Freud\'s paper on the three caskets is revisited. His view that the lead casket represented death is supported by extracts from The Merchant of Venice, in particular the song, \"Tell Me Where is Fancy Bred\". It is argued that the acceptance of death is a necessary step in the transformation of romantic love to mature love. With experience of reality a disillusion of romantic idealisation becomes possible, but this means that losses have to be accepted and mourned. It is argued that this is made more bearable if an ironic stance enables an acceptance of the pleasures of romance without believing them to be literally true.

This paper honors Jeremy Safran\'s legacy of scholarship and pedagogy through the lens of his emphasis on rupture and repair. Challenging a Freudian rendering of mourning as ultimately giving up a lost object, the author draws on Nicholas Abraham and Maria Torok\'s application of Sandor Ferenczi\'s concept of introjection to offer a relational rendering of the grieving process.

Psychoanalysis and Politics argue that psychoanalysis is at its root a social or group theory, to which a theory of individual psychology is integral. This formulation follows from Freud\'s Group Psychology, which defines individual psychology as a derivative of group psychology, \"still incomplete.\" The article historicizes the analytic conception of the individual in terms of the authors\' conception of personalize, spelled out in Secrets of the Soul. Three versions of psychoanalytic social theory are discussed: Freudo-Marxism, the New Left and feminism and the \"relational turn.\"

Using the example of the military regime in Argentina (1976-1983) and relevant archival materials, this article demonstrates the prerequisite of exalted language in constructing an enemy and how a discursive \'machine of the same\' was put into operation. The author argues that what made this operation unique is its structure of repetition that stimulated \"the tendency to merge\" what is \"foreigner-to-the-ego\", and the \"enemy outside\" into a single concept in the Argentinian national psyche.As a theoretical lens, the author examines the military regime\'s language through Freud\'s understanding of groups and civilization and Laplanche\'s proposition that cultural narratives in the form of mytho-symbolic explanations help us translate the sexual drive and offer a \"solution\" to the helplessness of the infant-adult.The author further claims that at other times a cultural narration functions as an anti-translation device when set against the emergence of a new net of significations. The nation\'s founding narrative of an Occidental-Spanish-Catholic \"being\" that first effaced its indigenous origins and then its Arabic and Jewish inheritance was brought back by the military regime as a mytho-symbolic narration that formed a shield against the repressed remnants of the enigmatic message pressing for a new translation.

This contribution considers a monthly seminar, Literature and Psychoanalysis, that has been taking place at Sofia University (Sofia, Bulgaria) since 2017. Three of the seminar\'s founders reflect on the transferences between literature and psychoanalysis, and on the ways in which literature and psychoanalysis can meaningfully converse. The exchange also touches on the fate of Freud\'s textual legacy in communist and post-communist Bulgaria.

\"Free association\" and the \"fundamental rule\" are bedrock for psychoanalytic therapy and apply to what both patient and analyst should experience in the process. The article traces Sigmund Freud\'s revolutionary recognition of the importance of free association that began with his tribute to the works of Ludwig Börne and Friedrich Schiller. The author invokes other proposals akin to free association made by artists and scientists, including John Keats, Charles Dickens, Robert Frost, Thomas S. Kuhn, Arthur Koestler, and Albert Einstein. While emphasizing the importance and the liberatory potential of free association as it relates to effective treatment and discovery, the author contends that there is a \"moral press\" for both the patient and the analyst to permit free associative thoughts, particularly to question assumptions about how things are supposed to be.

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This paper explores how the film The Babadook illuminates psychoanalytic understandings of melancholia and mourning. The author attempts to unwind the complicated character of melancholia, using Freud as an initial point of orientation, then relying on a few ideas from Klein and later writers. The paper attempts to refine our understanding of the difference between absence and emptiness, especially the difference between being captured in the nothing or deadness of melancholic emptiness, on the one hand, and being alive enough to suffer the absence of a lost object, which bears a potential for mourning, on the other. The possibility of psychic tension between these states is explored. Some implications of the relationship between absence and emptiness for the mourning process are considered. The author uses the film as a resource throughout.

The direction of time is often defined by describing asymmetries between past and future events, referred to as \"time-arrows.\" Two important time-arrows are the mutability time-arrow, which specifies that the past is unalterable, while the future is not; and the causal time-arrow, which stipulates that past events may cause future events, but not vice versa. The author argues that the unconscious conception of causation expressed in both the oedipal myth and certain oedipal wishes negates the mutability and causal time-arrows. The author suggests, therefore, distinguishing between oedipal phantasies that undermine the ordinary conceptions of causation and time (such as the wish of being one\'s own parent), and classical content that is in line with our time perception (such as sexual and aggressive wishes toward parents). Analyzing clinical examples suggests that some patients\' oedipal phantasies are combined with unconscious sexual satisfaction from the asymmetric conception of time. When this sexual satisfaction is analyzed, they might expose the oedipal phantasies founded on the symmetric conception of time.

Freud\'s very brief 1922 paper on the beheading of Medusa by Perseus wisely concludes with a call for a further examination of the sources of the legend. A now widespread interpretation of this legend is based (often without acknowledgement) on an addition to traditions concerning Medusa made in Ovid\'s Metamorphoses. It is argued here that this Ovidian innovation has often been misinterpreted, and that a more careful reading of Metamorphoses supports neither a widely alleged exclusively vengeful portrayal of Medusa, nor Freud\'s portrayal of Medusa\'s decapitation as solely a pitiable and terrible symbol of castration. Instead, Ovid\'s complex treatments of myths involving Medusa, Minerva and Perseus present parallels with Kleinian insights into phantasy attacks on fecundity, and into imagined revivals of dead or damaged inside babies. Thus the \"displacement upwards\" of the fearful castrated maternal genital envisioned in Freud\'s \"Medusa\'s Head\" must stand beside a quite different \"displacement upwards\" of the life-giving maternal genital. Indeed, tradition holds that Medusa\'s beheading gives rise to the birth of vigorous twins. Together with allied details, this aligns Ovid\'s masterwork with theories that modify or displace the so-called \"sexual phallic monism\" that some believe taints Freud\'s theories of gender development.