Cultic Studies Review, Vol. 9, No. 1, 2010, Page 62
Winnicott, D.W. (1971). Playing: Creative Activity and the Search for the Self. In: Playing and
Reality. New York: Basic Books. pp. 53-56.
Winnicott, D.W. (1971). The Place Where We Live. In: Playing and Reality. New York: Basic Books.
pp. 104-110.
Yassa, M. (2002). ―Nicolas Abraham and Maria Torok—The Inner Crypt.‖ The Scandinavian
Psychoanalytic Review 25:2.
Žižek, Slavoj. (1989). The Sublime Object of Ideology. London, New York: Verso.
Dana Wehle, L.C.S.W., M.F.A., is a certified psychoanalyst in private practice in NYC and
administrative supervisor at the Cult Clinic of JBFCS. She received her psychoanalytic
training at NIP-TI, and has presented on cults on Internet webcasts, at Rutgers, the William
Alanson White Institute, ICSA and elsewhere. Her interest in the impact of cults on
creativity builds upon her background as a classically trained painter, and on intensive
clinical work with former members, SGAs, and families. It has led to creation of a survey,
publication, and guest editing of this issue. (DWehle1@gmail.com)
This article is an electronic version of an article originally published in Cultic Studies Review, 2010, Volume 9,
Number 1, pages 78-105. Please keep in mind that the pagination of this electronic reprint differs from that of the
bound volume. This fact could affect how you enter bibliographic information in papers that you may write.
Winnicott, D.W. (1971). Playing: Creative Activity and the Search for the Self. In: Playing and
Reality. New York: Basic Books. pp. 53-56.
Winnicott, D.W. (1971). The Place Where We Live. In: Playing and Reality. New York: Basic Books.
pp. 104-110.
Yassa, M. (2002). ―Nicolas Abraham and Maria Torok—The Inner Crypt.‖ The Scandinavian
Psychoanalytic Review 25:2.
Žižek, Slavoj. (1989). The Sublime Object of Ideology. London, New York: Verso.
Dana Wehle, L.C.S.W., M.F.A., is a certified psychoanalyst in private practice in NYC and
administrative supervisor at the Cult Clinic of JBFCS. She received her psychoanalytic
training at NIP-TI, and has presented on cults on Internet webcasts, at Rutgers, the William
Alanson White Institute, ICSA and elsewhere. Her interest in the impact of cults on
creativity builds upon her background as a classically trained painter, and on intensive
clinical work with former members, SGAs, and families. It has led to creation of a survey,
publication, and guest editing of this issue. (DWehle1@gmail.com)
This article is an electronic version of an article originally published in Cultic Studies Review, 2010, Volume 9,
Number 1, pages 78-105. Please keep in mind that the pagination of this electronic reprint differs from that of the
bound volume. This fact could affect how you enter bibliographic information in papers that you may write.
