input: As a coach and manager, Gaston was considered a player's manager. He was a soft-spoken and steady influence during years that saw a large group of talented, high-salaried players grace the Blue Jays uniform. The franchise led the Major Leagues in attendance each year from 1989 to 1992, setting new records each of the latter three years, riding high from a dedicated fan base and a new stadium to play in when Gaston took the helm. The Jays opened the SkyDome a few weeks after Gaston became manager and the financial success translated into major free agent signings, including pitcher Jack Morris, outfielder Dave Winfield, and designated hitter Paul Molitor. They also retained core All-Stars such as Joe Carter, Devon White, Roberto Alomar, and John Olerud. Joe Carter credits Gaston for the team's championships: Cito knows how to work with each individual, treating everyone like a human being. He knows exactly what to say, when to say it, what to do and how to go about doing it. When you have a manager like that, it makes you want to play for the guy. We'd go to war for him. What Cito has done for the Blue Jays can't be taken lightly. Gaston had worked with players at an individual level as a hitting instructor and transferred this to the job of manager. He was known for his open communication with his players. He was a successful game strategist, effectively handling National League rules during World Series games in Atlanta and Philadelphia. In the six games the Blue Jays played in those places during World Series play, the Jays went 4-2, including the title clincher in Game 6 of the 1992 World Series in Atlanta. The 1992 World Series victory was widely recognized as the first for a non-American team, and Gaston was the first ever African-American manager to win a World Series. The Blue Jays followed their 1992 success with a repeat victory in the 1993 World Series.

Answer this question "who did they play?"
output: He was a successful game strategist, effectively handling National League rules during World Series games in Atlanta and Philadelphia.

Problem: Background: Erik Weisz was born in Budapest to a Jewish family. His parents were Rabbi Mayer Samuel Weisz (1829-1892) and Cecilia Steiner (1841-1913). Houdini was one of seven children: Herman M. (1863-1885) who was Houdini's half-brother, by Rabbi Weisz's first marriage; Nathan J. (1870-1927); Gottfried William (1872-1925); Theodore (1876-1945); Leopold D. (1879-1962); and Carrie Gladys (1882-1959), who was left almost blind after a childhood accident. Weisz arrived in the United States on July 3, 1878, on the SS Fresia with his mother (who was pregnant) and his four brothers.
Context: Houdini performed at least three variations on a buried alive stunt during his career. The first was near Santa Ana, California in 1915, and it almost cost Houdini his life. Houdini was buried, without a casket, in a pit of earth six feet deep. He became exhausted and panicked while trying to dig his way to the surface and called for help. When his hand finally broke the surface, he fell unconscious and had to be pulled from the grave by his assistants. Houdini wrote in his diary that the escape was "very dangerous" and that "the weight of the earth is killing." Houdini's second variation on buried alive was an endurance test designed to expose mystical Egyptian performer Rahman Bey, who had claimed to use supernatural powers to remain in a sealed casket for an hour. Houdini bettered Bey on August 5, 1926, by remaining in a sealed casket, or coffin, submerged in the swimming pool of New York's Hotel Shelton for one and a half hours. Houdini claimed he did not use any trickery or supernatural powers to accomplish this feat, just controlled breathing. He repeated the feat at the YMCA in Worcester, Massachusetts on September 28, 1926, this time remaining sealed for one hour and eleven minutes. Houdini's final buried alive was an elaborate stage escape that featured in his full evening show. Houdini would escape after being strapped in a straitjacket, sealed in a casket, and then buried in a large tank filled with sand. While posters advertising the escape exist (playing off the Bey challenge by boasting "Egyptian Fakirs Outdone!"), it is unclear whether Houdini ever performed buried alive on stage. The stunt was to be the feature escape of his 1927 season, but Houdini died on October 31, 1926. The bronze casket Houdini created for buried alive was used to transport Houdini's body from Detroit to New York following his death on Halloween.
Question: When did he perform his buried alive stunt?
Answer: 1915,

Question: 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.

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.

Using a quote from the above article, answer the following question: Did Stekel write about his theory of neurosis?
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Answer:
Stekel wrote one of a set of three early "Psychoanalytic studies of psychical impotence