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If the deepest, most fundamental levels of the analysand's pathology are to be reached, the relationship with the analyst becomes the vehicle for the establishment and articulation of bad-object relations. The analyst cannot enter the analysand's world in any form other than as a familiar (that is, "bad," or less than gratifying, object). This is true even though there often are elaborate resistances to the experience of the transference. Otherwise the analysis does not touch the analysand deeply, offers no promise, no hope for connection and transformation.
--
Relational Concepts in Psychoanalysis (Cambridge, Massachusetts: Harvard University Press, 1988), p. 305

 

Stephen A. Mitchell

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Ferenczi was considered paranoid for believing his women patients; the men's confessions were not even discussed. Ernest Jones, the powerful English analyst who had been Ferenczi's analysand, now took up the cudgel against him in deadly seriousness. Jones let it be known after Ferenczi's death in 1933 (he died a few months after the quarrel with Freud) that he was really a homicidal maniac. While I was in London working in the Jones archives I discovered what this really meant: Jones believed that to disagree with Freud (the father) was tantamount to patricide (father murder). And so, because Ferenczi believed that children were sexually abused and Freud did not, Ferenczi was branded by Jones as a homicidal maniac, and this piece of scurrilous interpretation stuck (page 152).

 

Jeffrey Moussaieff Masson

 

The virtue of hope has only a serious position within the eschatology of true religion. To the man who prays it is the supreme virtue. Art on the other hand speaks to us of resignation and rejoicing in reality, and does so through a transformation of our experience of the world into an order wherein all facts become joyous; the more terrible the material the greater the artistic triumph. This has nothing at all to do with "a constant awareness of the problems of our time" or any other vague public concern. It is a transformation that is mysterious, personal and ethical.* And the moral effect of art is only interesting when considered in the particular. For it is always the reality of the particular that provides the occasion and the spring of art — it is always "those particular trees/ that caught you in their mysteries" or the experience of some loved object. Not that the matter rests here. It is the transcendent imagination working on this material that releases the mysterious energies which move and speak of deepest existence. [*“An ethos is a difficult thing that cannot be formulated and codified; it is one of those creative irrationalities upon which real progress is based. It demands the whole man and not just a differentiated function” — Jung]

 

Patrick Swift

 

I was in analysis and I told my analyst I wanted to be the best sculptor in the world and he said: "Richard, calm down."

 

Richard Serra

 

Art on the other hand speaks to us of resignation and rejoicing in reality, and does so through a transformation of our experience of the world into an order wherein all facts become joyous; the more terrible the material the greater the artistic triumph. This has nothing at all to do with "a constant awareness of the problems of our time" or any other vague public concern. It is a transformation that is mysterious, personal and ethical. And the moral effect of art is only interesting when considered in the particular. For it is always the reality of the particular that provides the occasion and the spring of art — it is always "those particular trees/ that caught you in their mysteries" or the experience of some loved object. Not that the matter rests here. It is the transcendent imagination working on this material that releases the mysterious energies which move and speak of deepest existence.

 

Patrick Swift

 

"No critic, not even a topical analyst, can escape seeing the musical past from a present perspective. But...the common-language approach of the topical-analyst critics permits a separation between present sensibility and the general sensibilities of the late eighteenth century, allowing for an ever-evolving dialogue between the vanished past and the evanescent present."

 

Harold Powers