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Crayton Rowe is the founder of the American Association for Psychoanalysis in Clinical Social Work. He is a founding member of ; and member of the International Psychoanalytical Association. He is a contributor to volumes in the Progress in Self Psychology series, the author of numerous psychoanalytic papers, and co-author of Empathic Attunement: The "Technique" of Psychoanalytic Self Psychology. He is in private practice in New York City.

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236).Lin also considers the conclusion of my paper to be vague and in need of more examples.

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That noted, in the Lacanian version of the Oedipus complex, thematernal figure initially features for the infant as a Real Other(i.e., the Nebenmensch als Ding)—more specifically, asan obscure omnipotent presence who is the source of all-important love(more will be said about Lacan's concept of love—see below). But, because of the combination of her obscurity andimportance, the mother qua Real Other also is a source ofdeeply unsettling anxiety for the very young child. She seeminglythreatens her offspring with being alternately too smothering or toowithdrawn, too much or not enough. In his/her anxiousness aboutcontrolling the ultimately uncontrollable presence (and absence) ofthis mysterious and indispensable maternal Other, the child confrontsthe question, “What does the (m)Other want?” Theinfant's gradual formation of an ego as per the temporallyelongated processes delineated in Lacan's account of the mirrorstage (see above) is, in part, a response to this riddle (albeit ina broader sense, with the child constructing an ego-level identityinformed by the perceived wants of Others in addition to the mother,such as the father).

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For Lacan, the Freudian Oedipus complex stages the drama of thechild's laborious struggles to situate him/her-selfvis-à-vis all three register-theoretic dimensions ofOtherness. Thanks particularly to what he takes from hisengagements with structuralism, Lacan, throughout his career, iscareful to avoid a pseudo-Freudian reification of the bourgeois nuclearfamily, with a mother and father biologically sexed female and malerespectively. The maternal and paternal Oedipal personas arepsychical-subjective positions, namely, socio-cultural (i.e.,non-natural, non-biological) roles that potentially can be played byany number of possible persons of various sexes/genders.

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1. Here, Stolorow agrees with Gill's (1994) objection to what he considers Kohut's positivist or objectivist view as contrasted with the social constructivist view that disavows consideration of innate proclivities or capacities that can be at least partially attained in treatment. The social constructivist view of treatment assumes that the psychic reality of the analyst and patient as well as the assessment of previous interactions is newly constructed in the present.

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Thus, in the practice of aesthetic criticism, the critic's sensibility is grounded in the faculty of a receptive congruence to the formal structures evolved by the artist for containing of "meaning" (Bion, 1970) or the "artistic import" (Langer, 1952). As Williams and Meltzer argue, he is 'dealing with the same mysterious phenomena, the life of the mind in process' (1988, p. 180). Indeed, this theme of 'creative criticism' takes us right back to our Introduction where we identified the overlapping areas of creativity, criticism and the aesthetic encounter. What much of the work of British School thinking has done is to forge a link between these areas in such a way as to give an account of the mind which is in itself based on a conception of aesthetic experience, from out of which grows the human individual - one who is capable of growth and reciprocity - even in the face of uncertainty, anxiety and 'catastrophic change'. In Bion's (1970) view, the creative individual is one who can bear the 'cloud of unknowing' (Meister Eckhart), one who respects 'the burden of the mystery' (Wordsworth) and can tolerate frustration: that is, he has what Keats called 'Negative Capability'.

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this idea that the primary processes are unconscious, primitive, neurotic, archaic, etc., and are normally subject to repression, was to cause psychoanalysis considerable trouble, both in its theorising and its public relations, since it soon became evident that there was some similarity between the imaginative activity displayed by artists and writers and the primary processes described by Freud as characteristic of dreaming and symptom-formation. Given the clinical origins and bias of psychoanalysis, the easiest and most tempting way of explaining this similarity was to assert that artists and writers are neurotic and that works of art are analogous, or homologous to, dreams and neurotic symptoms; and that the techniques of psychoanalytical interpretation can be transferred without modification to artists and their works.