Wittmann Barbara
Configurations. 2010;18(3):251-72. doi: 10.1353/con.2010.0016.
This essay deals with the special case of drawings as psychoanalytical instruments. It aims at a theoretical understanding of the specific contribution made by children's drawings as a medium of the psychical. In the influential play technique developed by Melanie Klein, drawing continuously interacts with other symptomatic (play) actions. Nonetheless, specific functions of drawing within the play technique can be identified. The essay will discuss four crucial aspects in-depth: 1) the strengthening of the analysis's recursivity associated with the graphic artifact; 2) the opening of the analytic process facilitated by drawing; 3) the creation of a genuinely graphic mode of producing meaning that allows the child to develop a "theory" of the workings of his own psychic apparatus; and 4) the new possibilities of symbolization associated with the latter. In contrast to classical definitions of the psychological instrument, the child's drawing is a weakly structured tool that does not serve to reproduce psychic processes in an artificial, controlled setting. The introduction of drawing into the psychoanalytic cure is by no means interested in replaying past events, but in producing events suited to effecting a transformation of the synchronic structures of the unconscious.
本文探讨绘画作为精神分析工具的特殊情况。其目的是从理论上理解儿童绘画作为一种心理媒介所做出的具体贡献。在梅兰妮·克莱因所发展的具有影响力的游戏技术中，绘画不断地与其他具有症状性的（游戏）行为相互作用。尽管如此，仍可确定绘画在游戏技术中的特定功能。本文将深入讨论四个关键方面：1）与图形制品相关的分析递归性的强化；2）绘画所促进的分析过程的开启；3）创造一种真正的图形化意义生成模式，使儿童能够发展出关于其自身心理机制运作的“理论”；4）与后者相关的新的象征化可能性。与心理工具的经典定义不同，儿童绘画是一种结构松散的工具，它并非用于在人为控制的环境中再现心理过程。将绘画引入精神分析治疗绝不是为了重演过去的事件，而是为了产生适合促成无意识共时结构转变的事件。
