Melanie Klein’s seminal concept of projective identification provides an important theoretical mechanism for working through the Oedipus complex. Klein saw it as the key to achieving emotional maturity. As well as the choice of object, which decides our sexual identity, Klein sees a second choice to be made as subject, which shapes our gender. The question is not only ‘what does a woman (or man) want?’, as Freud and Jones argued, but ‘who (and how) does a woman (or man) become?’, as Simone de Beauvoir memorably asked. How is our gender acquired for us and by us? Queer theory asks us to refuse gender normativity. That is one response. But unless we arrive at our own answer to gender, says Klein, the capacities both to love and to be loved will remain elusive. Klein invites us to leave Oedipus behind in Ancient Thebes and move the stage to Paris in 1920, the setting for a novel by Julien Green, If I Were You. Our Modern hero is a young man, Fabian Especel. This article rediscovers Fabian and adds to Klein’s theory of internal objects the role of queer objects as Weberian ‘abject types’, to update the Oedipus complex today.

中文翻译：

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我们需要谈谈费边（Fabian）：克莱因的投射识别“迷失”理论和性别/同性恋对象的社会建构

梅兰妮·克莱因（Melanie Klein）的射影识别开创性概念为研究俄狄浦斯情结提供了重要的理论机制。克莱因将其视为实现情感成熟的关键。除了选择决定我们的性认同的对象之外，克莱因还认为应选择第二个选择作为主体，这决定了我们的性别。正如弗洛伊德和琼斯所说，问题不仅是“一个女人（或男人）想要什么？”，而且还像西蒙娜·德·波伏瓦（Simone de Beauvoir）难忘地问到的那样，“一个女人（或男人）要成为谁（以及如何）？”。我们和我们如何获得性别？酷儿理论要求我们拒绝性别规范。那是一个回应。但是，克莱因说，除非我们对性别问题做出自己的回答，否则爱和被爱的能力都将难以捉摸。克莱因（Klein）邀请我们在古老的底比斯（The Ancient Thebes）留下俄狄浦斯（Oedipus）的身影，并于1920年将舞台搬到巴黎，这是朱利安·格林（Julien Green）创作的小说《如果我是你》（If I Were You）的背景。我们的现代英雄是一个年轻人，Fabian Especel。本文重新发现了Fabian，并在Klein的内部对象理论中增加了奇怪对象作为Weberian“对象类型”的作用，以更新当今的俄狄浦斯情结。