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The symbolic absorption into and toward oneself of concepts and feelings generated toward another person or object; motivates irrational behavior toward oneself.
McGraw-Hill Dictionary of Scientific & Technical Terms, 6E, Copyright © 2003 by The McGraw-Hill Companies, Inc.
The following article is from The Great Soviet Encyclopedia (1979). It might be outdated or ideologically biased.



in theory of knowledge, the concept, introduced by the Austrian philosopher R. Avenarius, of the inadmissibility—from his point of view—of the insertion of perceived images into the consciousness of the individual. According to Avenarius, this follows from the inadmissibility of dividing the ideal and the real in general; this view is the result of his basing his philosophy on the concept of experience, dissolving within it the contrast between the spiritual and the material and thus attempting to refute materialism entirely. Criticism of these concepts of experience and introjection is provided by V. I. Lenin in his Materialism and Empiriocriticism (Poln. sobr. soch., 5th ed., vol. 18).

In psychology introjection is the individual’s inclusion of other persons’ views, motivations, and purposes in his inner world. It is a basis for identification. Projection is the opposite of introjection. The concept of introjection was introduced by the Hungarian psychoanalyst S. Ferenczi into depth psychology, where it is viewed as a psychological mechanism that plays an important role in the formation of the superego, conscience, and other personality phenomena.

The Great Soviet Encyclopedia, 3rd Edition (1970-1979). © 2010 The Gale Group, Inc. All rights reserved.
References in periodicals archive ?
We are detecting, and introjecting, our own identities from this play of images, in the push and pull of inner images glistening on the walls of the psyche.
A humanist reading of Videodrome is also undermined by the fact that we are acting out its story discursively, i.e., introjecting hallucinations, even while we are, according to one reading of the film, being enlisted against such debasing and dehumanizing practices.
Harvey misreads Cezanne's painting which is about voyeurism and the implications of Manet's painting, introjecting himself as the spectator not of a `prettified nude' but rather a recoiling and somewhat grotesque figure.
Introjecting a desire, a grief, a situation means channeling them through language into a communion of empty mouths.