Capps Donald
Princeton Theological Seminary, Princeton, NJ, USA.
J Relig Health. 2008 Dec;47(4):560-76. doi: 10.1007/s10943-007-9121-6.
In four earlier articles, I focused on the theme of the relationship of melancholia and the mother, and suggested that the melancholic self may experience humor (Capps, 2007a), play (Capps, 2007b), dreams (Capps, 2008a), and art (Capps, 2008b) as restorative resources. I argued that Erik H. Erikson found these resources to be valuable remedies for his own melancholic condition, which had its origins in the fact that he was illegitimate and was raised solely by his mother until he was three years old, when she remarried. In this article, I focus on two themes in Freud's Leonardo da Vinci and a memory of his childhood (1964): Leonardo's relationship with his mother in early childhood and his inhibitions as an artist. I relate these two themes to Erikson's own early childhood and his failure to achieve his goal as an aspiring artist in his early twenties. The article concludes with a discussion of Erikson's frustrated aspirations to become an artist and his emphasis, in his psychoanalytic work, on children's play.
在之前的四篇文章中，我聚焦于忧郁症与母亲关系这一主题，并提出忧郁的自我可能会将幽默（卡普斯，2007a）、玩耍（卡普斯，2007b）、梦境（卡普斯，2008a）和艺术（卡普斯，2008b）视为恢复性资源。我认为埃里克·H·埃里克森发现这些资源对他自己的忧郁状况是有价值的疗法，他的忧郁状况源于他是非婚生子，并且在三岁前一直由母亲独自抚养，直到母亲再婚。在本文中，我聚焦于弗洛伊德的《达·芬奇与他童年的一个记忆》（1964）中的两个主题：列奥纳多早年与母亲的关系以及他作为艺术家的抑制因素。我将这两个主题与埃里克森自己的童年早期以及他在二十出头时未能实现成为有抱负艺术家的目标联系起来。文章最后讨论了埃里克森成为艺术家的受挫抱负以及他在精神分析工作中对儿童玩耍的强调。
