孟祥森﹙孟東籬﹚1937--2009
Wilhelm Reich
http://www.answers.com/topic/wilhelm-reich
Reik, Theodor(tā`ōdōr rīk), 1888–1969, American psychologist and author, b. Vienna, Ph.D. Univ. of Vienna, 1912. He was one of Sigmund Freud's earliest and most brilliant students; their association lasted from 1910 to 1938. In Europe, Reik conducted research and lectured at several psychoanalytic institutes before coming (1938) to the United States. He was naturalized in 1944. He founded (1948) the National Psychological Association for Psychoanalysis. Among his many writings are From Thirty Years with Freud (tr. 1940), Listening with the Third Ear (1948, repr. 1972), The Secret Self (1952), The Search Within (1956, repr. 1968), Of Love and Lust (1957, repr. 1970), Myth and Guilt (1957, repr. 1970), The Compulsion to Confess (1959, repr. 1972), Creation of Woman (1960), The Temptation (1961), Voices from the Inaudible (1964), Curiosities of the Self (1965), and The Many Faces of Sex (1966).
1948 - Listening with the Third Ear: The inner experience of a psychoanalyst. New York: Grove Press.
Bibliography
See the autobiographical Fragments of a Great Confession (1949, repr. 1965).狄奧多．芮克（Theodor Reik）著《內在之聲：用第三隻耳朵聆聽》Listening with the Third Ear (1948).孟祥森譯．牧童出版 1979年 《內在之聲》The Search Within孟祥森(全)譯1991台北水牛出版社 二版二刷
賴克 《內心底探索》The Search Within : Confession of an Analyst 候平文譯 台北水牛出版社 1979 再版
Reik, Theodor (tā'ōdōr rīk) , 1888–1969, American psychologist and author, b. Vienna, Ph.D. Univ. of Vienna, 1912. He was one of Sigmund Freud's earliest and most brilliant students; their association lasted from 1910 to 1938. In Europe, Reik conducted research and lectured at several psychoanalytic institutes before coming (1938) to the United States. He was naturalized in 1944. He founded (1948) the National Psychological Association for Psychoanalysis. Among his many writings are From Thirty Years with Freud (tr. 1940), Listening with the Third Ear (1948, repr. 1972), The Secret Self (1952), The Search Within (1956, repr. 1968), Of Love and Lust (1957, repr. 1970), Myth and Guilt (1957, repr. 1970), The Compulsion to Confess (1959, repr. 1972), Creation of Woman (1960), The Temptation (1961), Voices from the Inaudible (1964), Curiosities of the Self (1965), and The Many Faces of Sex (1966).
Bibliography
See the autobiographical Fragments of a Great Confession (1949, repr. 1965).
Reik's psychoanalytic studies include discussions of such writers as Beer-Hofmann, Flaubert, and Schnitzler as well as Shakespeare, Goethe, and Gustav Mahler, to name but a few. He had a unique way of communicating and his writing and conversational style was free associational. His autobiography is to be found in his many works. Among his better known are: Listening with the Third Ear (1948); the monumental Masochism in Modern Man (1949); Surprise and the Psychoanalyst (1935); his recollection of Freud, From Thirty Years with Freud (1940); an autobiographical study, Fragment of a Great Confession (1949); applied psychoanalysis of the Bible in Mystery on the Mountain (1958); anthropology in Ritual (1958); and sexuality in Of Love and Lust (1959), Creation of Woman (1960), and The Psychology of Sex Relations (1961); and music in The Haunting Melody (1960).
Toward the end of his life Reik, who grew a beard, resembled the older Freud and lived modestly, surrounded by photographs of Freud from childhood to old age. He died on December 31, 1969, after a long illness.
一個心理學家眼中的愛 A Psychologist Looks at Love
- 作者：Theodor Reik
- 原文作者：Theodor Reik
- 譯者：孟祥森
- 出版社：圓神
- 出版日期：1997年
譯 序
孟祥森
當我們想要了解愛的時候，必須有一個認知，就是愛是不可被了解的。愛和生命一樣，只能投入，而被了解。
愛和生命，是在「了解」的範圍之外的；它人禁止被了解，拒絕被了解。我們只能用「愛」、用「生活」去對待。
我們不能「了解」愛的核心是什麼，愛的原因是什麼。充其量，我們只能了解愛的運作和心理過程。
對愛的談論和探討，大概只能在這個範圍內，越此便「有說便錯」。
但在可說的範圍之內，仍有人說得好，有人說得不好。狄奧多．芮克便是說得好的一位，而且說得甚好。
狄奧多．芮克（Theodor Reik）是佛洛伊德的入室弟子，是一位深通人性的心理學家，也是心理學家中最有人文素養，最接近詩人氣質的一人。同時，他也是很具批評性、很不妥協的人。
他的著作深深探討人性種種幽深之處，絕不妥協，絕不苟且。但因深曉人性，所以雖嚴謹卻不嚴厲，雖犀利卻不傷人；融科學的探討與詩人的感性為一爐，讓人深思與玩味。
台灣對他的翻譯卻甚少見，據譯者所知，只有兩本。最早是水牛出版社的《內心底探索》（侯平文譯），其次便是譯者所譯的《內在之聲》（牧童出版社）；兩本 都是好書，但兩者都已出版二十餘年，現在在坊間大概已難買到。（本書譯成之後得知陳蒼多先生曾譯芮克二書《性關係心理學》和《發現與驚奇》〔新雨〕，另陳 先生提及《歌德情史》亦有中譯。）
《一個心理學家眼中的愛》既深入又驚人，讓譯者自己對愛與慾有更真切的了解，是一個很好的鏡子來覺察自己。我相信對每位讀者都會有鏡子的功能。
唯一讓譯者不能消化的觀點是作者對愛情起源的看法，他認為愛情是越於對自己的不滿與對對方的羨慕、嫉妒與敵意。為了彌補自己的不滿，為了克服對對方的嫉 妒與敵意，內心產生強烈的反彈作用（reaction formation註），而將嫉妒與敵意轉化為愛，並與此對象認同合一。
當然，芮克說這嫉妒與敵意及其轉化過程都是在無意中進行的，因此我們察覺不到。
愛情發生之前，當事者自身的不安與不滿確實是我們自己可以察覺的，這正是《少年維特的煩惱》所描述在戀愛之前的心境；對方的美好之嚮往也是事實，對對方的美質之羨慕與嫉好也有或多或少的蹤跡，但說愛情是敵意之轉化，我卻認為並不符合我自己的感覺。
我的感覺是，對方讓你動心，你渴望跟對方的生命融合，那是一種生命對生命的渴望。我認為性與愛都有一種生命層次的根源，而不僅是生理和心理的現象。
除了這一點我跟芮克的觀點不太相同之外，這本書仍是讓我深深受益、深深享受的。所以，我還是譯了，希望你也讀到這本好書。 註：日譯「反動形成」，中文心理學辭典譯「反向行為」。譯者為求順口易懂，而在本書譯為「反譯」或「反彈作用」。
戀人的心
狄奧多‧芮克, Theodor Reik, 孟祥森 - 圓神出版社，2002-07-01 出版
9789576078132 - 最後更新 2008-10-14
有些書名或其副標題有所不同
Publications
- 1912 – Flaubert und seine "Versuchung des heiligen Antonius". Doctoral thesis, University of Vienna.
- 1923 – Der eigene und der fremde Gott. Neuausgabe: Der eigene und der fremde Gott: zur Psychoanalyse d. religiösen Entwicklung, Mit e. Vorw. z. Neuausg. von Alexander Mitscherlich, Frankfurt (am Main): Suhrkamp, 1975.
- 1925/1959 – The Compulsion to Confess. In J. Farrar (Ed) The compulsion to confess and the need for punishment. (pp. 176–356). New York: Farrar, Straus, and Cudahy.
- 1932/1959 – The Unknown Murderer. In J. Farrar (Ed) The compulsion to confess and the need for punishment. (pp. 3–173). New York: Farrar, Straus, and Cudahy.
- 1937 – Surprise and the Psycho-Analyst: On the Conjecture and Comprehension of Unconscious Process. New York: E. P. Dutton and Company.
- 1941 – Masochism In Modern Man. New York: Toronto, Farrar & Rinehart.
- 1944/1974 – A Psychologist Looks at Love. In M. Sherman (Ed.) Of Love and Lust. (pp. 1–194). New York: Jason Aronson.
- 1946 – Ritual: Four Psychoanalytic Studies". 1962 Grove Press edition.
- 1948 – Listening with the Third Ear: The inner experience of a psychoanalyst. New York: Grove Press.
- 1952 – The Secret Self. New York: Farrar, Straus and Young.
- 1953 – The Haunting Melody: Psychoanalytic Experiences in Life and Music. New York: Farrar, Straus and Young.
- 1957 – Myth and Guilt. New York: George Braziller.
- 1959 – Mystery on the Mountain: The Drama of the Sinai Revelation. New York: Harper & Brothers, Publishers.
- 1960 – The Creation of Woman: A Psychoanalytic Inquiry into the Myth of Eve. New York: George Braziller.
- 1961 – The Temptation. New York: George Braziller.
- 1962 – Jewish Wit. New York: Gamut Press.
- 1963 - The Need To Be Loved. New York: H Wolff.
- 1964 – Voices From the Inaudible: The Patients Speak. New York: Farrar, Straus and Company.
REIK, THEODOR (1888–1970), psychoanalyst. Reik, who was born in Vienna, met *Freud in 1910 and received his training analysis from Karl *Abraham in Berlin. After World War I he worked as an analyst first in Vienna, and then in Berlin until he moved to The Hague in 1934. In 1938 he immigrated to the United States. In 1946 he was elected president of the National Association for Psychoanalytic Psychology.
Reik wrote many psychoanalytic articles on literary and musical figures such as Flaubert and *Mahler, on clinical and anthropological themes, and on psychological theory. Four of his best-known papers of the 1920s were collected in Das Ritual, psychoanalytische Studien (19282; Ritual, Psychoanalytic Studies, 1931). The first paper dealt with "couvade," the primitive custom in which the father of a newborn child lies in bed, the last two papers with *Kol Nidrei and the shofar. A series of papers on problems of crime – including the compulsion to confess, and Freud's view of capital punishment – were developed in Der unbekannte Moerder (1932; The Unknown Murderer, 1936), in which he sets forth as a major concept that unconscious guilt motivates the crime itself and also the criminal's need to be caught and punished. Reik held that an analyst's theoretical assumptions may interfere with treatment and that the therapeutic relationship should be an "unconscious duet" between patient and analyst in which surprises to both parties provide important insights. He wrote about his new technique in Der Ueberraschte Psychologe (1935; Surprise and the Psychoanalyst, 1936), and Listening with the Third Ear (1948). In Aus Leiden Freuden (1940; Masochism in Modern Man, 1941) Reik stated his theory that masochistic suffering is basically a search for pleasure and, as in the case of the Christian martyrs, for final victory. He therefore regarded masochism and the associated death instinct as secondary rather than primary as seen by Freud.
Some of Reik's thought was iconoclastic. In Psychology of Sex Relations (1945) he rejected the classical psychoanalytic theory of the libido and some of the sexual concepts that go with it. Among his more than 50 books are the autobiographical From Thirty Years with Freud (1940), Fragment of a Great Confession (1949), and The Search Within (1956). His biblical tetralogy included The Creation of Woman (1960), and in 1962 he published Jewish Wit. In Pagan Rites in Judaism (1964) he endeavors to show that much of the pagan and prehistoric survives in the rites of Judaism as professed today.
BIBLIOGRAPHY:
R. Lindner (ed.), Explorations in Psychoanalysis (1953), essays in his honor (incl. bibl.); J.M. Natterson, in: F.G. Alexander, et al. (eds.), Psychoanalytic Pioneers (1966), 249–64, incl. bibl.; D.M. Kaplan, in: American Imago, 25 (Spring 1968) 52–58; A. Grinstein, Index of Psychoanalytic Writings, 3 (1958), 1620–32; 7 (1965), 3940–41 (bibl. of his works).
[Louis Miller]
-----這首在 The Search Within 站一席之地 翻譯本66-70 採用的英譯與Wikipedia的三種都有些差異
歌德的這首詩有多重的寓意，野玫瑰象徵著年輕的少女，她拒絕了少年的追求並保衛自己。少年摘采野玫瑰，意味著少年粗野地奪去了少女的貞潔，這在當時 的德國是一種侵犯的象徵。而少年是否會因此永遠的忍受著愛的折磨，是顯而易見的，他想自己強烈的愛喚起野玫瑰回報的愛，然而她的離去和堅持卻使少年心碎。
1770年，年輕的歌德在特拉斯堡結識了弗里德里柯·布里翁（Friederike Brion），回憶著那場難忘的邂逅，歌德改編了一首16世紀的詩歌，創作了這首憂傷的《野玫瑰》。
2008年台灣電影《海角七號》以野玫瑰作為串起整個故事的媒介[1]。
野玫瑰 曲：舒伯特 詞：哥德（周學普譯）
男孩看見野玫瑰 荒地上的野玫瑰
清早盛開真鮮美 急忙跑去近前看
愈看愈覺歡喜 玫瑰、玫瑰、紅玫瑰
荒地上的玫瑰
男孩說我要採你 荒地上的野玫瑰
玫瑰說我要刺你 使你常會想起我
不敢輕舉妄為 玫瑰、玫瑰、紅玫瑰
荒地上的玫瑰
男孩終於來折它 荒地上的野玫瑰
玫瑰刺他也不管 玫瑰叫著也不理
只好由他折取 玫瑰、玫瑰、紅玫瑰
荒地上的玫瑰
"Heidenröslein" or "Heideröslein" ("Rose on the Heath" or "Little Rose of the Field") is a poem by Johann Wolfgang von Goethe, published in 1799. It was written in 1771 during Goethe's stay in Strasbourg when he was in love with Friederike Brion, to whom the poem is addressed. The episode is the inspiration for Franz Lehár's 1928 operetta Friederike, which includes a setting of "Heidenröslein" by Lehár.
"Heidenröslein" tells of a young man's rejected love; the female is represented by a rose. There is a companion poem by Goethe, "Das Veilchen", in which the man is represented by a violet.
It has been set to music by a number of composers, most notably in 1815 by Franz Schubert as his D. 257. Schubert's setting is partially based on Pamina's and Papageno's duet "Könnte jeder brave Mann" from the end of act 1 of Mozart's The Magic Flute. There are also settings by Carl Friedrich Zelter and Heinrich Werner. The Neue Deutsche Härte band Rammstein used the lyrics in their 2005 song "Rosenrot". The Japanese singer Ringo Sheena covered the Schubert song on her 2002 album Utaite Myōri: Sono Ichi in the song "D. 257".
Text
Sah ein Knab' ein Röslein stehn, Röslein auf der Heiden, War so jung und morgenschön, Lief er schnell es nah zu sehn, Sah's mit vielen Freuden. Röslein, Röslein, Röslein rot, Röslein auf der Heiden. Knabe sprach: "Ich breche dich, Röslein auf der Heiden." Röslein sprach: "Ich steche dich, Dass du ewig denkst an mich, Und ich will's nicht leiden." Röslein, Röslein, Röslein rot, Röslein auf der Heiden. Und der wilde Knabe brach 's Röslein auf der Heiden. Röslein wehrte sich und stach, Half ihm doch kein Weh und Ach, Musst es eben leiden. Röslein, Röslein, Röslein rot, Röslein auf der Heiden. | Saw a boy a little rose, little red rose on the heath, young and lovely like the morning. So he ran to have a close look at it, and gladly did. Little rose, little rose, little red rose on the heath. Said the boy: I will pick you, my red rose on the heath! Said the rose: I will prick you and I won't stand it, and you won't forget me. Little rose, little rose, little red rose on the heath. And the rough boy picked the rose, little red rose on the heath, and the red rose fought and pricked, yet she cried and sighed in vain, and had to let it happen. Little rose, little rose, little red rose on the heath. | Once a boy saw a little rose standing, Little rose of the field, She was so young and beautiful, He dashed there quickly to see her near, Beholden with abundant joy, Little rose, little rose, little rose red, Little rose of the field. The boy then said: "I shall pick thee, Little rose of the field." The little rose said: "I shall stick thee, That you'll always think of me, And, I'll not want to suffer it." Little rose, little rose, little rose red, Little rose of the field. Still the rough boy picked the rose, Little rose of the field. The little rose fought thus and pricked, No prose of pain could help her, Alas, she must suffer it yet. Little rose, little rose, little rose red, Little rose of the field. | Once a boy a Rosebud spied, Heathrose fair and tender, All array'd in youthful pride,-- Quickly to the spot he hied, Ravished by her splendour. Rosebud, rosebud, rosebud red, Heathrose fair and tender! Said the boy, "I'll now pick thee, Heathrose fair and tender!" Said the rosebud, "I'll prick thee, So that thou'lt remember me, Ne'er will I surrender!" Rosebud, rosebud, rosebud red, Heathrose fair and tender! Now the cruel boy must pick Heathrose fair and tender; Rosebud did her best to prick,-- Vain 'twas 'gainst her fate to kick-- She must needs surrender. Rosebud, rosebud, rosebud red, Heathrose fair and tender! [1] |