Background: Mary Chapin Carpenter (born February 21, 1958) is an American singer-songwriter. Carpenter spent several years singing in Washington, D.C. clubs before signing in the late 1980s with Columbia Records, who marketed her as a country singer. Carpenter's first album, 1987's Hometown Girl, did not produce any singles, although 1989's State of the Heart and 1990's Shooting Straight in the Dark each produced four Top 20 hits on the Billboard country singles charts. Carpenter's most successful album to date remains 1992's
Context: Carpenter was born in Princeton, New Jersey, to Chapin Carpenter Jr., a Life Magazine executive, and Mary Bowie Robertson. Carpenter lived in Japan from 1969 to 1971 before moving to Washington, D.C. She attended Princeton Day School, a private coeducational prep school, before graduating from The Taft School in 1976.  Carpenter described her childhood as "pretty typical suburban", with her musical interests defined chiefly by her sisters' albums of artists such as The Mamas & the Papas, The Beatles, and Judy Collins. When Carpenter was 16 her parents divorced, an event that affected Carpenter and that she wrote about in her song "House of Cards". Carpenter spent much of her time in high school playing the guitar and piano; while at Princeton Day School, her "classmates threatened to cut her guitar strings if she played 'Leaving on a Jet Plane' one more time." Despite her interest in music, Carpenter never considered performing publicly until, shortly after graduating from Taft, her father suggested that she perform at a local open-mic bar, a stressful experience for the shy Carpenter, who recalled, "I thought I was going to barf." Carpenter also hosted an open-mic night at a bar in the Cleveland Park neighborhood of Washington, DC for a number of years.  Carpenter graduated from Brown University in 1981 with a degree in American Civilization. Carpenter played some summer sets in Washington's music scene, where she met guitarist John Jennings, who would become her producer and long-time collaborator. However, she considered music a hobby and planned on getting a "real job". She briefly quit performing, but after several job interviews decided to return to music. Carpenter was persuaded by Jennings to play original material instead of covers. Within a few years, she landed a manager and recorded a demo tape that led to a deal with Columbia Records.
Question: Did she attend college?
Answer: Carpenter graduated from Brown University in 1981 with a degree in American Civilization.

Problem: Background: Wilhelm Stekel (German: ['Ste:k@l]; 18 March 1868 - 25 June 1940) was an Austrian physician and psychologist, who became one of Sigmund Freud's earliest followers, and was once described as "Freud's most distinguished pupil". According to Ernest Jones, "Stekel may be accorded the honour, together with Freud, of having founded the first psycho-analytic society"; while he also described him as "a naturally gifted psychologist with an unusual flair for detecting repressed material." He later had a falling-out with Freud, who announced in November 1912 that "Stekel is going his own way". His works are translated and published in many languages.
Context: Stekel made significant contributions to symbolism in dreams, "as successive editions of The Interpretation of Dreams attest, with their explicit acknowledgement of Freud's debt to Stekel": "the works of Wilhelm Stekel and others...since taught me to form a truer estimate of the extent and importance of symbolism in dreams".  Considering obsessional doubts, Stekel said,  In anxiety the libido is transformed into organic and somatic symptoms; in doubt, the libido is transformed into intellectual symptoms. The more intellectual someone is, the greater will be the doubt component of the transformed forces. Doubt becomes pleasure sublimated as intellectual achievement.  Stekel wrote one of a set of three early "Psychoanalytic studies of psychical impotence" referred to approvingly by Freud: "Freud had written a preface to Stekel's book". Related to this may be Stekel's "elaboration of the idea that everyone, and in particular neurotics, has a peculiar form of sexual gratification which is alone adequate".  Freud credited Stekel as a potential forerunner when pondering the possibility that (for obsessional neurotics) "in the order of development hate is the precursor of love. This is perhaps the meaning of an assertion by Stekel (1911 [Die Sprache des Traumes], 536), which at the time I found incomprehensible, to the effect that hate and not love is the primary emotional relation between men". The same work is credited by Otto Fenichel as establishing 'the symbolic significance of right and left...right meaning correct and left meaning wrong '. Less flatteringly, Fenichel also associated it with "a comparatively large school of pseudo analysis which held that the patient should be 'bombarded' with 'deep interpretations,'" a backhanded tribute to the extent of Stekel's early following in the wake of his break with Freud.
Question: How did this differ from Freud's theory of neurosis?
Answer:
the works of Wilhelm Stekel and others...since taught me to form a truer estimate of the extent and importance of symbolism in dreams".