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Der Band gibt neuere biographische Studien zu Erich FROMM wieder. Über die Analyse von Lebensdaten und persönlichen Charakteristiken FROMMs hinaus werden Hintergründe seiner Werkentwicklung beleuchtet. – Aus dem Inhaltsverzeichnis: (1) L. von Werder: Erich FROMMs produktiver Charakter. (2) P. Tauscher: Erich FROMM als Analytiker in Berlin. (3) A. Schaff: Mexikanische Erinnerungen. (4) J. Rickert: Erich FROMMs Institut in Mexiko. (5) R. Dunayevskaya: Erich FROMM als sozialistischer Humanist. (6) H. A. Jack: Die Friedensbewegung und Erich FROMM. (7) W. Appel: Erich FROMMs Dialog mit dem Buddhismus. (8) M. Schmid: Der kranke Erich FROMM. (9) B. Luban-Plozza und R. Biancoli: Erich FROMMs therapeutische Annäherung oder die Kunst der Psychotherapie. – Anhang: Eine Auswahl biographischer Literatur.
>Die üble Geißel des Terrorismus<. Realität, Konstruktion, Abhilfe. Erich Fromm-Preisrede 2010
(2011)
>Fenomén X< u Ericha Fromma
(1995)
>Forum der Psychoanalyse<, which holds a firm place in the German-speaking world today, was founded in 1984 in a rugged landscape of psychoanalysis in Germany that was the consequence of the malignant group processes that had occurred between psychoanalytic societies after World War II. The Forum's foundation was guided by the idea of creating a constructive climate between the rivalrous groups and moderating the gap between them, given the increasing recognition of the shared history of psychoanalysis in Germany that had started to take root in the 1980s. Emphasizing the common ground in psychoanalytic theory and practice, the >Forum< is open to all psychoanalysts, to discussions of the various psychoanalytic trends, and to contemporary interdisciplinary dialogue. It promotes exchanges between psychoanalytic societies, and is also meant as a bridge to the development of psychoanalysis abroad.
Erich Fromm points to a tendency whereby the numerous freedoms gained by the citizens of modern democracies have been accompanied by widespread feelings of loneliness and disconnection. The loosening of traditional social structures leads some individuals to seek out restrictions, for example in order to counteract the feelings of being alone. This essay uses Fromm’s thesis as a lens through which to examine two of Franz Kafka’s novels in which the protagonists exemplify the >fear of freedom< proposed by Fromm. Society in these novels is perceived as a prison cell in which one must comply with social regulations, but also a fortress to which one can retreat from the chaos of the outside world, albeit at the cost of one’s psychological health.
To introduce an archival protocol of a >Debate about methods in the social sciences, especially the conception of social science method represented by the Institute<, held on 17 January 1941 at the Institute of Social Research in New York, the article focuses on certain conflicts in substance and terms of discourse among members of the Institute, with special emphasis on Franz Neumann’s distinctive approaches, notwithstanding his professed loyalty to Max Horkheimer’s theory. These are seen to arise not only from Neumann’s assignment as bargaining agent for the Institute and his distinctive relations with American colleagues, but also from their different orientations to the conflicted legacies of Weimar.
One of the perennial questions in Shakespeare studies concerns what Coleridge called the >motiveless malignity< of Iago. Instead of looking at Iago as an individual, however, I will argue that he is best understood as a representation of the >social character< of early modern bourgeois man. Iago’s denial of spiritual values and his mercenary nature can be understood in this light. Fromm’s theses concerning the interconnections among anal libido, the death instinct, malignant aggression, and necrophilia all find support in Shake-speare’s supreme villain.
James Joyce represents one of the most significant novelists of the twentieth century and an adherent of the great tradition of humanistic ethics. The purpose of this paper is to critically examine, primarily in the light of humanistic ethics, the process of the artistic coming of age of the main character of Portrait, Stephen Dedalus. The basic principles of Humanism tend to view man in his physical and spiritual totality, believing that man’s fundamental aim is to >be man< and that the major prerequisite for achieving that aim is to be >man for himself<. Stephen Dedalus epitomizes Fromm’s type of man of productive character, in the sense that he gradually frees himself from the >nets< of Irish society represented in the form of constraints of nationality, family, and religion which he sees as threatening forces bent upon annihilating his own individuality. Stephen Dedalus manages to accomplish true affirmation of his individuality only through artistic vocation. Moreover, it could be argued that Stephen D. (Joyce himself) stands for the epitome of a genuine intellectual living in self-imposed exile and who is, according to the words of philosopher Julien Benda, a guardian and a bearer of independent thought who is loyal solely to truth.
>Los Francotiradores<
(1988)
>Mire usted<
(2011)
Artikel ini membahas perspektif Erich Fromm terkait membangun relasi cinta kepada oranglain sebagai citra diri >ngelmu<. Masalah yang muncul dalam artikel ini adalah: bagaimana tata laku >ngelmu< direpresentasikan dengan cinta kepada oranglain; serta bagaimana >ngelmu< terikat dengan perilaku membangun cinta kepada oranglain. Berdasarkan permasalahan tersebut, kemudian analisis kritisnya dibangun berdasarkan konsep cinta universal yang dikemukakan oleh Erich Fromm, yakni cinta aktif kepada sang Pencipta, alam ciptaan Nya, dan kepada sesamanya manusia. Metode yang dilakukan adalah berdasakan kajian terhadap pandangan Erich Fromm melalui pemahamannya tentang cinta universal. Artikel ini ingin menunjukkan keyakinan bahwa cinta universal yang merujuk pada kebutuhan untuk membangun cinta kepada oranglain menjadi bagian penting yang berdampak langsung pada >ngelmu< itu sendiri.
Bridging psychoanalysis and literature, the present paper links literary depiction of traumatic terror with our own learning from psychoanalytic experience. It identifies psychodynamic understanding at two levels: (1) at the descriptive level of traumatic experience; and (2) at the specific level of working-through. Beginning with traumatic descriptions in ancient Western accounts, represented in the Biblical book of Lamentations and by Sophocles, the paper focuses on the dynamic work of affective and cognitive emergence, highlighting a sequence of repetitive traumatic reminiscences drawn from Samuel Beckett's literary productions across a 33-year period from >The end< to >Company.< In so doing, it illustrates both the literary and therapeutic efficacy in emotional conveyance of personal narrative in achieving the necessary cohesion after traumatic experience to more effectively go on.
>Now, Look here...<
(2009)
This paper proposes that psychoanalytic psychotherapy can be a helpful form of treatment for certain autistic children. Some of the misconceptions surrounding this kind of treatment are discussed. The literature identifying a particular sub-group of autistic children is then reviewed and the characteristics of this group, and the relationship of their difficulties to early trauma, are described. Using clinical material from work with a child who probably fell within this sub-group, and who had very marked autistic features, the paper illustrates the importance of the therapist taking an active role in the therapy and how this helped the child to emerge from his withdrawn state. Particular emphasis is placed on the importance of introducing themes of aggression, and of this being done in a playful way. The impact of trauma on children's development, with particular reference to the acquisition of language, is considered. The role of sibling rivalry as a factor is emphasised.
En este artículo se trabaja con la pulsión de muerte, tan importante en el arte moderno, a través de Las Hurdes, tierra sin pan de Luis Buñuel. Se registran las formas más significativas en que dicha pulsión aparece en el mencionado documental y se tematizan en torno a la dualidad entre biofilia y necrofilia (entendida en sentido general, no sólo sexual) de Erich Fromm. Finalmente paso a una deconstrucción de dicha dualidad, o sea, a mostrar sus limitaciones como polaridad jerárquica.
>Schauen Sie, hier...<
(2009)
>Switch Him On!<
(2002)
In this article, the author describes somber scenes that have been extracted from Brazilian reality. Some of the elements that compose these scenes have been analyzed as to their relation with contemporaneity and psychoanalytic topics of interest: perversion, helplessness, pain, life instinct, death instinct, humor and indifference.
>The greater the satisfaction, the greater the disillusionment<. Interview with Luciano Aleotti
(1975)
>The Metaphors We Live by<
(2003)
During the first twenty years that Freud spent creating his theory, he assumed that most of the functions responsible for creating mental-thought structures were organized according to two different forms or principles of thought. He called these forms >primary process< and >secondary process<. The >secondary process< is identified with rational thinking and the ego, and it is easy to follow the changes that this concept underwent in the works of Freud that followed. The concept of >primary process<, on the other hand, disappeared from his later works with no explanation. This article traces the changes that the >primary process< underwent in Freud's thinking and examines the connection between his analytical technique and his research method. A close study of the changes that the >primary process< underwent reveals that Freud's developmental thought process included concepts whose directional changes may be termed >regressive<.
>Theonome oder autonome Ethik?< Ein Vergleich der Ethik Fromms mit einer theologischen Position
(2001)
This paper explores the links between psychoanalysis and music in Vienna between the years 1908 and 1923, focusing in particular on two members of the highly influential Second Viennese School, the composers Alban Berg and Anton Webern. While there is little evidence of an actual interaction between Freud and his circle and contemporaneous musicians in Vienna, this paper discusses the direct personal and professional contact Webern and Berg had with Freud, and also with Freud's one-time colleague Alfred Adler; Berg's wife Helene also underwent psychoanalytic treatment. Both composers documented their experiences with and feelings about psychoanalysis, offering critical insights into the reception of psychoanalysis in musical circles in Vienna, and into the actual connections between psychoanalysis and Vienna's most important musical figures. This paper examines Berg and Webern in the context of Freud's Vienna, Adler's musical background and his treatment of Webern, and Berg's knowledge of psychoanalysis and strong ambivalence towards his wife's psychoanalytic treatment, and concludes by considering Berg's opera Wozzeck (1925) as an example of a musical work influenced by contemporary Viennese attitudes towards psychoanalysis.
>To hear with eyes< is a Shakespearean expression used by Masud Khan as the title of his article written in 1971. In this text, Khan recounts the clinical case of a young model who told him certain things, but in whose body, lying on the couch, he saw other things. Khan’s article is almost 50 years old, and since then the clinical management of bodily issues and subjective dissociations has become more pressing. We have more and more patients who do not use the couch and who seek our gaze. If Khan privileged the analyst’s gaze on the patient’s body, we can now broaden this horizon, adding layers to the relationship between body expressions, gestures, and rhythms in the clinical encounter. Non-neurotic patients are very sensitive to this; in the analyst’s interventions, what patients perceive is the gesture, rather than the content of what is said. In the same way, we must be attentive to the rhythm of each subject during the sessions of analysis. The more traumatic the subjective process is, the more important are the perception of and respect for the patient’s rhythm, as well as the possibility of being able to get in synch with their rhythm.
This article invites Primo Levi, the internationally esteemed citizen of Turin, Italy and survivor of the Auschwitz to instruct post 9/11 psychoanalysis in five lessons on living and dying in the aftermath of severe trauma. Relying on excerpts from Levi's writings, the author invites Levi to speak to the reader words of warning concerning contemporary psychoanalysis' benign omnipotence in embracing overly simplistic theories of cure, resiliency and psychic repatriation of the human spirit in the aftermath of severe trauma.
This paper is part of my research into psychotic transference and is also related to the psychotic aspect of any adult or infantile patient in analysis. In my research, I studied the origin of the concept of transference in Charcot's time before Freud, and the transformation of this concept in psychoanalysis. Freud thought that psychotic patients were not able to establish a transference relationship, but some of his early papers show the opposite. In fact, Freud himself and then several other analysts were able to develop a personal experience regarding the possibility of contact and transferring feelings and delusional experiences in a therapeutic context – individual, group, or institution. I provide some clinical examples in this paper, as well as some theoretical, personal views regarding intrapersonal and interpersonal transference. Like Freud and Melanie Klein, I believe that transference starts with life, but that in psychoanalysis it has a particular meaning.