Psychoanal Q. 2024;93(2):321-347. doi: 10.1080/00332828.2024.2345047. Epub 2024 May 30.
This paper explores how the film illuminates psychoanalytic understandings of melancholia and mourning. The author attempts to unwind the complicated character of melancholia, using Freud as an initial point of orientation, then relying on a few ideas from Klein and later writers. The paper attempts to refine our understanding of the difference between absence and emptiness, especially the difference between being captured in the nothing or deadness of melancholic emptiness, on the one hand, and being alive enough to suffer the absence of a lost object, which bears a potential for mourning, on the other. The possibility of psychic tension between these states is explored. Some implications of the relationship between absence and emptiness for the mourning process are considered. The author uses the film as a resource throughout.
本文探讨了这部电影如何阐明了精神分析对忧郁症和哀伤的理解。作者试图用弗洛伊德作为最初的定位点，解开忧郁症的复杂特征，然后再依靠克莱因和后来作家的一些观点。本文试图细化我们对缺失和空虚之间的区别的理解，特别是在一方面被忧郁症的空虚的无或死寂所捕获，另一方面又有足够的生命力去承受失去的对象的缺失，这两者之间的区别。探讨了这两种状态之间的心理紧张的可能性。还考虑了缺失和空虚之间的关系对哀伤过程的一些影响。作者在整个过程中都使用了这部电影作为资源。
