introjection

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  • noun

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(psychoanalysis) the internalization of the parent figures and their values

(psychology) unconscious internalization of aspects of the world (especially aspects of persons) within the self in such a way that the internalized representation takes over the psychological functions of the external objects

Based on WordNet 3.0, Farlex clipart collection. © 2003-2012 Princeton University, Farlex Inc.
References in periodicals archive ?
In other words, a parent's body was invested with projected dangers, while the child's own internal world was transformed into a similarly menacing environment following the introjection of these dangerous external objects.
Their love is a veritable drama of exchanged introjections; that is, she is often he.
We will discuss how to encourage the natural transformation of individuation in our psychotherapy through the re-attribution of introjections and the re-collection of projections.
However, even without a perception of God, something like our mutual visual gaze with mother, we form introjections that are images.
Contrary to this, I propose, images in cinema obscura work as our introjections. Introjection, according to Sandor Ferenczi and later elaborated by Nicolas Abraham and Maria Torok, denotes a process of taking in: (13) "Introjecting a desire, a pain, a situation means channeling them through language into a communion of empty mouths" (Abraham & Torok 128).
Woven from a confusion of projections and introjections, this story, in which Spider is a helpless bystander, is less devastating to him than confronting the true circumstances of her death.
He emphasizes his intention not to focus on the pathology of paranoia, but to speak to the pervasive psychodynamics of introjections, projections, and paranoid construction.
Through a series of phantastic introjections and projections, phantasies become organized around an inner world--an imaginary physical space inside the body--in which internal objects are located and interact with one another.
Affected by the imagos intertwined in a play of negative transferences(16) that bring the past onto the present, Agustin displaces his ancient imagos, the representations that fix the experiences of brutality acquired by previous introjections excluded from his consciousness, onto Edwina.
Rosolato also argues that the child's hearing and responding to the mother's voice is a key phase that sets the stage for more complex and later developments: "it [the mother's voice] carries, in effect, the first introjections [emphasis Rosolato's] preparatory to identification" ("Entre corps et langage," 80).(17)
Partial introjections and identifications along libidinal and aggressive lines coalesce.