"Fated boy": Karpman's drama triangle and Melville's Billy Budd.
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The author discusses 'L'Enfant et les sortilèges', an opera by Ravel based on a short story by Colette, which traces the trials and tribulations of a young boy whose bad behaviour leads to his being sent to his room, left alone and given only tea and bread until dinner. His progression from anger to persecution and fear, the various defences he employs to protect himself from feeling overwhelmed and his despair are graphically illustrated through words and music. The author considers the opera in relation to Klein's theory of the paranoidschizoid position and the struggle involved in maintaining contact with good objects, externally and internally. Revisiting the opera in light of Meltzer's contribution to psychoanalytic thinking provides a wider perspective in which to explore what he has termed the aesthetic conflict and its place in relation to the depressive position and developmental processes.
Illusion is a word that Raymond Williams might have included among his list of keywords of British culture, since it is a word that discloses 'both continuity and discontinuity, and also deep conflicts of value and belief' within its intellectual and political history (1983, p. 23). It is a banner under which the meaning of that culture has frequently been contested. The author indicates some of the more significant of these contests, with occasional glances at the wider European context and with special reference to the history of psychoanalysis, where the conflicts that characterise the larger history of the word have been interestingly re-enacted. In particular, the author explores its significance for the English psychoanalysts Marion Milner and Charles Rycroft and, more centrally, for Donald Winnicott, not least because in Winnicott's case it is a word that has been treated only peripherally in the two books that are organised around the study of his language, Alexander Newman's Non-Compliance in Winnicott's Words (1995) and Jan Abram's The Language of Winnicott (1996).
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This article discusses the preoccupation with fire, revenge, crucifixion, and other fantasies as they relate to the primal scene. The manifestations of these fantasies are demonstrated in a work of fiction by Yukio Mishima. The Temple of the Golden Pavillion. As is the case in other writings of Mishima there is a fusion of aggressive and libidinal drives and a preoccupation with death. The primal scene is directly connected with pyromania and destructive "acting out" of fantasies. This article is timely with regard to understanding contemporary events of cultural and national destruction.
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Using three novels--Muriel Spark's Memento Mori, Doris Lessing's Diary of a Good Neighbor, and P. D. James' A Taste for Death--we examine themes relating to the social construction of caregiving. In our reading of the stories we found numerous instances of the political in the personal, and of how care can be shaped by inequalities of class and gender, by organizational practices and attitudes rooted in cultural assumptions, and by the social idealization of care provided by relatives and friends.
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