and the
Western powers could not agree on nuclear disarmament. Quite the contrary, in fact, they
embarked on a search for a new enemy in order to justify their arsenal and its constant moderniza-
tion. Saddam Hussein fitted the bill admirably, because the Iran–Iraq war had just ended and
Saddam himself was looking for a new enemy.
Segal quotes Einstein who said that with the advent of atomic power, everything had changed
except our way of thinking. In a way, she says, he was of course right – our way of thinking has
certainly not changed for the better.

Psychoanalysis and conflicts within wider society

There is quite a widespread opinion according to which psychoanalysts are authoritative only
when they talk about their clinical work and individual psychology. That is not Segal’s opinion;
she believes that psychoanalysis has to do with the human mind in all its dimensions – hence, she
argues, it is quite legitimate to explore the political and social aspects of the mind. In particular,
psychoanalysis has a significant contribution to make to the study of conflicts between construct-
ive and destructive impulses in individuals; her experience in this domain enables her to shed light
on the part played by the destructive forces that are prevalent in social and political life.

The nature of ambivalence

In her 1997 paper, Segal emphasizes above all the conflict involving ambivalence between love and
hate, which is one manifestation of the conflict between the life and death drives. She goes back to
what she had written in 1987 about the transition that takes place not only within individuals but
also in group behaviour. That explains why a group can function in a highly developed way – the
“work-group” – or in a primitive and psychotic manner, as in basic assumption groups. Here,
however, Segal goes even further in her study of group functioning. She explores in detail the role
of love and hate in the transition from the paranoid-schizoid to the depressive position, and
discusses ambivalence and its vicissitudes.
Segal observes that, for Melanie Klein, the conflict between love impulses and their destructive
counterparts is experienced from the very beginning of life in relation to objects, and more particu-
larly to the mother’s breast. There is an immediate splitting between negative experiences, which
are attributed to the hated object, and positive experiences, which are attributed to the good
object. This early phase is closely bound up with ambivalence between feelings of love and hate,
hence its designation “paranoid-schizoid position” because of the split that separates idealized
experiences from persecutory ones.
When projection decreases and a more realistic image of self and object is built up, the infant
becomes aware of his or her ambivalence; mother is perceived as a whole object, in other words as
a person who both satisfies and frustrates, one who is both loved and hated. This phase is called the
depressive position, because awareness of ambivalence brings with it the threat of losing the object
  ,      149

and the depressive feelings associated with that. This is a fundamental turning point in emotional
life: “Guilt replaces persecution, and this is of great importance because persecution has no reso-
lution: hatred brings persecution and persecution brings hatred” (Segal 1997c: 159). However, when
ambivalence is consciously acknowledged, aggressiveness is felt to be damaging the object that is
also needed and desired. This new situation brings in its wake not more hatred but a mobilization
of love as well as the wish to repair and restore the object. At this level, aggressiveness is not absent
but it becomes proportional to what causes it, as do the guilt feelings that are attached to it. This
process constitutes the foundation for constructive sublimation. It must be said, however, that
awareness of ambivalence, guilt feelings and the fear of losing the object are experienced as
extremely distressful.
In other words, the depressive position leads to a truly fundamental re-orientation towards
reality, internal as well as external. We begin to take responsibility for our own impulses, and this is
a crucial stage in development. On the other hand, any flight from ambivalence brings about a
regression to primitive mechanisms typical of the paranoid-schizoid position – denial, splitting,
projection, fragmentation. Again, observations from our clinical work with individual patients can
be applied also to the manner in which groups function.

Group behaviour
Whether we like it or not, we belong to a great variety of groups. We choose some of them, while
our very birth ties us to others such as social class, country of origin and religion.
What has psychoanalysis done to develop our knowledge of the way in which groups function?
In Group Psychology and the Analysis of the Ego, Freud (1921c) says that group functioning is
governed by the libido and that its aim is to reach sufficient harmony so that it can accomplish its
task. This constructive process, however, may be distorted by destructive impulses arising from the
death drive. Although Freud was concerned about the danger that the world was facing given the
rise of Nazism, as he showed particularly in his correspondence with Einstein, Segal says that
she is surprised by the fact that in the 1930s so few psychoanalysts publicly expressed concern over
the increasing risk of war and destruction. After the Second World War, however, things changed,
and several psychoanalytic papers about the war and the rise of the Nazis have been published.
From the 1940s on, psychoanalysts began working directly with groups, and this furthered our
understanding of the phenomena which occur in such a context. Generally speaking, we tend to
project into the group parts of ourselves that we find difficult to cope with individually; since these
are usually the most disturbed – i.e. psychotic – parts, we tend to project them first into the group.
In normal circumstances, when the overall atmosphere is constructive, realistic functioning within
the group has the upper hand, so that these psychotic aspects are kept firmly under control.
Groups, however, do tend to behave in a way that would be considered mad if any normal
individual did the same thing. For example, most groups have a grandiose and paranoid self-
image, and they are capable of giving themselves over to outbursts of destructive aggressiveness
that no single individual would ever contemplate.
Bion (1961) gave a new fillip to the psychoanalytic understanding of how groups function. He
argued that our psychotic aspects merge with the group identity, to such an extent that we do not
feel ourselves to be mad because our opinions are acceptable to the group as a whole.
A large group – a state or a nation, for example – may function overall in that manner, or it may
delegate such functions to subgroups such as the Army or the Church. When a group becomes too
powerful – as with fascist, communist or nationalist groups – basic assumption group mentality
becomes more and more widespread, so that it begins to function in a destructive manner.

Political groups are even more dangerous

The prevalence of psychotic processes over constructive work makes political groups particularly
dangerous, whether they are based on nationalism or on some specific ideology. The reason is that
the aim of their work as a group is less well-defined. When a group which has a specific and well-
defined aim – like a research group in a scientific laboratory, for example – allows itself to be drawn
towards psychotic assumptions, it quickly becomes obvious that it cannot carry out its work
properly. This is not the case with political groups, which are easily dominated by feelings of
superiority and guided by the firm belief that they have a messianic mission to accomplish. To
150  ,     

these various factors one must add the pursuit of power, a tendency that is particularly active in
political groups; this tendency is based on primitive drive-related aims.
In fact, politics is always involved in every sizeable grouping. “It is an unrealistic ideal to think
that one can have an organization or a society without politics” (Segal 1997c: 163). In political
groups, there are more tensions that are likely to lead to destruction as a result of rivalry and the
pursuit of power. When the group functions properly, these tensions are resolved and its members
work towards the common goal, as in a properly functioning family in which love and kindness
can contain and transform violence and hate. The following maxim does not apply to political
groups: “Too much politicking will not be tolerated because it will disrupt the work” (1997c: 163).
After all, the only task a political group has is to be in politics. In addition, such a group tends to
choose as its leader someone who conforms to its general orientation – in other words, to the same
pathological megalomania that permeates the group. That is why “there is a dangerous interaction
between a disturbed group and a disturbed leader, increasing each other’s pathology” (1997c: 163).

The role of guilt feelings in the origins of war

Psychoanalysis shows us also the role of guilt feelings not only in the mental life of individuals but
also in the behaviour of groups and nations. In addition to the feelings of guilt linked to a nuclear-
oriented mentality, it is the case that wars are often started as a defence against feelings of guilt
arising from previous wars, as the psychoanalyst Franco Fornari has shown (1966). For example,
in the United States, feelings of guilt linked to the Vietnam war went unacknowledged for a long
period of time, both as regards the damage done to the enemy and with respect to the humiliation
and setback which that war meant for the United States itself. These unacknowledged feelings of
guilt were no doubt one of the factors that made the Gulf War inevitable, in order to dispel the
depression that followed on from the war in Vietnam.
When she wrote her paper in 1997, Segal noted that the Gulf War had already been forgotten,
as though it were ancient history.

There is a universal denial of what we have done and what the consequences are. The countless
victims, the devastation of the whole area and the continuing human and ecological disaster is
ignored. The guilt remains unacknowledged and the dangers of such a stance remain with us.
Those who do not remember their history are bound to repeat it, but facing the reality of history
exposes us to what is most unbearable. This is particularly difficult in groups where the task is one
of admitting that we made a mistake of vast proportions and have to take responsibility for the
consequences. But unless we do that, our manic and schizoid defences will make us blind to these
realities and lead us to further disasters. (1997c: 166–167)

Third period (1991–2001)

From the Gulf War to 11 September 2001
“Those who don’t remember their history are condemned to repeat it”
Segal, H. (2002b), “Not learning from experience: Hiroshima, the Gulf War and 11 September”,
International Psychoanalysis, 11(1): 33–35.

An extraordinary impact
Why did the terrorist attacks of 11 September 2001 have such a major impact? Segal asks herself
the question, thinking of other crimes against humanity that have caused innumerable victims – in
Rwanda, for example, and the former Yugoslavia. According to Segal, the trauma of a terrorist
attack has an additional factor: “the crushing realization that there is somebody out there who
actually hates you to the point of annihilation and the bewilderment that that causes” (2002b: 33). We
may recall that one of President Bush’s first reactions was similar to that of anyone caught
up in the shock of a trauma: “Why us? We are good people.” Segal argues that the attacks on the
Twin Towers and on the Pentagon had a specific symbolic impact because it awakened the most
  ,      151

primitive fears – the suicide bombers had challenged the military, financial and technological
omnipotence of the United States. “I, with my little knife, can puncture your high-flying balloons and
annihilate you” (ibid.).
Segal warns us: “Those who don’t remember their history are condemned to repeat it” (ibid.).1
The September 11th attacks reminded her of the Gulf War, which took place some ten years
before. “When I listen to Bin Laden and Bush exchanging boasts and threats, I am reminded of similar
exchanges between Bush Senior and Saddam Hussein” (ibid.). The United States seem to have
forgotten that the Arab fundamentalists they had used to carry out their own dirty work – they
called them “our sons of bitches” – were the same people who turned against them. How can we
even imagine that the massive bombing of Afghanistan in retaliation for September 11th is the best
way to a new world of freedom, peace and democracy?

Understanding history in the light of psychoanalysis

It is not just a matter of remembering history but of understanding it. To grasp the chaos and
horror of the period after 11 September 2001, we have to understand something of its roots.
According to Segal, the advent of nuclear weapons brought about a change in our mentality, as
she showed in one of her earlier articles: “The threat of nuclear annihilation profoundly changed the
nature of our collective anxieties, turning the normal fear of death and understandable aggression into
the terror of actual total annihilation” (2002b: 33). Going back to her earlier ideas, Segal shows that
psychoanalysis helps us to have a better understanding not only of psychosis but also of group
phenomena. She had already argued that the Cold War, for example, with its confrontation
between the Soviet bloc and the West, was based on typical schizoid mechanisms such as denial,
splitting and projection. That attitude soon led to dehumanization, fragmentation and the
distortion of language and communication. In other words, faced with the threat of nuclear
annihilation, a deep-rooted psychotic process took over and determined both group thinking and
our own reactions.

The fragile equilibrium of the Cold War

During the Cold War, the “basic assumption” of the group was that war had become impossible
because the two opposing blocks were too afraid of mutual annihilation. Not only was the nuclear
threat always present, but also the arms race increased fear and hatred – the very psychological
factors that can lead to war. To that effect was added that of war by proxy. The two great powers
could avoid a direct confrontation by attacking each other indirectly through their support of
factions engaged in regional conflicts and acts of terrorism. That, says Segal, led to even more
fragmentation and to the very anxiety that provided a cradle for terrorism.

Looking for a new enemy

With perestroïka, the equilibrium that had existed during the Cold War between the Soviet bloc
and the US-led West collapsed. “We could now recognize, if only briefly, that our belief in an evil
powerful enemy was in fact delusional” (2002b: 34). It was an all-too-short time of hope, a possibil-
ity of changing attitudes – but it did not last. NATO went in search of a new enemy to justify its
continued military power. So it transpired that, despite the disappearance of the supposed Soviet
threat, Western countries could not even conceive of nuclear disarmament. Quite the contrary,
indeed – nuclear weapons continued to be fine-tuned, just as though nothing had happened.

Manic defences and triumphalism

In the 1990s, we in the West witnessed a reaction typical of the one we see in clinical practice with
some patients – when they start to get better, they feel depressed because they are faced with the
reality and the confusion that are brought about by their illness. “We are familiar with those
moments of hope, clinically, when a paranoid patient begins to give up his delusions, or when an addict
begins to give up the drug and get better” (2002b: 34). Instead of continuing to improve, such
152  ,     

patients relapse into illness. This is what, in psychoanalysis, we call a negative therapeutic reaction.
Formidable manic defences can be mobilized against this depressive pain, with a revival of meg-
alomania and in its wake a return of paranoia. According to Segal, the same kind of phenomenon
occurred when the Soviet empire collapsed: when we stopped believing in the “evil empire” we had
to turn to our internal problems – unemployment, economic decline and industrial disputes. The
West then turned to triumphalism, so as to forget the problems that we had to face: perestroïka was
felt to be the triumph of our superiority. Our nuclear mentality had not changed – we had to find a
new enemy – this time, one that we could really crush.

The Gulf War: a pyrrhic victory

During perestroïka, Segal and her colleagues had publicly issued warnings about the danger of
finding a new enemy if there was no change in our nuclear mentality. Events were soon to prove
them right: the Gulf War began. “Apparently we won, but that pyrrhic victory was soon forgotten and
a formidable denial set in. [. . .] The power of such monumental denial is not only destructive but self-
destructive, it destroys our memory, our capacity for realistic perception and all that part of us capable
of insight, love, compassion and reparation. And we do not learn from experience” (2002b: 34).

Delusions of omnipotence
After the Gulf War, some of Segal’s colleagues who were opposed to nuclear weapons wrote
papers on the increasing danger of another war and were alarmed at a change of attitude: tri-
umphalism turned into a more explicit megalomania. That change was perfectly summarized in a
statement by General Powell: in his opinion, technology had become so sophisticated that the
United States could crush any enemy, no matter where, simply by dropping bombs from on high,
without the lives of any American soldiers being put at risk. According to Segal, that myth of
invincibility was shattered on 11 September 2001.
From that point of view, the terrorist attacks of September 11th were highly symbolic. Segal
says that we have been precipitated into a world of confusion and psychotic terror – we no longer
know who are our friends and who are our enemies. Old enemies like Soviet Russia are now our
friends, and old friends have become enemies – Chechnya, for example. The same confusion and
fragmentation can be seen in the Arab world. “This is the most primitive terror in our personal
development – not ordinary death, but some vision of personal disintegration imbued with hostility.
And the situation is made much worse when God comes into the equation” (2002b: 35).

What next?
Segal’s article was published in 2002, a few months before the invasion of Iraq. In her view, the war
in Afghanistan and the invasion of Iraq must henceforth be added to the list of pyrrhic victories,
thus confirming the hollowness of the “crusade against terrorism”. Segal says that we are at a
crossroads; the choice lies between remembering the lessons of the Gulf War and blindly repeating
our disastrous mistakes. The belief that we can obtain freedom and democracy by using force and
destructiveness is just as illusory as other fundamentalist beliefs. “The real battle is between insan-
ity based on mutual projections and sanity based on truth” (2002b: 35).

Fourth period (2001 and after)

The consequences of the September 11th attacks
Pessimism and / or optimism?
Segal, H. (2003b) “From Hiroshima to 11th September and after”, Psychodynamic Practice, 9:
257–265.
  ,      153

A demotivating effect on militants

JMQ: And after 11 September 2001?

Hanna Segal: Well, after 11 September 2001, Bin Laden achieved his aim – because his aim
was disorganization and polarization. And of course he did achieve that. For Bush it was a
present from heaven because for two years he was planning a war against Iraq and Iran and
other places – the “rogue states”, as he and Blair called them – and that gave him the most
marvellous opportunity of all.
He grasped it immediately. One of the things that always accompanies this kind of thing is
telling lies – it’s part of the schizoid mechanism. You tell lies, you tell stories, you invent things.
It’s quite clear that Saddam Hussein had no weapons of mass destruction and that he had no
link with Bin Laden at all. He had nothing to do with the fanatic Islamist thing and was never
into terrorism of that kind. His terrorism was genocide and things like that. Even if he had
wanted to invade the world, he had a ruined country with no weapons left. So there was all this
mythology playing on fear, creating a monster. Obviously Bush and Blair were aware of it – the
security services told them that any attack on Iraq would increase the threat of terrorism. But
they didn’t care about that, they had their excuse for invading another country, for colonizing it
and grabbing its oil resources. Bin Laden was delighted that they invaded Iraq. Terror only
produces more terror.
I think that psychoanalysts, as always, are there to expose lies and the underlying motives.
Here we, the scientists, the economists and Marxists can go together. “That Iraq was a threat
to world peace is a lie – that Saddam was the source of terrorism is a lie. The true motivation
was this and that – and would you go along with that?” That’s the kind of thing we can say;
people know we tell the truth. People may be ambivalent, but they’re not basically bad, as it
were. When they’re confronted with a question such as: “Are you in favour of destroying
millions of people in order to get cheap oil?”, they’d say no; but it’s all too easy to arouse fear
because it touches on the unconscious, on identification, on the wish for revenge . . . So, you
see, all these group processes are so important, because groups are so much more savage
than individuals are.

JMQ: A psychotic functioning?

. . . A psychotic functioning with the sanction of the group, or of God in religious groups.
To return to what you were asking about the PPNW [Psychoanalysts for the Prevention of
Nuclear War]: it was very sad in a way, because when perestroïka came along our organiza-
tion just disappeared. “Things are OK now” – a complete denial.

JMQ: Is PPNW still ongoing?

Not quite to the same degree. I think now it’s more dispersed. There’s nothing we can do in
the present situation. Well, no, that’s not quite true, even in America. Recently, I was reading
Chomsky’s essays – he is usually so sharp, and pretty pessimistic as a rule. Well, he has
just said that he’s not pessimistic, because now Americans are so much more aware that
there is another world, and there are more protests now than there ever were during the
war in Vietnam. It’s the same here. I mean, when the war started we thought that the protest
movement would be very small, you know, simply because the war had started – but almost
two million people took to the streets. However, as I said, the PPNW has never been
revived.
(Tape 8, side A, 13 March 2004)

The authoritative opinion of one of the forefathers of the atom bomb

In this paper, Segal adds some new elements to what we knew of her ideas. She quotes the opinions
of famous scientists and politicians who have reached conclusions similar to those of Segal herself:
154  ,     

the threat that the nuclear arms race poses to the whole world has not diminished – in fact, it is
more important now than it ever has been.
Segal says she was pleased with the statement made by Professor Joseph Rotblat (2003), a
nuclear physicist and sometime laureate of the Nobel Peace Prize. The opinion of a scientist
working in the “core” sciences usually carries more weight with the general public than that of
psychoanalysts. In a conference held in January 2003, Rotblat observed that the situation which
followed the September 11th attacks did not appear out of the blue – the seeds were sown at the
very beginning of the nuclear age.
Rotblat, as Segal points out, knows what he is talking about. He was one of the pioneers in the
field of nuclear technology, one of the first to carry out research into the atom bomb with James
Chadwick in Liverpool in November 1939, two months after the start of the Second World War.
At that time, he agreed to collaborate on the project in the United Kingdom and later on the
Manhattan Project in the United States, because he thought then that only by possessing the bomb
could a Nazi victory be prevented. He soon realized that in fact it was not being developed in order
to deter Hitler, but with the intention of dominating the world after the end of the war. In the years
that followed, Rotblat realized the fallacy of the nuclear deterrent concept as it was drawn up
during the Cold War. Rotblat draws the conclusion that, in his view, the threat posed by the arms
race has never been greater than it is today. He is thus in agreement with Einstein, who stated that
our way of looking at the world changed completely with the arrival of nuclear weapons. That
view is shared by Hanna Segal.
Segal goes on to summarize what she had already stated in her earlier published work (see
above). She quotes the opinions of politicians and diplomats who have come to realize the threat
posed by the proliferation of nuclear weapons. She refers, for example, to statements made in 1982
by Robert McNamara, former US Secretary of Defence. When he took a second look at the
nuclear policy adopted by the United States from the 1960s on, he acknowledged that the threat
his country posed to the Soviet Union had quite clearly led the Soviet Union to go on fine-tuning
their own arsenal of nuclear weapons. The US ambassador George Kennan was shocked to
discover that, despite the disappearance of the supposed Soviet threat, Western countries did not
at any time contemplate nuclear disarmament. Quite the contrary: ongoing fine-tuning of this
kind of weapon has become an addiction, to use Kennan’s own words, with the pretext –
altogether fallacious – of having to modernize them.

Counting on the fraternity of human beings

Even though the threat posed by nuclear weapons is as great now as it was at the end of the Cold
War, Segal observes that activists campaigning against nuclear weapons are becoming increasingly
demotivated. Most organizations have seen a decrease in the number of activists and a gradual
decline in attendance at their meetings. There was, of course, a great sigh of relief in the 1990s,
with the wish to believe that everything would be much better from then on. At the same time,
however, the denial of any potential nuclear threat simply increased.
In the face of this loss of interest, we have to unite our energies and intellectual capacities to
take a stand against such a folly. Segal concludes her talk with a reference to the French Revolution
and its ideals of liberty, equality and fraternity. At present, liberty and equality are locked in
conflict. On the one hand, unrestrained liberty leads to chaos and to the exploitation and destruc-
tion of other people; on the other, unrestrained equality leads to the loss of individual liberty, to
the dehumanization of the world and to dragging everyone down to the lowest common denomin-
ator. “But the uniting factor is fraternity. Where love and mutual support and goodwill are the main
factors then liberty and equality can enter a fruitful dialogue and be reconciled. [. . .] We have
strength in fraternity” (Segal 2003: 265).

Should psychoanalysts take a political stance?

Avoid imposing our own opinions on our patients

Jacqueline Rose: Analysts seem to be very cautious about participating in public debate – I
presume for clinical reasons; but that may produce a sense that the analytic community is cut
  ,      155

off from the outside world. Can you say something about what you see as the appropriate
relationship, or limits to the relationship, between psychoanalysis and the public domain?

Hanna Segal: Psychoanalysis and politics is a very tricky issue. I understand the caution of my
colleagues because the first duty of any psychoanalyst is, as far as possible, not to impose his
or her own opinions, however strongly held they may be, on patients. One has to be aware of
one’s points of view. In some ways I find it is almost easier to analyse people from another
culture because you don’t unconsciously collude with cultural patterns which happen also to
be your own. So I don’t blame my colleagues for saying just don’t get mixed up in any of this.
On the other hand, I think psychoanalysis can have an enormous influence in an indirect
way – by throwing light on certain phenomena. That’s why the work of those in the Tavistock
Institute of Human Relations, or Bion’s work on groups, which to me is fundamental, are all so
important. Our influence has to be very indirect, but anything that draws people’s attention to
certain phenomena, or creates awareness and integrity, eventually percolates. For instance, in
England after the war primary school education, both nursery and elementary, was probably
the best in the world. Those were the days! I’m sure that a large part of that was due to the
influence of Susan Isaacs at the Institutes of Education, as well as to the gradual percolating of
her ideas.

Sometimes it is absolutely necessary to take a stand

There are certain situations in which an attitude of absolute non-engagement may lead to
living in an ivory tower. In Argentina, the so-called more classical analysts, and that includes
the Kleinians, were only concerned with what was going on in their consulting rooms – yet all
the time, outside, people were disappearing and being destroyed. Psychoanalysis ought to
have taken a stand. There are basic issues of human rights that go beyond politics where, in
my view, psychoanalysis has to make its position clear. It has to do also with what you analyse
– I just do not believe that you can analyse someone properly if thousands of people are
disappearing and being tortured without any of this coming into the material, apparently. It
would mean for me that there was something wrong with the analysis – the whole point surely
is that, if you take up the patient’s denial of internal and external realities, he or she can
thereupon become more aware of what’s going on in the outside world.

JR: In his book The Repression of Psychoanalysis: Otto Fenichel and the Political Freudians,
Russell Jacoby discusses the split between, on the one hand, the culturalists in America, with
their stress on family and politics, who discarded the classical concepts of psychoanalysis,
and, on the other, the classical Freudians, who held on to those insights but who tended not to
engage with political or cultural issues. Is this a pattern?

Reich was of course central to that. It is very difficult to integrate the two aspects without
causing confusion – they are different tools. What Marie Langer, whom I knew very well, and
Emilio Rodrigué, whom I supervised as a student, were doing was “psychoanalysis in the
service of the revolution”. I don’t think psychoanalysis can be in the service of any ideology,
whether it be a religion or a political movement, because psychoanalysis aims at the discovery
of psychic truths. On the other hand, as I say, there are issues, such as Nazism, on which it is
impossible not to take a stand. As individuals, many analysts – Muriel Gardiner, for example,
who was an underground courier – did an enormous amount, but in those days analysts didn’t
really have the conceptual weapons to make an analytical statement about what was going on.
Today, our knowledge of group mechanisms gives us a conceptual weapon for saying: “Look
here, in this group phenomenon, such and such is happening, take a good look at it.”

Analysing the patient’s political opinions

On the question of the couch and outside the couch. At a psychoanalytic symposium I
attended in Boston, the Americans were asking why it is that patients never bring up issues
about nuclear warfare or weapons in their sessions. I suggested that it may be because of the
way you analyse, because if you analyse just at the Oedipal level and don’t go into the
paranoias and terrors of death, then patients are much less likely to bring these political
realities into their analysis. One analyst at the symposium, Dr Jacobs, added that, in the past,
whenever a patient started talking about political issues, he (Dr Jacobs) would more or less
156  ,     

say that that was not what the patient was on the couch for. Whereas today, if a patient says “I
saw such and such a programme, but that’s not what I’m here for”, Dr Jacobs would say: “Why
don’t you want to talk about the political programme you saw?” So they’re moving in that
direction. For me, of course, the great decision was whether or not to go public – because it
does exert an undue influence on patients when they hear me outside the consulting room
expressing my views.

JR: You mean that if you go public on a political issue it affects your patients, because they
might identify with you or react against you?

It’s better if they react against you than identify with you.

JR: Better psychically but not politically in this case.

No, really, better even politically, because you can analyse the reaction and then you know that
if they do come to the same point of view, then it is their own. The worst thing that can happen
is that they become enthusiastic simply because you are. But I do want to say that Moses
Laufer, who, by the way, is a classical Freudian, and myself, as the co-founders of Psycho-
analysts for the Prevention of Nuclear War, thought that the issue was so important that the
risk of taking a public stand had to be accepted.

There are limits to the analyst’s counter-transference

JR: You say that the analyst must not impose her or his political convictions on the patient and
that, in the analytical setting, the analyst must be politically neutral, so I am always very
interested in those moments where that seems particularly difficult to sustain. In your
inaugural lecture to the Freud Memorial Chair at University College, London, you described a
patient who equated wealth with godliness and considered poverty to be a result of
fecklessness; that patient gradually came to recognize the unconscious greed behind these
attitudes and how crippling they were. It seemed that this was getting very close to saying that
a certain form of Conservatism rests on unresolved greed and persecutory anxiety.

My husband was Chairman of the St John’s Wood Labour Party, and he read them a paper on
envy as a determinant of socialist convictions . . . Well, they didn’t like that at all! You see, it
cuts both ways. Whatever the political opinion of your patient, it has to be analysed. Mind you, I
think I probably would not be able to analyse an out-and-out fascist, because I would feel
unable to deal with my counter-transference. A very good friend of mine, the French analyst
Jean Kestemberg, had an ex-SS guard in consultation who was troubled by the complications
that his sadism was producing in his marriage, but who otherwise wasn’t at all concerned
about his past; Jean just didn’t take that patient on. He told him quite simply: “Look, I don’t think
I am the right analyst for you.” I don’t know to whom Jean sent him, but he felt he just could not
cope with that. But otherwise my sort of left-wing patients are as much under scrutiny as my
right-wing people. My own left-wing tendency came under a lot of scrutiny in my own analysis.
(Jacqueline Rose interview, 1990)

A delicate relationship with the British Psychoanalytical Society

JMQ: Since 1985, you have been Secretary of Psychoanalysts for the Prevention of Nuclear
War (PPNW), created in 1983 after the British Psychoanalytical Society (BPAS) decided not to
affiliate en bloc to a “political” organization. What kind of relationship was there between the
British Society and the group of its members who were campaigning against nuclear
weapons?

Geoffrey F. Baruch: I think that the relationship between PPNW and the British Psycho-
analytical Society was similar in character to Bion’s observation of how the big group can
  ,      157

delegate (and thus get rid of) unwanted functions and problems to the small group. The
relationship was harmonious, up to a point. PPNW was allowed to use the administration and
the building of the Society as if PPNW was part of the Society, like one of its committees, for
instance the Applied Section in Psychoanalysis. But Ron Britton, who was very involved with
PPNW, questioned whether this “cosy” relationship weakened the PPNW’s capacity to act as
a pressure group. The relationship allowed the rest of the British Psychoanalytical Society to
create an illusion of safety in the feeling that “something is being done”. Also, the possibility of
debate among psychoanalysts who did not share the views of colleagues who were members
of PPNW was stifled by the marginalization of the whole nuclear issue. Indeed, behind the
respect and tolerance shown to PPNW by the British Society those analysts involved could be
thought of as the “nominated” activists who were looked upon as childish or adolescent,
overanxious and even cranky in their concern about nuclear weapons. And there is no doubt
that we responded by taking on the role of being the “enlightened”. In this way a peace
movement ghetto is created. So long as we stayed in this position we were tolerated. However,
when we didn’t play by the rules we were seen as threatening. I recollect that when the Gulf
War started, under the auspices of PPNW, I hired for a meeting the Ernest Jones Room, in the
premises of the Institute of Psychoanalysis in London, without having obtained permission
from the executive of the British Psychoanalytical Society (BPAS). I was “told off” for not
seeking permission since there was a worry that the charitable status of the Society might be
compromised if it appeared as though the Society and PPNW were the same organization
holding a political activity. From then on we were very careful to ensure the independence of
PPNW from the BPAS. I have to say that the position of the BPAS was no different from that of
other professional organizations, for example the British Medical Association, in keeping anti-
nuclear war organizations separate from their main bodies.

JMQ: It is really exceptional that so many psychoanalysts – a third of the BPAS membership –
militate for such a “political” cause. What was the atmosphere like in the early years of PPNW?

The early years of PPNW saw a great deal of constructive and creative activity. Workshops
and a number of open meetings were set up to discuss various aspects of the nuclear issue.
What was interesting in that time is the dialogue that took place between psychoanalysts
involved with quite eminent people from other organizations. These meetings were very well
attended. A PPNW Bulletin was regularly published, as was one for the international psycho-
analytic community.
By 1986 a feeling of disappointment began to creep into those involved in PPNW. There
was a feeling of not having made an impact on our colleagues. Membership of PPNW had
risen only a little above the original 132 out of a BPAS membership of 400. The workshops had
faded and there were only a dozen or so people who were working actively, some complaining
of feeling overburdened and unsupported. I remember speaking with Hanna Segal about the
development of PPNW and the wider psychoanalytic community and wondering whether she
was disappointed but in reply she said things had turned out much as she had anticipated.
The break-up of the Soviet Union in the 1990s hastened a growing apathy about the
nuclear issue everywhere, including among analysts still involved in PPNW. Nevertheless,
there was a small but active group of analysts whose commitment helped sustain PPNW.
Despite this apathy a number of papers were written at this time which presented new psy-
choanalytic thinking about the risks of nuclear war in the post Cold War period. What is striking
about them is a convergence of views, because they all concerned different aspects of the
manic defence, although the papers were written independently. In a paper I wrote in 1992, I
linked the use of triumph over the object as a denial of valuing and caring for the object with
some features of the international situation. For example, our inability to face depressive
concerns and guilt on the one hand and the excitement aroused by the weakness of Russia on
the other hand created a state of triumphalism among some leaders in the West. Russia
became the convenient focus on to which the weaknesses of our own societies, our sense of
inferiority and our guilt for failing to attend to our own social, economic and environmental
problems, could be projected. And if not Russia, then a new enemy, such as Iraq, had to be
found. This process of seeking enemies revives the paranoia that fuelled the Cold War. It
shows how entrenched the need to have nuclear weapons is and how difficult it is to give them
up when we seek and “create” enemies in the Third World, some possibly armed with nuclear
weapons. Jane Temperley (1992), a colleague in PPNW, was also impressed by the manic
158  ,     

excitement engendered by the end of the Cold War and the Gulf War. She thought that behind
this excitement lay omnipotent destructiveness.

JMQ: Is PPNW still active today?

No. But I would say it still has an existence although we don’t meet any more. Segal has given
papers and has been involved in panels at conferences convened following recent inter-
national crises, after 9/11 and the invasion of Iraq, which have provided an opportunity to show
powerfully that the same processes underlie these crises. Hence the danger from a nuclear
conflagration is as much present today as in the 1980s before the end of the Cold War. In 2003
before the invasion of Iraq there was a proposal to march at the very big demonstration in
London under the banner of PPNW. There was a lot of correspondence by email, but it didn’t
happen, it didn’t materialize. That was really the last time the old group came alive, but not
quite. My guess is that if there were a crisis, which would much more directly involve nuclear
weapons, the group would come alive. In other words, given the “right” crisis I believe the
group would reawaken.
(Interview, October 2006)

Geoffrey F. Baruch (London) is a member of the British Psychoanalytical Society.

 NOTES

1 HANNA SEGAL: A PSYCHOANALYTIC AUTOBIOGRAPHY

1. A Swiss federal councillor, at that time Head of the Ministry for Internal Affairs (author’s note).

2 PSYCHOANALYSIS AND THE AESTHETIC EXPERIENCE

1. An allusion to the subterranean cavity upon which Jocelin was attempting to build the spire.
(Footnote by Hanna Segal in the International Review of Psycho-Analysis.)

3 THE PSYCHOANALYTIC TREATMENT OF PSYCHOTIC PATIENTS

1. For reasons of confidentiality, clinical illustrations give only sufficient background material for
understanding the issues involved.

4 FROM SYMBOLIC EQUATION TO SYMBOLIC REPRESENTATION

1. In German “symbolische Gleichung: Penis = Kind ” (G.W. 14: 27; S.E. 19: 256). This occurs also
in “The Dissolution of the Oedipus Complex” (Freud 1924d; G.W. 13: 401; S.E. 19: 179).
2. See Birksted-Breen, D. (1996).

5 THE FUNDAMENTAL CONFLICT BETWEEN THE LIFE AND DEATH DRIVES

1. Quinodoz, J. M. (2001 [2002]).

10 NUCLEAR TERROR, PSYCHOTIC ANXIETIES AND GROUP PHENOMENA

1. Cf. “Those who cannot remember the past are condemned to repeat it” (Santayana 1905: 284).
 BIBLIOGRAPHY

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 NAME INDEX

Abel-Hirsch, Nicola, 117 Falstaff, Sir John, 31

Abraham, Karl, 40, 79, 93, 125 Federn, Paul, 46, 49
Aguayo, Joseph, 139–41 Feldman, Michael, 138
Alvarez, Anne, 114 Fenichel, Otto, 137, 155
Amati-Mehler, Jacqueline, 764 Ferenczi, Sandor, 15, 69, 76–7, 125, 138
Apollinaire, Guillaume (Apollinaris de Kostrowitzki, Flaubert, Gustave, 27
Wilhelm), 17, 133 Fornari, Franco, 150
Arnstein, Robert, 138 Frankiel, Rita, 138
Freud, Anna, 2, 11, 13, 14–15, 20, 109, 136–7
Bach, Johann Sebastian, 24 Freud, Sigmund, 2, 3, 5, 7, 12, 14, 15, 20, 21, 22–5,
Balint, Michael, 15–17 30, 31, 34, 36–7, 40–1, 44, 47–8, 54, 63–7, 69–71,
Baudelaire, Charles, 7, 9 74, 76–7, 78–88, 90–4, 96, 97–8, 101–3, 107–8,
Beethoven, Ludwig van, 24 116–22, 124–5, 128, 131, 143, 145–6, 149
Bell, David, 33–5 Fromm-Reichmann, Frieda, 49, 55
Berberian, Marygrace, 22
Berger, John, 35 Gallimard, Gaston, 7
Baruch, Geoffrey F., 147, 156–8 Galtieri, Leopoldo Fortunato, 147
Bicudo, Virginia, 114 Geissmann, Pierre & Claudine, 134
Bick, Esther, 114 Glover, Edward, 12–13, 50
Bin Laden, Osama, 151, 153 God, 32, 47, 52, 54, 135, 144–7, 152–3
Bion, Wilfred R., 42, 43–5, 49–50, 55–6, 64–5, 74–7, Goethe, Johann Wolfgang von, 35
78, 80, 88, 91, 103, 114–15, 119, 121–2, 135, Golding, William, 32
137–41, 144, 149, 155–6 Goya (Francisco José de Goya et Lucientes), 23,
Birksted-Breen, Dana, 73n2 80
Blair, Tony, 153 Graf, Herbert (“Little Hans”), 20
Brierley, Marjorie, 14 Green, André, 77, 79, 84–6
Britton, Ronald, 66, 75, 95, 138, 157 Grosskurth, Phyllis, 73, 93
Bush, George H. W. Sr., 151 Grotstein, James, 139, 141
Bush, George W. Jr., 150, 151, 153 Guernica, 37
Bychowski, Gustaw, 8
Hansen, Yvonne, 115
Campo, Alberto, 61 Harris, Martha, 114
Canestri, Jorge, 75–7 Hartmann, Heinz, 137
Chadwick, James, 154 Haynal, André, 17
Chadwick, Mary, 129 Heimann, Paula, 2, 12, 17, 18, 19, 50, 91
Chiland, Colette, 135–6 Hitler, Adolf, 2, 4, 9, 154
Condeveau, 6 Holmes, Richard, 38–9
Diatkine, René, 20, 136 Hug-Hellmuth, Hermine, 45
Dumas, Alexandre, 64 Hussein, Saddam (Saddam bin Hussein al-Takriti),
147–8, 151, 153
Eden, Martin, 79, 81–3
Einstein, Albert, 34, 148, 149, 154 Isaacs, Susan, 91, 97–8, 120–1, 155
Ellonen-Jéquier, Mireille, 56–61
Emmet, Dorothy, 11 Jacoby, Russell, 155
Jacobson, Edith, 55, 137
Fairbairn, Ronald W., 2, 11–12 Jones, Ernest, 25, 44, 63, 66–7
166  

Joseph, Betty, 20, 61, 79, 91, 95–6, 99, 109–10, 114, Rechardt, Eero, 84, 86
115, 137–8 Rey, Henri, 17
Jung, Carl Gustav, 44, 67, 125 Reagan, Ronald, 143
Junkers, Gabriele, 128–30 Reich, Wilhelm, 143, 155
Rickman, John, 17, 18
Kafka, Franz, 11 Rilke, Rainer Maria, 23, 32
Kernberg, Otto, 138 Riviere, Joan, 2, 15, 17–18, 91, 137, 139
Kestemberg, Evelyne, 106, 109 Rocha-Leite Haudenschild, Teresa, 114–15
Kestemberg, Jean, 106, 156 Rodrigué, Emilio, 155
Khan, Masud R., 15, 16 Rose, Jacqueline, 72–3, 144, 154–6
King, Pearl, 130 Rosenfeld, Herbert, 13, 17, 20, 42, 43–5, 50, 55,
Klein, Melanie, 1–3, 11–20, 21, 22–6, 33–4, 37, 40, 56, 61, 79–80, 91, 94, 103, 108, 115, 122, 134–6,
42–5, 48, 50–1, 54–6, 62–70, 72–4, 77, 76–7, 78–80, 139
83–5, 87, 90–105, 108–11, 113–17, 119–21, 130, Rotblat, Joseph, 154
134, 136–41, 143, 148 Rushdie, Sir Salman, 65
Klein, Sydney, 109
Kohut, Heinz, 16, 138 Sachs, Hans, 32
Kris, Anton, 137–8 Sandler, Anne-Marie, 16
Santayana, George (Jorgé Augustin Nicolás Ruiz de
Lacan, Jacques, 72–4, 77, 87–8 Santayana), 151n1
Lagache, Daniel, 74, 87 Saussure, Raymond de, 19–20
Laforgue, René, 7, 9 Schafer, Roy, 134, 137–9
Langer, Marie, 155 Schmideberg, Melitta, 13, 15, 50
Laplanche, Jean, 84–6 Scott, Clifford M., 13
Laufer, Moses, 13, 34, 142, 156 Searles, Harold, 55
Lifton, Robert J., 145 Segal, Paul, 2, 9, 18, 74
Little, Margaret, 15, 16 Segantini, Giovanni, 40
Loewald, Hans, 138 Shakespeare, William, 53, 133
Loewenstein, Rudolf, 137 Sharpe, Ella, 13
London, Jack, 79, 81 Shelley, Percy Bysshe, 38
Shylock, 31
Magritte, René, 23 Simon, Janine, 136
Manzano, Juan, 107–8 Sokolnicka, Eugenie, 2, 7
Maldonado, Jorge Luis, 86–9 Smith, Henry, 138
Mason, Albert, 137, 139, 141 Solzhenitsyn, Alexander, 59
Matthew, David, 2, 12 Spillius, Elizabeth, 13, 20, 104, 138
Meltzer, Donald, 40, 51, 61, 114, 115, 139 Spira, Marcelle, 19–20, 56, 90
Menzies, Isabel, 61 Spitz, René S., 19
Milton, John, 81 Stewart, Harold, 17
Molière (Jean-Baptiste Poquelin), 62 Steiner, John, 80, 104, 138
Money-Kyrle, Roger, 13 Steiner, Riccardo, 75–6
Stern, Daniel, 108
Ophelia, 45, 53, 133
O’Shaughnessy, Edna, 114 Tausk, Viktor, 47
Osowiecki, 5, 53 Temperley, Jane, 157
Thatcher, Margaret (Baroness Thatcher of
Palacio-Espasa, Francisco, 95, 99, 108 Kesteven), 143, 147
Picasso, Pablo, 24, 37 Thomas, Ruth, 13
Pilsudski, Jozef, 4 Turner, 61
Poznanski, Czeslaw, 1, 4 Tustin, Frances, 114, 115
Poznanski, Wanda, 1
Proust, Marcel, 2, 7, 23, 27–8, 30, 40, 133 Weinshel, Edward M., 138
Weintraub, Isabella, 1, 4
Quinodoz, Danielle, 18, 95 Widlöcher, Daniel, 40–1
Quinodoz, Jean-Michel (see also Interviews in Winnicott, Donald W., 2, 12, 13, 14–17, 35, 88,
Subject Index), 16, 80n1 114–15, 136, 138, 139
Wollheim, Richard, 33
Racamier, Paul-Claude, 57
Rapaport, David, 137 Zetzel, Elizabeth, 137
Ravel, Maurice, 37 Zola, Emile, 27
 SUBJECT INDEX

acting-out/acting-in, 16, 58, 60, 95, 106, 110, 112, “balance”, 104
116, 117, 121, 122, 133 “basic fault” (Balint), 15–17
aesthetic experience, 21–41; aesthetic values, 22; beauty, beautiful, 23, 31–2, 35, 37–8, 41
beauty and ugliness, 31–2, 37–8, 41; excellence in body, the, and artistic creativity, 39–40
art, 31; impact of, 24; and inhibition of creativity, British Psychoanalytical Society (BPAS), 1, 2, 14, 15,
21, 22, 25, 28–9, 44; and insight, 22, 24–5; 17, 21, 34, 35, 131, 135, 136, 139, 141, 156–8
integration, 37; and mental health, 33; philosophy
of, 33; role of the death drive, 32; Segal’s influence, California, 115, 134, 139
33–5; and sublimation, 30; and symbol formation, catatonic, 57–8, 87
29–30, 72; see also art, creativity Catholicism, 4, 6, 7
aesthetic pleasure, of the artist’s public, 30–1; Champel, 6
see also aesthetic experience Chelsea, 10
aggressiveness, aggression: and artistic creation, 23, child analysis, 18, 20, 91, 109–15; specific issues in,
38; and the death drive, 82, 84; and nuclear terror, 109–10; see also technique
143, 145–6, 149, 151; repressed in dreams, 157; in childhood experiences, 1, 3, 6, 27, 58, 95–6, 101, 127,
sadism, 16; and symbol-formation, 70; towards the 133, 140
mother, 101; towards the sexual parental couple, Cleveland, Ohio, 138
33; turned against external objects, 101 communication, in art, 33, 39, 40–1; dreams and,
alpha-elements, beta-elements 45, 50, 64, 74, 119, 117, 121; in psychosis, 54–5, 58; role of symbols in,
ambition, 14, 126 72
ambivalence, 27, 70, 80, 88, 100, 101, 102, 110, 127; compulsion to repeat, 81, 85–6, 87, 112
in groups, 148–9 concrete, 23, 42, 44, 47, 55–6, 62, 63–4, 65, 68,
American Psychoanalytic Association, the, 138–9 69, 71–2, 73, 74, 87, 94, 121; see also symbol
analysis, Segal’s analysis with Melanie Klein, 12–13, formation
94–5; see also psychoanalysis condensation, in psychosis, 59–60; in dreams, 118
Anna Freud Centre, the, 136 conflict between life and death drives, 78–89, 148;
anti-Semitism, 4 in dreams, 117, 120; see also life drive, death drive
anxiety, annihilation, 83, 84; castration, 47, 49, 62, construction, 40, 76; see also reconstruction
118; depressive, 6, 27–39, 42, 51, 52, 72, 101–3, containment, 25, 43–4, 56, 66, 74–5, 76, 88, 99, 114,
105, 127; separation, 16, 20, 30, 71; unconscious, 121, 150
about death, 125, 128, 129 “Controversial Discussions”, the, 13, 109
Argentina, 19, 87, 134, 155 counter-transference, 14, 45, 50, 57–8, 59, 60, 68, 83,
art, 21–41; artisan, the artist as, 24, 38; artistic 104–5, 107, 138; and political opinions, 156; with
creativity, 21, 22–4, 25, 26, 29, 32–3, 36–9; beauty older patients, 130; in group supervision, 57–8, 131
and ugliness, 31–2, 37–8, 41; and the body, 39–40; creativity, creation, 21–41, 63, 80; artistic, 21, 35, 37,
and communication, 33, 39, 40–1; and the death 38, 120; and the body, 39–40; creating a new world,
drive, 32; and delusion, 32–3; excellence in, 31; 27, 37, 92; creative impulse, 21, 27, 28, 29, 34, 35,
Freud’s view of, 36–7; and reparation, 27, 30, 34, 37, 38, 92; creative process, 22, 26, 27, 28, 63;
37–9, 40; see also aesthetic experience, creativity difference between creativity and delusion, 33;
artist, failure of creativity in, 28; importance of the equivalent of procreation, 29; and psychotic
body, 39–40 delusion, 32–3, 43; and working-through the
attacks against linking, 49, 64 depressive position, 29, 35, 37, 102; see also art,
autism, autistic, 56–7, 61, 63, 68 aesthetic experience, reparation
autobiography (Hanna Segal’s psychoanalytic
autobiography), 1–20 dance, 21, 39–40, 65
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death drive, 16, 32, 59, 78–89, 108, 120, 149; Edinburgh, 2, 11, 12
annihilation of the perceiving self, 81–2; and ego, creative work in psychosis, 59; damaged and
artistic creativity, 32; binding/unbinding dream-work, 102; of the dreamer, 117; early ego,
(fusion/defusion) of, 82, 85, 86, 88; clinical 121; integration, 27, 52, 102, 104; strong, 58, 103;
usefulness of, 78–9, 81–4, 94; and the counter- weak, 58, 98
transference, 83; deflected outwards, 82, 83; “Ego psychology”, 134, 137
Freud’s view of, 12, 79, 81–2, 83, 108; Klein’s view England, 9, 10–11, 43, 46, 136, 155
of, 79, 83; and nuclear terror, 144–5, 148; enigmatic signifiers, 85
projection of, into objects, 82; as a protest against envy, 33, 50–1, 75, 79, 84, 92, 113; and narcissism, 73,
the pain of life, 78–9; and psychosis, 59; see also 80, 88; and the transference, 88, 103
life drive ethics (transgressions), 16
defences, manic, 27, 30, 31, 83, 91, 95, 97, 98, 102, European Psychoanalytical Federation, 19, 20, 84
103, 108, 147, 150, 151–2, 157; paradoxical, 60; excellence, in art, 31
psychotic, 42, 50, 54
delusion, 43, 46, 48–9, 52, 106, 151, 152; and artistic fantasy (also phantasy), unconscious, 25, 28, 35, 49,
creativity, 22, 32–3; paranoid (Schreber), 54, 105; 67, 76, 91, 96, 97–9, 110, 112, 113, 116, 118, 119,
of persecution, 124–6 120, 122; and art, 25, 30–1, 32, 33; and dreams,
de-objectalizing function (Green), 85–6 116, 118, 119, 121; in Freud’s writings, 36, 120–1;
depression, 26, 28, 29, 30, 31, 32, 45, 51, 95; and infantile, 26, 99, 107, 141; in Klein’s writings, 12,
destructiveness, 88; in older people, 125, 127; 63, 67–8, 76, 91, 121; omnipotent, 37, 55, 100–1,
projection of depressive feelings in schizophrenia, 103; and reality, 33, 39, 48, 80, 88, 114, 145
52; and sexual inhibition, 29; see also melancholia, father, in the early triangular relationship, 66, 73,
depressive position 74–5
depressive position, 40, 43, 50, 64, 66, 70, 75, 92, 95, fear of death (conscious), 125, 129–30, 135, 151
147; in art, 32, 33, 37; and the aesthetic experience, fragmentation, 45, 55, 149, 151
26; and creativity, 27, 29, 35, 37; definition of, 26, France, 2, 6, 8, 9–10, 77, 135
101; failure of, 28; and mourning, 26, 30, 32, 101, function of dreams, 116–23
103; “normal”, 95; and psychosis, 51, 52;
reconstructing the internal world, 21; reparation, Geneva, 2, 5–7, 8, 10, 14, 19–20, 90, 99, 115, 131, 134,
37, 95, 102; and symbol-formation, 70, 71, 72; 136
working-through, 21, 22–3, 26, 29, 72, 83, 102; Germany, 5, 130
see also depression, paranoid-schizoid position, Glasgow (Glaswegians), 11
reparation Ground Zero, 21–2
destructiveness, destruction, 88, 144; annihilating the groups, “basic assumption”, 144, 148, 149, 151;
perceiving self, 81–2; and the myth of Lucifer, delusions of omnipotence, 152; psychotic anxieties
81; and nuclear warfare, 108, 143; prevention of, in, 142–52; regression, 144; “work-group”, 148
35; and psychosis, 59; self-destructiveness/allo- Groups within the British Psychoanalytical Society:
destruction, 32, 82, 84, 85–6, 144, 146; towards the Contemporary Freudians, 15–17; Independents,
object, 82, 88, 127; see also aggressiveness, death 13, 14, 15–17; Kleinians, 13, 15–17, 75, 135;
drive “Middle Group”, 15–17
displacement (in dreams), 118 guilt, unconscious, 26–7, 33, 53, 67, 70, 83, 94, 101–2,
differentiation/distinction between self and object, 108; and the origin of war, 147, 150; “survivor
69, 70, 80, 108 guilt”, 4, 10
dreams, 36, 87, 116–23; and acting-in, 116–17, 121;
analysing the dreamer, 94; and communication, hallucinations, 43, 46, 48–9, 52–3
117, 121; condensation in, 118; and the conflict hate, hatred, 16, 33, 34, 35, 79, 94, 101–2, 104, 148,
between life and death drives, 116, 120; and 150; see also aggressiveness, ambivalence
discharge/evacuation, 94, 122; displacement in, “here and now”, 16, 95–6, 99, 110
118; dream-work, 118; and the ego, 117, 120, 121;
the function of dreams, 94, 116–23; interpretation idealization, 27, 38, 46–7, 48, 75, 95, 102, 104, 126–7,
of, 94, 116, 117; “predictive” dreams, 122; and 132
psychosis, 120; remembering dreams, 119; identification and the aesthetic experience, 23, 31, 38,
secondary elaboration, 119; and symbolism, 66–7, 39
119, 121; see also function of dreams imagination in art and in play, 22, 35, 39
dream thoughts, 118, 119, 122 immortality in art, 28, 31, 32, 40, 80
dream-work, 118 inhibition of creativity, 22, 25, 28–9, 44; in a painter,
drives: aggressive, 26, 36, 38, 40, 68, 82, 83, 85, 100, 28; in a violinist, 63; in a writer, 28–9
144, 149; epistemophilic, 67; “instinctual insight, 24, 30, 34, 52, 103–4, 135, 152; and the
monism”, 84–5; “internal attack” (Laplanche), 85; aesthetic experience, 22, 25
libidinal, 36, 67, 84, 100; pregenital, 108; in internalization, 27, 28, 30, 48–9, 110, 134, 137
psychosis, 59; reparative, 30; self-destructive and International Journal of Psychoanalysis, The, 14, 22,
allo-destructive, 81, 85–6, 88, 108, 140, 143, 146, 141
149; sexual origins of, 84–5; see also death drive, International Psychoanalytical Association, 19, 74
life drive interpretation, 15–16, 43, 46–50, 55–6, 104–7, 128,
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140; as early as the first session, 98; in child depressive position, 101, 103; loss of the breast
analysis, 97, 109–13; full, 99; in the Kleinian (weaning), 127; and symbol-formation, 71; and
approach, 17–18, 94–101; transference, 98, 133, working-through, 71, 103; see also depression,
135; see also function of dreams, technique depressive position
interviews: Hanna Segal interviewed by Jean-Michel music, 21, 24, 36, 38, 39–40, 68, 129
Quinodoz, 3–15, 17–18, 22–5, 43–5, 50–1, 53–4,
62–6, 73–4, 78–81, 92–3, 93–6, 104–7, 109–10, 117, narcissism, narcissistic, 16, 36, 80, 106; analysable in
124–5, 131–5, 142–3, 145, 147–8, 153; by schizophrenia, 48–9; and envy, 80, 88; structure,
Jacqueline Rose, 72–3, 144, 154–6; other, by Jean- 80, 108; withdrawal, 48; and nuclear warfare, 108;
Michel Quinodoz: Joseph Aguayo, 139–41; object relations, 36, 73, 108; primary narcissism,
Geoffrey F. Baruch, 156–8; David Bell, 33–5; Jorge 80; in the psychoanalyst, 14, 77, 128; in psychosis,
Canestri, 75–7; Colette Chiland, 135–6; Yvonne 54, 60;
Hansen, 115; Mireille Ellonen-Jéquier, 56–61; negative therapeutic reaction, 47, 52, 151–2; and
Gabriele Junkers, 128–30; Jorge Luis Maldonado, envy, 103; and the danger of war, 147; and
86–9; Juan Manzano, 107–8; Francisco Palacio- masochism, 83–4
Espasa, 99; Teresa Rocha-Leite Haudenschild, neurosis, 48, 54–5, 81, 87, 94–5
114–15; Roy Schafer, 137–9; Daniel Widlöcher, New York, 19, 21–2, 130, 134, 137–9
40–1. Nirvana principle, 82, 85, 144–5
introjection, 48, 55, 56, 97–8, 100, 102, 103, 105, 114 North America, 137–8; see also United States of
introjective identification, 100, 140 America
intuition, 18, 23, 104, 105, 106, 107 nuclear terror, 142–58; ambivalence, 148–9;
Iran, 147–8, 153 constructive tendencies, 144, 146, 148–9;
Iraq, 147–8, 152, 153, 157–8 dehumanization, 146, 151, 154; denial of danger,
Islamist, 153 143, 146, 153, 154; destructive tendencies, 143,
144, 145, 146, 148–9, 152, 158; fragmentation, 146,
Jewish, Jewishness, 1, 4, 8, 10, 126 149, 151, 152; manic defences, 147, 150, 151–2,
Journal des Nations, 2, 7, 8 157; mutual deterrence, 143, 145; “Nukespeak”,
145–6; silence, 142–3; see also Psychoanalysts for
Klein, Melanie: biography and psychological the Prevention of Nuclear War
portrait of, 91, 92–3, 109; correspondence with
Marcelle Spira, 19–20 object, “aesthetic”, 40; good, 3, 27, 47, 70, 94, 102–3,
Kleinian approach to psychoanalysis (see also 148; perceived from birth onwards, 16;
technique of psychoanalysis), 90–115; transitional, 34; whole, 26–7, 31, 38, 70, 72, 75, 92,
differentiation between Klein and Segal, 90–1 100, 101–2, 103, 120, 148
object relations, 16, 26, 54–5, 62, 69, 72, 75, 86,
language, concrete, 44, 47, 65; in child analysis, 99–101, 103, 108, 110, 114, 121, 138; and
111–13; of dreams, 117, 118–19, 120–1; pre-verbal, narcissism, 36, 73, 108; restoring the loved object,
58–9, 73, 76–7, 108; and the unconscious, 47, 73, 26–7, 95, 102
77 Oedipus complex, 45, 56, 74–5, 81, 93–4; early stages
Latin America, 87, 131 of, 66, 75, 76, 91, 92, 97, 102–3; love/hate, 75, 94;
life drive, 16, 32, 59, 78–89, 120; clinical usefulness no final resolution of, 94; paranoid point of view
of, 81–4, 94; Freud’s view of, 12, 81–2, 83, 108; (Freud), 94; rivalry, 88
Klein’s view of, 83; and nuclear terror, 144–5, 148; older persons, in psychoanalysis, 124–30; conscious
see also death drive fear of death, 125, 129–30, 135, 151; and the
literature, 2, 6–7, 17, 21, 33, 133 counter-transference, 130; denial of ageing, 126;
Los Angeles, 115, 134, 137–8, 139–41 transference, 126, 127, 128, 130; unconscious
love, 29, 34, 35, 79, 82, 83, 85, 86, 97, 101–3, 144, 148; anxiety about death, 125, 128, 129
for the parents and the wish to repair, 26–7, 33, omnipotence, 27, 36–7, 48, 81, 83, 95, 97, 102, 133,
102; “primary love”, 15 145; phantasy of, 55, 100, 103, 152
Oxford, 54
madness, 32, 46–8, 52–3, 64, 128; intertwining of
madness and sanity, 53 pain, 22, 30, 38–9, 78–9, 81, 83–4, 102, 103, 140, 152
Manchester, 2, 4, 10, 11 paranoid-schizoid position, 23–4, 26, 28, 33, 35, 37,
masochism, 81, 83–4; pleasure in pain, 83–4 40, 42, 43–4, 50, 69–71, 92, 94–5, 97, 102–3, 142–3,
medical studies (Hanna Segal’s), 2; in Edinburgh, 11; 148–9; definition of, 99–100; and psychosis, 51, 62
in Manchester, 11; in Paris, 9; in Warsaw, 7–8 Paris, 2, 7, 8–9, 11, 12, 135–6
melancholia, 40, 81, 83, 88, 95, 101 Parthenon, the, 31
Melanie Klein Archives, the, ix, 20, 139 perception, 23, 26, 33, 35, 37, 38, 51, 55, 59, 76, 80,
Melanie Klein Trust, the, 138 97, 101, 121, 122, 127, 152; annihilating the
memories, 3–4, 14–15, 27, 58, 127, 139 perceiving self, 81–2
mother, aggressiveness towards the mother’s body, persecution, persecutory, 27, 37, 40, 46–8, 51–3, 57,
67–8 70, 82, 83–4, 95, 100–1, 104, 110, 126–7, 143,
mourning, as a condition of the creative process, 28; 148–9, 156
in the aesthetic experience, 25–7, 30; and the phallus, loss of, 73
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phobia, 29, 42, 43, 49–50, 83 Rhodesia, 125–7

play, 63, 67–8, 73, 97; in imagination and art, 21, 34, Rorschach test, 65
39, 41; technique in child analysis, 97, 109–12 Russia/Soviet Union, 4, 143–4, 147–8, 151–2, 154,
Poland, 12, 4–6, 7–9, 10, 53 157
politics, analysing the patient’s political opinions, Rwanda, 150
148, 155–6; and the counter-transference, 156;
political commitment in psychoanalysts, 154–8 San Francisco, 134, 138
Poznan, 4 São Paulo, 114–15
presentation: thing-presentations, 47; word- schizoid (mechanisms), 42, 43, 49–50, 62, 93–4, 101,
presentations, 47 102, 103, 108, 145, 150–1, 153; schizoid elements in
principle, of constancy, 85; Nirvana, 82, 85, 144–5; art, 23–4
pleasure/unpleasure, 37, 82, 84, 85, 87; reality, 102 schizophrenia, schizophrenic, 3, 10, 12, 22, 23, 42–61,
procreation, and creativity, 29 63, 65, 68, 69, 72, 77, 98–9, 100, 146; catatonic,
projective identification, 17–18, 34, 43, 62–3, 64, 69, 57–8, 87; depression and, 51–2; language of, 56,
73, 88, 92, 105, 132, 143; for acting upon the 58–9; mutism, 56–7, 58; projection of depressive
analyst, 48, 96; clinically distinct from projection, feelings, 51–3; psychoanalytic treatment of, 42–61,
100; in dreams, 121; pathology of, 43, 71; in 98–9; see also psychosis, psychotic
psychosis, 48, 51–2, 55–6, 98–9; and secondary elaboration (of dreams), 119
symbolization, 34, 43, 69–70, 74–5 “self-disclosure”, 113
psychoanalysis, and the aesthetic experience (see self-psychology (Kohut), 138
aesthetic experience), 21–41; of older persons (see seminars, ix, 13, 18, 20, 39, 99, 131–41; and counter-
older persons), 124–30 transference, 131; and group phenomena, 131–2,
Psychoanalysts for the Prevention of Nuclear War 133; and negative transference, 133; see also
(PPNW), 142, 148, 153, 156; and the British supervision
Psychoanalytical Society, 156–8 separation, 26, 27, 30, 70, 71; separation anxiety, 16,
Psychoanalytic Center of California (PCC), 115, 139, 20; early separation, 1, 3, 33
141 sexuality, and aggressiveness towards the mother’s
psychoanalytic setting, 15–16, 96, 104, 106–7, 111; body, 101; and aggressiveness towards the parental
and psychotic patients, 42, 44, 55–6, 57, 106 couple, 33; infantile sexuality, 5, 40; procreation
psychosexual development in the individual, 108; and art, 29
and the theory of the “positions”, 102, 108 “significant form”, 36
psychosis, psychotic, 42–61; breakdown, 12, 48, 49, sister (Wanda), 1, 3–4, 6–7, 10
98, 125–6, 127; communication in, 54–5, 61; and splitting, 27, 43, 47–8, 50, 57, 59, 69, 75, 86, 94, 95,
concrete symbolism, 42, 44, 47, 55–6, 62; creative 97, 100, 102, 103, 110, 126–7, 143–4, 146, 148–9,
work by the psychotic ego, 56, 58–9; and dreams, 151
60, 120; narcissism, 48–9; and projection of Stuttgart, 134
depressive feelings, 51–3; and projective sublimation, 22–3, 26, 29, 32, 40, 68, 108, 149; and
identification, 48, 51–2, 55–6, 98–9; and the the creation of symbols, 30, 63, 67, 70–1; and
psychoanalytic setting, 42, 44, 55–6, 57, 106; mourning, 30
psychoanalytic treatment of, 42–61; psychotic supervision, ix, 17–18, 113, 114–15, 131–41; group,
mechanisms, 42, 43, 44, 47–8, 49–50; see also 107, 131–2; individual, 20, 61, 95, 99, 107, 109,
schizophrenia 139–41; see also seminars
Switzerland, 2, 8, 19; French-speaking Switzerland,
reality, sense of, 30, 35, 55, 70, 75, 76, 94, 97, 102, 19, 20
144; in artists, 24, 25, 30, 35, 37, 38; and phantasy, symbolic equation, 34, 42, 44, 47, 62–77, 108; clinical
25, 33, 48, 49, 80, 88, 114, 121, 145 examples, 68; definition of, 68; degrees of, 65;
reassurance, 16, 46–7, 96, 110 development into symbolic representation, 66,
reconstruction, construction, 40, 76, 79, 95; 70–1, 75–6; and dreams, 121–2; and early object
reconstructing the internal world, 38 relations, 69; formation in the course of
regression, regressed, 15–17, 26, 28, 43, 48, 71, 95, 99, development, 69; in Freud’s writings, 65; in Klein’s
101–2, 121, 144–5, 149 writings, 65; “normal” (R. Steiner), 75; see also
religion, 4, 6, 149, 155 symbolism, symbolic, symbol formation
reparation, 14, 27, 30, 91–2; and the creation of symbolism, symbol, symbol-formation, 62–77; and
symbols, 71; in the depressive position, 37–40, 95, the aesthetic experience, 29–30, 72; and
102, 144; in older people, 129; re-creating a lost aggressiveness, 29, 67–8, 71; and the body, 63,
world, 22, 27–8, 37, 70, 102; see also depressive 67–8, 76–7; concrete symbolism, 42, 44, 47, 56,
position 63–4, 65, 69, 71–2, 73, 74, 121; and creativity, 23,
repetition, 30, 81, 87–8, 112 30, 38, 39, 63; degrees of symbolization, 71, 74;
representation, 22, 34–5, 59–60, 85, 87, 108; indirect, evolved forms of symbolism, 47, 63, 71–2, 75; in
118, 119; symbolic, 43, 47, 62–3, 66–71, 121 Freud’s writings, 44, 47, 63, 65, 66–7, 119; and
repression, 47, 64, 67, 85–6, 97, 98, 104; and the hysterical symptoms, 66–7, 76; inhibition of, 29,
depressive position, 43, 64; in dreams, 117, 118–20; 44; according to Jones, 44, 63, 66–7; in Klein’s
in psychosis, 48, 49, 55; and symbol-formation, 63, writings, 34, 44, 62–3, 65, 66–8; and language, 29,
67 47, 56, 72–3, 76, 118; and mourning, 30, 71; and
   171

non-verbal communication, 65, 76, 77; primitive 54–6, 59, 100; transference neurosis, 48; and
symbolism, 42, 47–8, 62, 63–4, 65, 71–2, 75; and unconscious phantasy, 55, 95, 98, 112
projective identification, 34, 43, 69–70, 74–5; in transference interactions, 50, 94, 96, 138; “here and
psychosis, 42, 44, 47, 55–6, 62; and reparation, 38, now”, 16, 95–7, 99, 110
71; and repression, 63, 67; in schizophrenia, 22–3, Trotskyists, 2, 8, 9
42, 44, 47, 56, 62, 65, 68–9, 72, 77; symbolic
determinism, 66; symbolic representation, 43, 47, ugliness, ugly in art, 31–2, 37–8, 41
62–3, 66–71, 121; a tripartite relationship, 44, Ukraine, 5, 126
63–4, 70; unconscious, 63, 66; universal symbols, United States of America, 8, 131, 139, 143, 144, 150,
66–7, 119; see also symbolic equation 151, 152, 154
“unsaturated”, 74, 119
tact, tactful, 132, 134 Uruguay, 134
Tavistock Clinic, 11, 125, 136, 155
technique of psychoanalysis, 15–16; “balance”, 104; Vienna, 8, 93, 134
child analysis, 18, 20, 91, 109–15; classical
Freudian technique, 16, 34, 54, 57, 94, 96–8, 101, Warsaw, 1, 2, 4, 5, 6, 7–8, 9, 10
124; “here and now”, 16, 95–6, 99, 110; West Lodge, 138
interpretation in the Kleinian approach, 17–18, 43, Wiesbaden, 4
94–101; Kleinian technique, 90–115, 117; wishes, striving for satisfaction, 85
narcissism, 48, 54; play in child analysis, 97, work of art, 21, 23–4, 25, 26, 27–8, 29, 30–1, 36, 39,
109–12; Winnicott’s approach, 15–16; 40–1, 72, 108; as expression of a conflict, 25, 33,
termination of analysis, 104 34; great, 32; incompletion of, 38; perfect, 32; and
terrorist attacks, 11 September 2001, 10, 150–4 sanity, 34–5
theatre, 21, 39–40 working-through the depressive position, 21, 22–3,
theory, inseparable from practice, 20, 66, 76–7, 84, 26, 29, 72, 83, 102
116 World Trade Center, 22
tragedy, 23, 31, 37 writers, biographers, 22, 28–9, 38–9, 40, 44; and
transference, envy in, 16, 88, 106; and childhood inhibition of the wish to write, 28–9, 44
events, 94–6; erotic, 45; interaction, 50, 94, 96, 138;
negative transference, 15, 46–7, 133; in older Yale University, 137
persons, 126, 127, 128, 130; psychotic, 46–7, 48, Yugoslavia, 150

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