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Introduction
This brief, informal interview with the psychoanalyst Hanna Segal, who recently celebrated her eightieth birthday, took place in London in April 1999. Focusing on dreams, psychoanalysis and history, this interview and the accompanying clinical example by her colleague Edna O’Shaughnessy (not included on this website. [Ed.])
conclude the feature that has run across issues 48 and 49 of this journal, coinciding with the centenary of Sigmund Freud’s The Interpretation of Dreams.
Together with Susan Budd’s article in issue 48, Segal and O’Shaughnessy’s discussions illuminate important developments in approach within the British school of psychoanalysis, particularly in the Kleinian tradition, and highlight some of the differences in technique that mark the passage from Freud to contemporary psychoanalysis.
Many readers of History Workshop Journal will know of Hanna Segal as the most prominent and lucid postwar interpreter of the work of Melanie Klein; Segal is the author, for instance, of the widely-read Fontana ‘Modern Master’ on Klein. Over the last fifty years,[1]
Segal’s many papers, essays and books have explored the nature of her own psychoanalytic experience and made important conceptual contributions, for instance regarding the nature of unconscious phantasy, the clinical relevance of the death instinct, and the psychic consequences of the capacity (or lack of it) to use symbols.
She has investigated the wider applications of psychoanalytic ideas in diverse fields, notably aesthetics, politics and literature. In the 1980s she was a leading figure amongst a group of British psychoanalysts who sought not only to think critically about the mad 'logic' of nuclear war but also to speak out and protest. Her paper 'Silence is the Real Crime' (1987) bore witness both to her committedly psychoanalytic perspective and her political passion and involvement.[2]
Psychoanalysis, Dreams, History:an Interview with Hanna Segal
by Daniel Pick and Lyndal Roper
Introduction
This brief, informal interview with the psychoanalyst Hanna Segal, who recently celebrated her eightieth birthday, took place in London in April 1999. Focusing on dreams, psychoanalysis and history, this interview and the accompanying clinical example by her colleague Edna O’Shaughnessy (not included on this website. [Ed.])
conclude the feature that has run across issues 48 and 49 of this journal, coinciding with the centenary of Sigmund Freud’s The Interpretation of Dreams.
Together with Susan Budd’s article in issue 48, Segal and O’Shaughnessy’s discussions illuminate important developments in approach within the British school of psychoanalysis, particularly in the Kleinian tradition, and highlight some of the differences in technique that mark the passage from Freud to contemporary psychoanalysis.
Many readers of History Workshop Journal will know of Hanna Segal as the most prominent and lucid postwar interpreter of the work of Melanie Klein; Segal is the author, for instance, of the widely-read Fontana ‘Modern Master’ on Klein. Over the last fifty years,[1]
Segal’s many papers, essays and books have explored the nature of her own psychoanalytic experience and made important conceptual contributions, for instance regarding the nature of unconscious phantasy, the clinical relevance of the death instinct, and the psychic consequences of the capacity (or lack of it) to use symbols.
She has investigated the wider applications of psychoanalytic ideas in diverse fields, notably aesthetics, politics and literature. In the 1980s she was a leading figure amongst a group of British psychoanalysts who sought not only to think critically about the mad 'logic' of nuclear war but also to speak out and protest. Her paper 'Silence is the Real Crime' (1987) bore witness both to her committedly psychoanalytic perspective and her political passion and involvement.[2]