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A preoccupation with object-representation: the Beckett-Bion case revisited
1Montclair State University, Upper Montclair, NJ 07043, USA.
The International Journal of Psycho-Analysis
|September 14, 2001
Summary
This study challenges the idea that Wilfred Bion
Area of Science:
- Psychoanalysis and Literary Criticism
- Psychodynamic Theory and Literature
Background:
- The purported reciprocal influence between psychoanalyst Wilfred Bion and his patient, writer Samuel Beckett, is often based on unsubstantiated claims.
- Bion's concept of 'Attacks on linking' is not, as sometimes suggested, derived from his relationship with Beckett.
Purpose of the Study:
- To re-evaluate the relationship between Bion's psychoanalytic concepts and Beckett's literary works.
- To explore Beckett's preoccupation with object representation and memory anxiety through the lens of Bion's theories.
- To investigate the connection between Beckett's dissociative writing, Bion's concepts, and Green's theories on mourning and decathexis.
Main Methods:
- Application of Wilfred Bion's concepts, including transformation and assaults on verbal thought, to Samuel Beckett's writing.
- Analysis of Beckett's texts for themes of object representation and anxiety of remembrance.
- Integration of André Green's concepts of decathexis and blank mourning to interpret dissociative expression in Beckett's work.
Main Results:
- Beckett's writing exhibits a profound preoccupation with object representation and a persistent anxiety of remembrance.
- The dissociative nature of Beckett's writing can be understood through Bion's and Green's psychoanalytic frameworks.
- Beckett's inner representational world, characterized by primary dyadic dysfunction and evocative memory disturbance, is reflected in his literary output.
Conclusions:
- The study refutes the notion of direct influence of Bion on Beckett's 'Attacks on linking'.
- Psychoanalytic concepts from Bion and Green offer valuable tools for analyzing Beckett's literary style and psychological themes.
- Beckett's exploration of object-relational failure through sublimation results in aesthetic success, rather than direct psychohistorical commentary.