Customer Service | Help | FAQ | PEP-Easy | Report a Data Error | About
:
Login
Tip: To see papers related to the one you are viewing…

PEP-Web Tip of the Day

When there are articles or videos related to the one you are viewing, you will see a related papers icon next to the title, like this: RelatedPapers32Final3For example:

2015-11-06_09h28_31

Click on it and you will see a bibliographic list of papers that are related (including the current one). Related papers may be papers which are commentaries, responses to commentaries, erratum, and videos discussing the paper. Since they are not part of the original source material, they are added by PEP editorial staff, and may not be marked as such in every possible case.

 

For the complete list of tips, see PEP-Web Tips on the PEP-Web support page.

Hamilton, J.W. (1976). Early Trauma, Dreaming and Creativity: The Works of Eugene O'Neill. Int. R. Psycho-Anal., 3:341-364.

(1976). International Review of Psycho-Analysis, 3:341-364

Early Trauma, Dreaming and Creativity: The Works of Eugene O'Neill

James W. Hamilton

SUMMARY

In this paper the early and later works of Eugene O'Neill have been studied in regard to manifest and latent content, and correlations between these plays and his core conflicts outlined. Because of various inconsistencies in the relationship with a severely depressed and addicted mother, O'Neill experienced excessive and repetitive early trauma, which left him with intense, unresolved dependent strivings and problems of separation, the underlying rage being internalized in the form of depressive symptomatology, a prominent feature of which was somatization. While his ambition was to become a poet, he began writing plays while recovering from tuberculosis in 1912, at the age of 24, and continued as a playwright until 1943, when a tremor of his upper extremities became so severe that he could no longer write legibly. A comparison of his early and later plays would indicate the centrality of pregenital themes with the need to control oral-sadistic rage through the creative process being a common denominator, and sufficient for him to interrupt his cycle plays to write The Iceman Cometh and Long Day's Journey into Night due to the increasing helplessness attendent upon his declining physical health. The importance of the dream in O'Neill's pattern of creativity is noted, with externalization of the dream in the form of the creative product becoming a means of attaining narcissistic repair and of making restitution for the lost object.

[This is a summary or excerpt from the full text of the book or article. The full text of the document is available to subscribers.]

Copyright © 2020, Psychoanalytic Electronic Publishing, ISSN 2472-6982 Customer Service | Help | FAQ | Download PEP Bibliography | Report a Data Error | About

WARNING! This text is printed for personal use. It is copyright to the journal in which it originally appeared. It is illegal to redistribute it in any form.