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Published online by Cambridge University Press: 04 February 2010
My method of musical analysis, which aims at nothing more obscure than showing the unity of contrasting themes, has received a certain amount of unwelcome journalistic publicity, and I am reminded that I must find a name for it before my critics do. Rudolph Reti, the respected author of The Thematic Process in Music (New York, 1951) which has had a stimulating influence on the development of my method, has suggested “Process-analysis” for what our respective analytical approaches have in common, but apart from the fact that their differences are as striking as their similarities, the term would not seem to convey a great deal, at any rate on this side of the Atlantic.
1 Freud's own technical term, the perfectly natural Fehlleistung, has resisted equally natural translation, as have so many of his unobtrusively new terms. Ernest Jones’ neo-Greek parapraxis is a brilliant enough feat so far as precise translation of meaning is concerned, but it will of course never escape the outsider's charge of jargon. No substitute has been found, and the new Freud translation which is in the process of emerging has been compelled to retain “ parapraxis.” But it ought to be more generally realized.that most of Freud's neologisms show no trace of Latin or Greek. If, for instance, the clear and simple Uberich has become a “superego,” this is only because the English language would not easily tolerate an “over-I.”