The recent ego-psychological approach to form in art is utilized to understand the significance of form creation to artistic creativity in general. Two kinds of form in art are discussed--"good form" and "perfect form". The first is explained as the means used by the artist's ego to facilitate the expression and communication of latent meanings; the second, as the means used by the artist's ego to order disparate mental elements and to reconcile those opposite wishes, ideas, and emotions, whose opposite valences may endanger the integrity and cohesion of the self. In line with the assumptions presented in the paper, creativity and neurosis are described as two different methods used by the ego to solve the same underlying problems.
Jn this paper we will try to summarize our impressions derived from the clinical study of twenty-five patients suffering from impotence. The symptom of impotence may be found in different nosological entities ; but our impression was that the men affected by this symptom show a number of similarities which unite them into a typical group with specified characteristics, and differentiate them from all other neurotic patients. Furthermore, we will try to relate the findings to the theoretical assumptions about this symptom, attempting to understand more about the dynamics and pathogenesis of impotence.THE SYMPTOM In our group we defined impotence as comprising all disturbances in the male sexual performance preventing normal intercourse, in whichever stage of the act the particular disturbance may show itself. We included, therefore, the impotentia coeundi, ejaculatio praecox, and the ejaculatio retardata. We excluded all cases where an organic cause for the symptom was suspected, using the diagnostic criteria as specified by Yoel (1957), as well as impotentia generandi and impotentia satisfactionis. We also excluded cases in which impotence was found to be accompanying a psychotic state.
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