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What Is Psychoanalysis?
(2000)
Jan Henriksson, Professor of Architecture at the Royal Institute of Technology in Stockholm and member of the project-group of the issue >Psychoanalysis Meets Art and Architecture<, elaborates in this interview on different perspectives and ideas about architecture, which for him essentially is a contradictory and open concept with no a priori. Architecture belongs to the field of moral laws or ethics. The instrumental part deals with building and buildings. The working process includes research, penetration and interpretation of which the latter is the most interesting and powerful, not seldom connected with existential questions. The training of the students includes not only the instrumental part but still more important is the training of their critical thinking, to enable them to gain the insight that that which is the truth, looks like the truth no longer is the truth. To be given a lot of freedom during the training helps the students to find an inner compass, an inner bearing which will be decisive in their work. Conflicts are seen as vitalizing and the alternation between order and chaos as fertilizing for creative thinking and acting to take place. The need to express ourselves takes us all somewhere. For Jan Henriksson it is all about processes where different parts interrelate; that is the heart of the matter. The need for architects today to express themselves in words is increasing, to look behind things and to think and reflect about their own work and that of other architects.
Among the many remarkable peculiarities of the electoral process in Ukraine during the eighteen-month electoral cycle (from the parliamentary elections in March 1998 to the presidential elections in October-November 1999), the features of most interest to political scientists are those that, if properly explained, will enable us, first, to outline the basic parameters of citizens' behavior under the political regime that has evolved during the last ten years and, second, to determine the value orientations and the potential of the principal social and political actors. Above all, I have in mind the sociopolitical and sociocultural components of the elections or, to use a term of Erich Fromm's, the >social character< [1] of what is called the mean statistical (average) Ukrainian.
The use of space as an image for engagement is the framework of the dialogue between architect, Richard Meier, and psychoanalyst, Valerie Tate Angel. The interrelated nature of architecture and psychoanalysis heightens the awareness of experience in the self's relation to intimate spaces.The homogeneity between architecture and psychoanalysis is the bringing together of a sense of openness and a freedom of possibilities in the place where one lives.
Interacting with the work of art entails a spatial situation, which is double. On a mental plane it is encapsulated reverie, on a physical plane it is production and consumption. These two are woven together as an orthogonal text or texture. The space of the work of art thus contains both the process of its making and its viewing. Seen as a dimensional space it is non linear. It is characterized by oscillations, discepancies, misalignements, multiplicity and recurrence. There is a correspondance between the studio and the exhibition area, as well as a dialogue between privileged and unprivileged spaces. The situation has something in common with oneiric space, where weightlessness and gravity oscillate.
The Transforming Power of Affect. A Model for Accelerated Change. New York (Basic Books) 2000.
(2000)
This article discusses the role of philosophy in humanistic psychology. Specifically, the author draws on concepts from Erich Fromm, Carl Rogers, Socrates, and others. The author discusses what it means to be human, the characteristics of the self, and the division between feeling and thought. Finally, the author concludes with some speculations on dialogue between persons, especially the interactions between therapist and client.
Erich Fromms Einstellung gegenüber den abstrakten Wissenschaften wie der Ma-thematik erscheint uneinheitlich: einerseits hat er bekannt, abstraktes Denken falle ihm schwer, andererseits hat er Vertretern abstrakter naturwissenschaftlicher Theo-rien wie Einstein und Heisenberg eine revolutionäre Haltung attestiert. Tatsächlich lässt sich Fromms Kreativitätsbegriff auch für die Mathematik fruchtbar machen. Fromm fordert auf, die Dinge in ihrem >So-Sein< wahrzunehmen und darauf kritisch zu >antworten<, ein Verhalten, das die Bereitschaft zur Abstraktion mit einschließt. Der didaktisch bedeutsame >Siehe-Beweis< in der Mathematik ist damit ein Muster-fall dieses Frommschen Ansatzes. Zu Fromms ganzheitlichem Anspruch gehört seine von ihm auch gelebte Forderung an den Menschen, sich Konflikten zu stellen und so seinen Charakter zu entwickeln. Dies verweist auf einen speziellen Grund-zug mathematischen Denkens, nämlich das Bestreben in der Mathematik, sich über Normen hinwegzusetzen, wie es die Entdeckung der nichteuklidischen Geometrien im 19. Jahrhundert zeigt. Dieser prometheische Geist der Mathematik, der von Pädagogen oft übersehen wird, steht damit dem Frommschen Kreativitätsbegriff sehr nahe.
The ineffable articulated.
(2000)
The Hands of Egon Schiele
(2000)
Through an exploration of Egon Schiele's life and enigmatic ?mannerisms?, which recall those of autistic children and schizophrenic patients, the author explores the impact his outstanding and disturbing paintings can have. The approach is biographical, revealing Schiele the artist as an already gifted though disturbed child. Some material refers to Schiele's way of expressing painful yet creative fantasies, in which different parts of his body (in particular his hands), projected into his paintings, form part of an intimate, creative, disturbed language. From childhood to his early death, Schiele used a coherent figurative language which was both realistic and oneiric; the author develops some ideas on art and psychoanalysis, particularly as to the creative process within a complex and disturbed personality. Working as he did between the psychotic and non-psychotic elements of his personality (Bion), Schiele is an appropriate artist for our time. His drama, his feelings of disintegration and ?dismemberment? are nourished by the creative, sane parts of his personality. The true psychotic artist is not entirely psychotic, for creation requires aesthetic taste and harmony.
Participation in writing and creative process offers a unique window to view the evolution of the mourning process. This study traces how a painter's work as shown to such a group reveals and interacts with her developmental progress as she goes through the mourning process in individual therapy with the author, who is also the leader of the writing and creative process group to which the artist belongs. Through these mutually beneficial exchanges, the patient is able to relinquish her constructed false self-identity for an authentic female identity, as seen in the evolution of her painting over her two-year participation in the writing and creative process group.
Instruments designed to measure Fromm's marketing character (SCOI; Saunders & Munro, 2000) & the vertical & horizontal dimensions of Individualism & Collectivism (Singelis, Triandis, Bhawuk & Gelfand, 1995) were administered to 167 Ss. The hypothesis that scores on the SCOI would be positively correlated with Vertical Individualism was supported. However, there was only partial support for the hypothesis that scores on the SCOI would be positively correlated with Indi-vidualism, as the SCOIscores had the same relationship with collectivism – which was unexpected.
Instruments designed to measure Fromm's marketing character (SCOI; Saunders & Munro, 2000) & the vertical & horizontal dimensions of Individualism & Collectivism (Singelis, Triandis, Bhawuk & Gelfand, 1995) were administered to 167 Ss. The hypothesis that scores on the SCOI would be positively correlated with Vertical Individualism was supported. However, there was only partial support for the hypothesis that scores on the SCOI would be positively correlated with Indi-vidualism, as the SCOIscores had the same relationship with collectivism – which was unexpected.
Stairways of the Mind
(2000)
Spacing Unpredictability
(2000)
The paper deals with notions of complexity in art and architecture. On the basis of a recent sculptural work by Richard Serra, Torqued Ellipses (1997), the notion of complexity is investigated in terms of how it situates the viewer, and affects our sense of space and time. Serra's work is analyzed in terms of the artist's working method, the production of the work, and finally the >external relations< which connect it to the viewer and the context. In each of these steps, the notions of complexity and unpredictability are shown to have a formative role. This gives his work a relevance for several fields using working processes as methods. The relations between space and time, object and context, are redefined in Serra's work, which also gives it a more specific importance for architectural theory and practice.
Someplace in Mind
(2000)
This paper is aimed at placing the importance of Ferenczi's thinking in the wide field of psychiatry where Ferenczi has not been given any niche whatsoever. The author is in a position to approach topics that are fundamental for the work of both psychiatry and psychoanalysis. The Multifamily Psychoanalysis (MP), created by the author, not only allows professionals to counteract a current psychiatric trend aimed at eliminating the importance of subjectivity but MP also contributes to rescuing the thinking of Ferenczi, and to a better understanding of the Freud-Ferenczi controversy. It is the author's contention that Ferenczi embodies the very spirit of pioneers: no difficulties, however insurmountable, could ever stop him. He paved the way for further psychiatric research work, and his clinical contribution extended the realm of metapsychology.
Shifting Dialogues
(2000)
The article focuses on landscape impressions as a catalyst to start inner progress and creative innovation. The author uses the presumption that a work of art can act as an intermediary and testimony of specific states of mind. Two painters are presented, one contemporary and one from the turn of the last century. The difficulties in describing the origin of a painting and its coming into existence is considered and discussed. The object in view of the article is to point to the practicability of some aspects of psychoanalytical theories in the descriptions of the artistic creative process, of the relation viewer and work of art, of the studio dialogues between artist and viewer in front of the works. Objects relations theory, WR Bion's concepts of reverie, binocular viewing and negative capability, A Ehrenzweig's description of the different stages of the creative process, his positive accentuation of the role of the unconscious, the alternation between dedifferentiation and differentiation and need for the artist to go beyond the known, to be able to loose control of the work and let the painting 'live its life' is central. Art gives its own poetic imprints, not always accessible in words.
Fromm's important contributions to the modern development of psychoanalytic thought are often ignored and frequently misunderstood. An early proponent of revisions of psychoanalytic theory and therapy similar to recent trends in object relations, self-psychology and interpersonal psychoanalysis, Fromm was a vi-sionary for a Freudian theory built upon orthodoxies of the past but going beyond them. It is argued here that Fromm's unique role in helping create a new version of psychoanalysis for the 21st century was as sociological as it was intellectual. Fromm's contributions were intimately linked to his institutional positioning close to the center but on the relative margins of the discipline. This paper will outline how sociological dynamics shaped Fromm's revision of psychoanalysis. We will con-clude by discussing how Fromm was able to have a more dramatic influence than other Freudian revisionists who were less favourably positioned.
Review Steven D. Axelrod: Work and the Evolving Self: Theoretical and Clinical Considerations
(2000)
Review Fromm, E.: The Art of Lovong (1956a, English): Dr. Love. Erich Fromm’s >Art of Loving<
(2000)
Review Donnel B. Stern: Unformulated Experience: From Dissociation to Imagination in Psychoanalysis
(2000)
Reply to Ghent and Sern
(2000)
I report on the conclusion of a distinctly nonmodernist analysis, one with no definitive destination or goal. Given the lack of case reports describing other such termination processes within the psychoanalytic tradition, I look outside the usual psychoanalytic literature for frameworks that might guide the experience of termination without directing or essentializing it. Psychoanalytic writing, like that of most disciplines, generally follows forms that strive for reasonableness, coherence, order, and meaning. I experiment with discussing the end of an analysis without organizing the narrative, its >truth,< images, subjects, and objects, according to more structured, scientific ways of thinking. Poststructural French literary figures Blanchot and Bataille as well as American philosopher Greene, aid my reflections on some of the mysteries mobilized in the analytic relationship and its ending.
This commentary addresses two themes: parallels between religious and psychoanalytic education and the question of group survival in a world of competitive groups, whether religious (>strict< vs. >weak<) or psychoanalytic (differing psychoanalytic approaches). >Strict< religious education involves teaching both critical thinking and identification with the particular religion. This blend of critical thinking and identification with psychoanalysis is crucial in psychoanalytic education. We want to graduate students who see themselves as psychoanalysts rather than as being >interested< in psychoanalysis. This goal is accomplished when students have close, positive experience with personal analysts, supervisors, and teachers who are strongly committed to psychoanalysis but in a manner that encourages students to think critically and find their own psychoanalytic perspective. With regard to the second theme, I discuss how our narcissistic commitment to one or another psychoanalytic model interferes with open integration of new insights. Individual analysts privately integrate competing ideas in their own idiosyncratic ways. When these individuals publicly represent competing psychoanalytic groups, however, they tend to emphasize differences among these groups. They then find ways to appropriate new ideas as extensions of their own evolving tradition. In this way, a theoretical school is able to integrate new developments while preserving its own identity.
Reply to Dimen
(2000)
This essay, a commentary on Sorenson's >Psychoanalytic Institutes as Religious Denominations,< explores a number of questions concerning the fate of psychoanalysis and the institutions that support it. How can psychoanalysis best survive its current travails, transcend the internecine conflicts that have always plagued it, and ride its contemporary reformation into a vital, relevant and creative second century? Approaches to training and to institutional structure at several contemporary relational psychoanalytic training programs are discussed and contrasted with more traditional models as a way of suggesting some promising directions for the future growth of psychoanalysis as a discipline.
Reply to commentary
(2000)
Reply to commentary
(2000)
Ceccoli (1999a) argues that, because of their capacity for maternity, women analysts are capable of certain interventions that men are not. Taking issue with such assertions, this commentary argues that although the gendered metaphors of psychoanalytic intervention have changed usefully since Freud's paternalistic imagery, in favor of the maternal language of Klein and Winnicott, these metaphors are regressive if their value as symbolism is undermined. Ceccoli's case study is revisited and reevaluated to posit an alternative view: that theory is sometimes employed to fill gaps that might be more productively tolerated in the service of the analysis. It is argued that Ceccoli's use of Kristevan theory to support an essentialist position that translocates the paternal phallus into the female analysts' >gendered, bodily specificity … on the basis of our capacity for maternity< (p. 695) is an example of such a use of theory.
Reply to commentary
(2000)
The insufficiencies that Joan Copjec finds in the work of Judith Butler are the same kind Dyess and Dean want to alert us to in relational psychoanalysis. Two dangers of this nature are reification (that is, the relational position's becoming >the Book<) and a flirtation with superficiality (a potential outcome of believing that all experience can be understood in the terms of social relatedness). Theorizing >the impossibility of meaning< may be a first step in addressing these problems without having to limit the terms of the discussion to nature and nurture, or essence and social construction. But the idea of the Real is inextricably interrelated with, and mutually defined by, other parts of Lacan's theory. And so, if we simply import into relational psychoanalysis Lacan's conception of the Real, we are mixing apples and oranges and thereby risking conceptual confusion. We should instead use Lacan's idea as inspiration for the construction of a conception of >the impossibility of meaning< that can be used in theorizing the particular kind of problems relational psychoanalysis sets itself.
Reply to commentary
(2000)