The Maternal Introject 母亲内摄 Bob's relationship with his mother was also quite significant. She was a rather anxious and insecure woman. She was insecure in her own inner perception of herself as wife and mother. She was insecure in her relation with her husband—unable to satisfy him sexually or emotionally. She was, after all, five years his senior and not an attractive woman. She was quite plain, and obese—a woman made for the home and kitchen. And it was there that she invested herself. She gained some sense of security and self-esteem from keeping up her house and providing good food for her family. She worked at being a good mother, and in a sense she must have been more than adequate. She provided a good home and a reasonably good model for her daughters. But her pathology focused more intensely in her relationship with Bob. 鲍勃和他母亲的关系也很重要。她是一个相当焦虑和缺乏安全感的女人。她对自己作为妻子和母亲的内在感知没有安全感。她在与丈夫的关系中没有安全感——无法在性和情感上满足他。她毕竟比他大五岁，也不是个有魅力的女人。她长得很普通，而且很胖——一个为家庭和厨房而生的女人。她也把自己投身于那里。她从打理房子和为家人提供好食物中获得了一些安全感和自尊。她努力做一个好母亲，从某种意义上说，她一定做得很好。她为女儿们提供了一个很好的家和一个相当好的榜样。但她的病态更多地集中在她和鲍勃的关系上。 The reasons for this were several, as far as I can see. First of all, Bob was the only son. The Jewish tradition puts high value on sons, not on daughters. That, of course, raises problems for both daughters and sons. But it serves to put high expectations on sons. How one's sons turn out can be seen as the real test of how good and how successful the mother has been. And, as with so many mothers—whether Jewish or not—a son becomes the focus of much of their own repressed wishes to accomplish and compete, so that the son is expected to fulfill a role of achievement that they were denied. Much of this mother's narcissism became focused on Bob and invested in him. Second, there was his hernia and undescended testicle. He became to her the weak child who needed protection and special attention. He was vulnerable and had to be sheltered from physical, as well as from psychological, harm. In addition, this feeling brought the father and mother into direct conflict. The father could not tolerate the boy's weakness and attacked his wife's coddling and protectiveness. The mother in turn resented the father's attitude, seeing his attacks on Bob and his rejection as part of his rejecting and devaluing attitude to her. Arguments were frequent, and frequently enough centered on Bob and their differences regarding him. 据我所知，造成这种情况的原因有几个。首先，鲍勃是家里唯一的儿子。犹太人的传统是重男轻女。当然，这给女儿和儿子都带来了问题。但这也给儿子们带来了很高的期望。一个人的儿子如何成长，可以被视为对这位母亲有多好、有多成功的真正考验。而且，就像许多母亲一样——不管是不是犹太人——儿子成为了她们自己被压抑的去成功去竞争的愿望的中心，所以儿子被期望去完成一个她们被拒绝的成就的角色。这位母亲的自恋大部分集中在鲍勃身上，并在他身上投资。第二，他有疝气和睾丸隐睾。对她来说，他成了一个虚弱的孩子，需要保护和特别的关注。他很脆弱，必须保护他免受身体和心理上的伤害。此外，这种感觉使父亲和母亲发生了直接的冲突。父亲无法容忍儿子的软弱，抨击妻子的溺爱和保护。反过来，母亲对父亲的态度很反感，认为他对鲍勃的攻击和拒绝是他对她的拒绝和贬低态度的一部分。争吵经常发生，而且经常集中在鲍勃和他们对他的分歧上。 Bob tried hard to be a good Jewish boy. But that meant being passive, compliant, obedient, religious, weak, and vulnerable. If Bob were to stand up for himself and to fight back, he would be violating the mother's code of what good Jewish boys did. Thus he was effectively caught between the conflicting expectations of his parents. To gain approval from father, he had to risk the loss of mother's love. But to keep close to mother and have her comfort and affection, he could not gain father's approval. Bob could no more reconcile these demands than his parents could reconcile their differences. Thus, not only was the conflict at large in the family, but it became an internal conflict for Bob. 鲍勃努力做一个好犹太男孩。但这意味着被动、顺从、服从、虔诚、软弱和脆弱。如果鲍勃为自己挺身而出并进行反击，他就违反了母亲对好犹太男孩的规矩。因此，他实际上被夹在父母相互矛盾的期望之间。为了得到父亲的认可，他不得不冒失去母亲爱的风险。但要亲近母亲，得到母亲的安慰和疼爱，他就得不到父亲的认可。鲍勃无法调和这些要求，就像他的父母无法调和他们的分歧一样。因此，这场冲突不仅在家庭中蔓延开来，而且成为了鲍勃的内部冲突。 Bob's view of himself as weak and defective and inadequate was an internalization of both parents' attitudes toward him, but it was also the product of his introjection and partial identification with the mother's own devalued self-representation. He in fact identified with the weak, vulnerable, victimized, and suffering woman. It was this inner representation of himself that he tried to deny and avoid all through his experience. The internalized representation of the mother was assimilated to his own self-image, and in a real sense he had thus internalized the conflict between his parents. His inner development and the inner drama of his life played itself out between these two conflicting and destructive introjects. He used the one to defend against the other. He could not resolve them—nor could he choose between them. 鲍勃认为自己是软弱的、有缺陷的、不合格的，这是父母对他的态度的内化，但这也是他对母亲自己贬低的自我表征的内摄和部分认同的产物。事实上，他认同那些软弱、脆弱、受害和受苦的女人。在他的整个经历中，他试图否认和回避的正是这种对他自己的内在表征。内化的母亲表征被同化为他自己的自体形象，在真正意义上，他就这样内化了父母之间的冲突。他的内心发展和他人生的内在戏剧在这两种相互冲突和具有破坏性的内摄物之间上演。他用一个来防御另一个。他无法解决这些问题——也无法在它们之间做出选择。 The inner configuration of Bob's pathology bears certain striking similarities to the pattern of Camus' hero of The Fall, particularly as this character has been analyzed by Barchilon (1971). Camus' hero, Jean Baptiste Clamence, like our own present hero, gives himself over to the achievement of prowess in many areas of physical activity—particularly the area of lovemaking. Barchilon (1971) comments on this aspect as follows: 鲍勃病理的内在结构与加缪在《堕落》中塑造的英雄有着惊人的相似之处，尤其是Barchilon(1971)对这个角色的分析。加缪笔下的英雄让·巴蒂斯特·克莱芒斯，就像我们现在的英雄一样，全身心投入到体力活动的许多领域——尤其是做爱领域。Barchilon(1971)对这方面的评论如下: Something similar can be seen in Clamence's belated reaction against all his prowesses and successes, be it in sports, professionally, or with women. But this is the most superficial part of the mechanism at play. In our hero we can safely assume, from his dream of love, that sexual wishes toward the mother in the first years of his life had to be inhibited under penalty of death. Furthermore, the incest taboo was so powerful that not once in his life could he allow himself to fall [tomber] in love. Neither could he allow himself, even once, the fundamental satisfaction of procreating, in spite of an extreme narcissistic investment in his self. (Investments of this nature can often include one's children under the narcissistic mantle.) It is as if his sexuality, through an unending procession of women, was used to keep physical closeness and a semblance of intimacy with one woman only, the mother! And, for all the pleasure and coxcomb pride he took in it, his penis was no more to him than an umbilical cord, nor was he unaware of that fact since he kept calling sex: His infirmity! (p. 208) 从克莱芒斯对他在体育、职业或与女性交往方面的所有表现和成功的迟来反应中，也可以看到类似的东西。但这只是起作用的机制中最肤浅的部分。在我们的英雄身上，我们可以从他的爱情梦中有把握地假设，在他生命的最初几年里，对母亲的性愿望必须被抑制，否则将处以死刑。此外，乱伦禁忌是如此强大，以至于在他的一生中，他一次也不能允许自己坠入爱河。他甚至一次也不能让自己从生育中获得基本的满足，尽管他极度自恋地投资于自己。(这种性质的投资通常会把孩子放在自恋的外衣下。)这就好像他的性欲，通过一个无休止的女人队列，被用来与唯一的女人保持身体上的亲密和表面上的亲密，这个女人就是母亲!而且，尽管他从中获得了所有的快乐和花花公子的骄傲，他的阴茎对他来说不过是一根脐带，而且他也没有意识到这个事实，因为他一直把性叫做:他的虚弱!(208页) Clamence's Don Juanism was effectively a direction of erotic and hostile wishes, fused together in a reflection of his underlying ambivalence outward, specifically toward women. His inaction in doing nothing to save the drowning woman was, therefore, an act of murder. The introjected object that had been the source of humiliation with him formed the feminine side of his own character which had to be projected to rid himself of it. Thus, for Clamence, the young woman must die in order to rid him of this feminine identification and to free him from the introjected mother. For Bob, his sexual prowess was an infantile reattachment through his penis-umbilicus—but it was the initiation of a sexual attack that was rooted in sadism and expressed finally in the repeatedly attempted abortions. 克莱芒斯的唐璜主义实际上是一种情爱和敌对愿望的方向，融合在一起反映了他潜在的对外矛盾心理，特别是对女性的矛盾心理。因此，他不采取任何行动去救那个溺水的妇女是一种谋杀行为。那个成为他羞耻源泉的内摄的客体，形成了他自己性格中女性化的一面，他必须把它投射出来，才能把它去掉。因此，在克莱芒斯看来，年轻的女人必须死去，才能使他摆脱这种女性认同，把他从内摄的母亲那里解放出来。对鲍勃来说，他的性能力是通过他的阴茎——脐——进行的婴儿式的再连接，但这是植根于施虐的性攻击的开始，最终表现为多次试图堕胎。