Clewell Tammy
Kent State University, Department of English, OH 44242-0001, USA.
J Am Psychoanal Assoc. 2004 Winter;52(1):43-67. doi: 10.1177/00030651040520010601.
Freud's mourning theory has been criticized for assuming a model of subjectivity based on a strongly bounded form of individuation. This model informs "Mourning and Melancholia" (1917), in which Freud argued that mourning comes to a decisive end when the subject severs its emotional attachment to the lost one and reinvests the free libido in a new object. Yet Freud revised his mourning theory in writings concerned with the Great War and in The Ego and the Id (1923), where he redefined the identification process previously associated with melancholia as an integral component of mourning. By viewing the character of the ego as an elegiac formation, that is, as "a precipitate of abandoned object-cathexes," Freud's later work registers the endlessness of normal grieving; however, it also imports into mourning the violent characteristics of melancholia, the internal acts of moralized aggression waged in an effort to dissolve the internal trace of the other and establish an autonomous identity. Because it is not immediately clear how Freud's text offers a theory of mourning beyond melancholy violence, his account of the elegiac ego is shown here to ultimately undermine the wish for an identity unencumbered by the claims of the lost other and the past, and to suggest the affirmative and ethical aspects of mourning.
弗洛伊德的哀悼理论因假定一种基于强烈个体化形式的主体性模式而受到批评。这种模式为《哀悼与忧郁症》（1917年）提供了依据，在该文中弗洛伊德认为，当主体切断与逝者的情感依恋，并将自由力比多重新投注于一个新对象时，哀悼就会决定性地结束。然而，弗洛伊德在与第一次世界大战相关的著作以及《自我与本我》（1923年）中修订了他的哀悼理论，在这些作品中，他将先前与忧郁症相关的认同过程重新定义为哀悼的一个组成部分。通过将自我的特征视为一种挽歌式的构成，也就是说，视为“被抛弃的对象贯注的沉淀物”，弗洛伊德的后期作品记录了正常悲伤的无尽性；然而，它也将忧郁症的暴力特征引入哀悼之中，即通过进行道德化攻击的内在行为来努力消除他人的内在痕迹并建立自主身份。由于弗洛伊德的文本如何提供一种超越忧郁症暴力的哀悼理论并不立即清晰，在此展示他对挽歌式自我的论述最终破坏了对一种不受逝者和过去的诉求所束缚的身份的渴望，并暗示了哀悼的肯定性和伦理层面。
