Rand N, Torok M
Univ. of Wisconsin-Madison 53706.
Psyche (Stuttg). 1993 Sep;47(9):866-81.
The authors approach the work of Sigmund Freud by regarding the theory and history of psychoanalysis in terms of a feature that they have in common, namely secrecy. This proclivity towards secrecy, which stands in contradiction to the psychoanalytic principle of total frankness and demystification, is illustrated by a number of examples-the suggestion made by Jones to Ferenczi and Freud in 1911 for the "formation of a secret committee to supervise the development of psychoanalysis"; the censorship practised by Jones in connection with the use of the Freud Archives; and the case history of Emmy von N., where Freud assumes the role of depositary for the memories communicated by his patient under hypnosis and observes strict secrecy about them. The authors give a particularly detailed account of the evidence of the "secret of psychoanalysis" to be traced in Totem and Taboo, which they elucidate with the aid of a reading of Shakespeare's Tempest.
作者们通过精神分析的理论和历史所共有的一个特征，即隐秘性，来探讨西格蒙德·弗洛伊德的作品。这种对隐秘性的倾向与精神分析完全坦诚和消除神秘化的原则相矛盾，文中举了一些例子来说明——1911年琼斯向费伦齐和弗洛伊德提出的关于“组建一个秘密委员会来监督精神分析发展”的建议；琼斯在使用弗洛伊德档案方面实行的审查制度；以及埃米·冯·N.的病历，在这个案例中，弗洛伊德扮演了他的病人在催眠状态下所传达记忆的保管人的角色，并对这些记忆严格保密。作者们特别详细地阐述了在《图腾与禁忌》中可以追溯到的“精神分析秘密”的证据，并借助对莎士比亚《暴风雨》的解读对其进行了阐释。
