Paternal Introject 父亲内摄 It seems clear that the very fact of her father's absence intensified some important aspects of Karen's relating to him. He became the powerful and important figure with whom it was terribly important for her to establish a positive and accepting relationship. In her mind, he became an idealized figure: strong, silent, mysterious, powerful; that somehow destructive and potentially dangerous man in her life. She responded to him with a mixture of intense admiration and fear. She wondered about his comings and goings, about the cloak of mystery that surrounded his activity, about his mysterious silence, which would not permit him to talk about his work or what he did outside of the family. She was frightened by the mysterious men who came to visit him in the dark of the night and talked with him in subdued voices about strange and dreadful things. He was a man with the power to kill other men and he was involved in deadly enterprises of some unknown nature. 很明显，她父亲不在的事实加强了卡伦和他之间某些重要的联系。他变成了一个强大而重要的人物，与他建立一种积极的、可接受的关系对她来说非常重要。在她的心目中，他成了一个理想化的人物:强壮、沉默、神秘、强大;那个在她生命中具有破坏性和潜在危险的男人。她对他既钦佩又害怕。她对他的来来去去，对他的活动所披着的神秘外衣，对他那神秘的沉默感到纳闷，这沉默使他不能谈他的工作，也不能谈他在家庭之外干了些什么。她被那些在黑夜里来拜访他，压低声音和他谈论着奇怪而可怕的事情的神秘的男人们吓坏了。他是一个有能力杀死别人的人，而且他还参与了一些性质不明的致命活动。 Moreover, in his relationship to her, he was an authoritarian dictator who arbitrarily enforced his will upon her and forced her to submit regardless of her will or her feelings. His relationship to her was in large measure based on his giving orders and his expectation that she should take them like a "good little soldier." On the one hand there was a strong need for her to please and submit to his wishes, but on the other hand, there was an intense fear and a need to rebel and struggle against his authority. They shared a certain stubborness and willfulness, part of what Karen referred to as the "Hungarian temper." He could not give in to the threat to his authority and fragile self-esteem, while she could not give in to her fear of subjugation and diminution. He was very clearly the man in her life, the brute, the fascist, the giver of arbitrary orders which demanded capitulation and subjugation and submission. He became for her the paradigm of all men. 此外，在他与她的关系中，他是一个专制的独裁者，任意地把自己的意志强加于她，强迫她屈服，不顾她的意志或感情。他和她的关系在很大程度上是建立在他发号施令的基础上的，他希望她能像一个“好小兵”一样服从命令。一方面，她迫切需要取悦他，服从他的意愿，但另一方面，又有一种强烈的恐惧，需要反抗他的权威。他们都有一定的固执和任性，这是卡伦所说的“匈牙利脾气”的一部分。他不能屈服于对他的权威和脆弱的自尊的威胁，而她不能屈服于对征服和贬低的恐惧。很明显，他就是她生活中的那个人，那个野蛮的法西斯主义者，那个发号施令的人，发号施令的人要求投降、征服和服从。对她来说，他成了所有男人的范式。 Yet they were so much alike. What comes through with striking clarity is the strength of Karen's identification with the aggressor. The "Hungarian tempers," the stubborness, the profound sense of her own capacity to hurt and disappoint and destroy—all seem to be related to the aggressive aspects of the paternal introject. She was tall like her father and even took pride in walking in a military manner even as he did. The phallic and narcissistic aspects of this introjective alignment would be hard to ignore. 然而他们是如此相似。清晰可见的是卡伦对侵略者认同感的强度。“匈牙利人的脾气”、她的固执、她对自己具有伤害、令人失望和毁灭的能力的深刻感受——所有这些似乎都与父亲内摄的侵略性方面有关。她和她父亲一样高，甚至以军人的姿态走路而自豪，就像他一样。这种内摄性对齐中阴茎和自恋的方面很难被忽视。 Yet the introjective configuration reached even further. If the father was the strong, demanding, authoritarian, fascist-brute, she also saw him as threatened and fragile and vulnerable. The parallel of their character in this regard is striking. If father's authority were threatened, he had all the more to insist on having his orders obeyed and on having Karen submit to his wishes. She was a precocious child and must not have missed the underlying flaws in his facade of strength. All the more striking that her own facade of capable coping and resourcefulness was built on an uncertain and fragile foundation of sand. 然而，内摄性结构甚至更进一步。如果父亲是一个坚强、苛求、独裁、法西斯式的残暴者，她也会认为他受到了威胁、脆弱和脆弱。他们的性格在这方面有惊人的相似之处。如果父亲的权威受到威胁，他就会更加坚决地要求别人服从他的命令，让卡伦服从他的意愿。她是一个早熟的孩子，一定没有忽略他力量之下的缺陷。更令人吃惊的是，她自己那精明能干、足智多谋的外表，是建立在一个不稳定、脆弱的沙地基础上的。 For both of them, strength was essentially defensive. This threatened and vulnerable aspect of her father came more clearly into focus after his retirement from the Army. He became increasingly insecure, dependent, evenmore paranoid. On her part, she became correspondingly afflicted with a sense of her own power and capacity to hurt and disappoint him. Her ambivalence played itself out within a stately waltz of interlocking pathologies. As long as he was the powerful fascist, she could be admiring and rebellious. But as he became the more dependent and susceptible puppydog, she became caught up in the conflicts of guilt and pity and contempt. 对他们两人来说，力量本质上是防御性的。在她父亲从军队退役后，这种被威胁和脆弱的一面更加明显地成为人们关注的焦点。他变得越来越没有安全感，越来越依赖别人，甚至越来越偏执。就她而言，她也相应地感到自己有能力伤害他，使他失望。她的矛盾心理在一曲环环相扣的病态庄严的华尔兹舞曲中表现出来。只要他是强大的法西斯分子，她就会崇拜他，反抗他。但是，当他变成更加依赖和敏感的小狗，她陷入了内疚，同情和轻蔑的冲突。 Particularly striking—if my reader will tolerate the pun—was the central role of Karen's recollections of being beaten, and specifically slapped in the face, by her father. Freud was the first to point out the link between beating fantasies and Oedipal wishes. In Karen's case we are dealing not so much with a fantasy in the technical sense as with a set of specific recollections, that is to say memories, which serve a screen function in part, in that they express the underlying wish. The memory thus serves an equivalent function to the fantasy with the added element that the wish attaches itself to a specific memory in order to express its function. 尤其让人震惊的是——如果我的读者能容忍这种双关语的话——卡伦回忆起自己被父亲打了一顿，特别是被打在脸上的经历，这是她的核心角色。弗洛伊德是第一个指出殴打幻想和俄狄浦斯情结之间的联系的人。在卡伦的例子中，我们处理的与其说是技术意义上的幻想，不如说是一组特定的回忆，也就是说，记忆在一定程度上起到了屏幕的作用，因为它们表达了潜在的愿望。因此，记忆与幻想的功能是相同的，只是愿望附加了一些元素到特定的记忆中，以表达它的功能。 The connection in Karen's case was clearly established through her associations to the episodes in which she was slapped in the face by her father. She referred to his big hands, then associated big hands with big penises. She also observed how beautiful and strong her father's hands were. The whole complex of associations provides a strong indication of the basic function in Karen's pathology of the feminine masochistic wish. The association between her own big hands and her father's big hands further reflects her identification with his aggressive, beating, face-slapping and brutal aspects. And indeed part of her own masochism as we have seen, was aptly translated into beating herself in the paroxysms of guilt that she so often experienced. 卡伦的案例与父亲扇她耳光的情节有明显的联系。她指的是他的大手，然后把大手和大阴茎联系起来。她还注意到她父亲的手是多么美丽和强壮。整个复杂的关联提供了卡伦女性受虐愿望病理的基本功能的强有力的迹象。她把自己的大手和父亲的大手联系在一起，进一步反映出她对父亲好斗、殴打、扇脸和残忍的一面的认同。正如我们所看到的，她自身受虐的一部分，在她经常经历的内疚感发作中被恰当地转化为殴打自己。