On his return from Italy in 1929, the art writer Adrian Stokes went into psychoanalysis with Melanie Klein, to confront a depression ‘intent on frustrating and destroying him’. This paper looks at the strange, hybrid text that psychoanalysis gave rise to: an account of Hyde Park as the place where meaning itself was being generated, and destroyed. In particular, it looks at Stokes's preoccupation with waste and remainders, and the failed attempts of industrial capitalism's ‘mechanical restitutions’, to put them to rights. In giving an account of his own destructive thought process during these years, I propose that Stokes gives a vivid account of his socio-political moment, but also works through a particular debate that was emerging for the British Psychoanalytic Society during these years: a debate about whether the death drive or the ‘negative’ could be meaningful for psychoanalytic theory.

中文翻译：

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形式的失败：艾德里安·斯托克斯作品中的意识形态与死亡驱动力

艺术作家阿德里安·斯托克斯（Adrian Stokes）1929年从意大利返回后，与梅兰妮·克莱因（Melanie Klein）进行了心理分析，以应对沮丧的“意图挫败和摧毁他”的沮丧情绪。本文研究了心理分析引起的奇怪的混合文本：对海德公园的描述，即意义本身被产生和破坏的地方。特别是，它着眼于斯托克斯对浪费和剩余物的全神贯注，以及工业资本主义“机械归还”使他们获得权利的失败尝试。在说明这些年来他自己的破坏性思维过程时，我建议斯托克斯生动地说明他的社会政治时刻，但同时也通过这些年来英国精神分析学会正在出现的特殊辩论进行研究：