Maternal Introject 母亲内摄 If Karen's' relationship to her father can be said to have been riddled with ambivalence and conflict, no less must be said of her relationship with her mother. Moreover, if the recurrent drama of leaving and returning, of recurrent struggling for closeness and approval and abandonment, had provided the fabric of the intensity of Karen's involvement with her father, it is also true that the upshot of the drama of abandonment was that Karen was thrown with peculiar intensity onto a conflictful dependence on her mother. That mother was overly obsessive, compulsive, overly anxious and intrusive, constantly controlling, criticizing, accusing and berating. 如果说卡伦与父亲的关系充满了矛盾和冲突，那么她与母亲的关系也同样如此。此外,如果离开和归来的戏剧,为亲密和认可苦苦挣扎的戏剧，遗弃的戏剧，反复上演,为卡伦与父亲的纠葛提供了材料,遗弃戏剧的结果是卡伦被丢入对母亲冲突性依赖的境地。那个母亲过于执著、强迫、焦虑和侵入性，不断地控制、批评、指责和斥责。 There seems little doubt that the major parameters of Karen's superego derived directly from her mother. Mother's caretaking seemed to be an unending process of impingement, intrusion, and anxious controlling. Karen's own attitudes were intensely self-critical—criticizing her every behavior, her appearance, her dress, in an unending anxiety to obtain approval and acceptance, to be thought right, good, and praiseworthy. The parallel of these anxieties to what Karen could recognize and revile in her mother proved extremely distressing. She speaks of dressing under her mother's "eagle eye." The "eagle eye" had indeed become an internal possession: all-seeing, omniscient, pervasive, the burden of a continual persecution of unending criticism and blame. 毫无疑问，卡伦超我的主要特征直接来自于她的母亲。母亲的照料似乎是一个无休止的冲撞、侵扰和焦虑控制的过程。卡伦自己的态度是强烈的自我批评——批评她的每一个行为，她的外表，她的衣服，在对得到认可和接受的无休止的焦虑中，被认为是正确的，好的，值得称赞的。这些焦虑与卡伦从她母亲身上识别出并痛斥的东西相类似，被证实是极其令人痛苦的。她谈到在她母亲的“鹰眼”下穿衣。“鹰眼”确实成了一种内在的东西:无所不见、无所不知、无处不在，是无休止的批评和指责的不断迫害所带来的负担。 Then the introjection went beyond that. Mother's continual portrayal of herself was as a disadvantaged, unfortunate, abandoned, victimized, martyr-woman-mother. The maternal introject carried within it the motifs of victimized womanhood: she was the woman who was put down, "shat upon," slapped down, "screwed," and abandoned. The values and attitudes, which Karen's mother so insistently and continuously promulgated, thus became the rationalization for feminine victimization. 然后内摄更进一步。母亲不断地把自己描绘成一个弱势的、不幸的、被遗弃的、受害的、殉难的女性母亲。这种母亲内摄带有受害女性的主题:她是一个被贬低的女人，“被人在身上拉屎”，被人镇压，被人压榨，被人抛弃的女人。卡伦的母亲坚持不懈地宣扬的价值观和态度，成为女性受害的合理化。 Karen of course—at least on one level—would have no part of it. But the bitter fact was that she indeed placed herself in the position of being victimized and constantly promulgated the view of her own victimization internally—even when the external situation might have lent itself to another perception or interpretation—and erected the fear of victimization and feminine subjugation as the leitmotif of her existence. Thus the maternal introject played itself out in terms of the complex ambivalences which seemed to color all of Karen's experience and indeed spelled out the dimensions of her inner world. There is both an aggressive and a victimized aspect of the introject. If her mother was the harsh, punitive, demeaning, critical and ever-watchful "eagle eye"-the eye that seemed to never sleep or close-she was also the abandoned, victimized, demeaned and vulnerable woman, condemned to live out her life in the shadow and under the power of the capriciousness and arbitrariness of Karen's father. She was, indeed, the Desdemona to his Othello. 当然，卡伦——至少在某种程度上——不会参与其中。但痛苦的事实是,她确实把自己放在受害者的立场上,不断在内心发布自己受害的观点——即使外部环境可能会给它自己带来另一种感知或解释——并把对受害和女性征服的恐惧建立为她存在的主题。这样，母亲内摄就以复杂的矛盾情绪表现出来了，这种矛盾情绪似乎影响了卡伦所有的经历，也确实说明了她内心世界的各个方面。内摄既有侵略性的一面，也有受害的一面。如果母亲是严酷的,惩罚性的贬低,关键和永远观察的“鹰眼”——眼睛似乎从未睡眠或闭上——她也是一个被遗弃的、受迫害的、被贬低的、脆弱的女人，注定要在卡伦父亲反复无常、专横跋扈的影响下，在阴影中度过一生。对他这个奥赛罗来说，她的确是苔丝狄蒙娜。 But there were further readouts from this important introject. We have noted the strongly compulsive, anal quality of Karen's character, and there seems little doubt that this aspect of her character was not only induced by the quality of her early experiences in relationship to her mother, but also reflected some of the parameters of the underlying introject. There seems little reason to question the anality in mother's personality since her obsessive-compulsive qualities and the severe and punitive aspects of the superego seem well established. These aspects were also clearly evidenced in Karen's own personality. Not only was there a strong anal focus, but Karen's considerable ambivalence, her stubborn willfulness, and her capacity to engage in unremitting anal struggles within the analysis seemed clearly to enunciate this aspect of her personality. She had in fact strongly internalized her mother's preoccupations with neatness, cleanliness, and punctuality, along with the abiding preoccupations with organization and control. The operation of reaction formation loomed large in the many ramifications of Karen's life-style. 但是从这个重要的内摄中还有进一步的解读。我们已经注意到卡伦性格中强烈的强迫性和肛门期的特质，而且毫无疑问，她性格的这一方面不仅是由她早期与母亲的关系所引起的，而且也反映了潜在内摄的一些特性。似乎没有什么理由去质疑母亲人格中的肛欲性，因为她的强迫性特质和超我的严厉和惩罚一面似乎已经确立。这些方面也清楚地体现在卡伦的个性上。不仅是对肛门的强烈关注，卡伦相当大的矛盾心理，她的固执任性，以及她在分析中坚持不懈的肛门斗争的能力，似乎都清楚地表明了她性格的这一方面。事实上，她已经强烈地内化了她母亲对整洁、整洁和守时的先占观念，以及对组织和控制的持久关注。反应形成的操作在卡伦生活方式的许多分支中显得很重要[最后这句该咋翻？]。 Karen was literally trapped between her intense need to gain approval and acceptance from her demanding and rigidly obsessional mother and her intense fear of the devalued and demeaned image of femininity and womanhood which she assimilated from that same mother. The fear of victimized and degraded femininity carried with it an overloading of anal elements. Karen's unconscious conception of her own genitals seems to have been more or less cloacal, seeing them as somehow dirty, wounded, unclean, and as emitting foul and disgusting odors and substances. She preoccupied herself in a rather excessive way with cleanliness, as we have noted, particularly with her genital area. She douched and washed and cleansed repeatedly and compulsively, constantly dreading that her male companions would be repulsed or disgusted by the sight or smell or contact with her genitals. 卡伦被困在两个极端之间:一是她强烈地需要从苛刻而固执的母亲那里得到认可和接受;二是她强烈地害怕从同一个母亲那里得到的女性气质的贬低的形象。对受害和贬低的女性气质的恐惧带来了过多的肛门元素。卡伦对自己生殖器的无意识概念似乎或多或少有点泄殖腔，把它们看作是肮脏的、受伤的、不干净的，散发出难闻的、令人作呕的气味和物质。我们已经注意到，她过于注重清洁，尤其是她的生殖器区域。她强迫自己反复地灌洗、清洗、清洁，一直担心她的男性伴侣会被她的生殖器的样子、气味、接触所吓跑或恶心到。 This attitude in part reflects that which we can identify in her mother, who regarded anything having to do with sexuality, and particularly feminine sexuality, as dirty and disgusting. Consequently, we can infer a strong coloration of anal-sadistic elements functioning as drive determinants of the respective introjects. Related to this, undoubtedly, were Karen's persecutory fears of destructive attack, her fears of attack from the rear—that direction in which she was blind and from which unexpected and unpredictable attacks could be launched—and her preoccupations with hurting others, which bear such a remarkably consistent and clear anal stamp. She was in effect, either "crapping on" someone else or in danger of being "crapped on" by someone else. Moreover, being "crapped on," put down, subjugated, slapped down, were all elements which played themselves out in the sexual arena. 这种态度在一定程度上反映了她母亲的态度，她认为任何与性有关的事情，尤其是女性的性行为，都是肮脏和令人厌恶的。因此，我们可以推断出肛门施虐因素作为各自内摄的驱力决定因素的强烈色彩。毫无疑问，与此相关的是卡伦对毁灭性攻击的迫害恐惧，她对来自后方的攻击的恐惧——她看不到的方向，从这些方向意想不到的攻击可以被发起——以及她对伤害他人的关注，这带有明显的一致性和清晰的肛门印记。实际上，她不是在对别人“拉屎”，就是有被别人“拉屎”的危险。此外，被“拉屎”，被放倒，被征服，被扇倒，都是在性的舞台上发挥作用的因素。