The Literary Work of Art. Translated with an introduction by George G. Grabowicz,Foreword by David M. Levin.

The introduction of computers into the process of musical composition markedly disturbs the relationships which normally obtain between composer, work, performances, and sound complexes. This shift gives rise to a number of philosophical problems with far-reaching consequences, which this paper discusses. The conclusion is that the use of computers in composition exposes a crisis facing the notion of a work of music, whose outcome cannot yet be foreseen. In its subject matter, the paper takes up issues raised by Roman Ingarden's phenomenological ontology of art works. The use of example and counterexample to probe the boundaries of the notion of a work of music on the other hand owes more to Husserl's method of eidetic variation.     

The end of analysis for the analyst (Translated by Ann Kutek)

This paper is an account of an analyst's personal exploration to make conceptual sense of the delicate closing stages of an analysis. Jung's theory of complexes provides a model of the functioning of the analytic relationship as an integral whole which itself is the locus of the process that brings an analysis to completion. Clinical vignettes are used to illustrate this.