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<.
The existence of man is distinguished by its split state: man stands in the middle of life yet still has an awareness of his own death. He has to compensate whatever is missing in him naturally at the societal level, created as culture, and at the individual level through creativity. Rank investigated the human 'creative drive', the anthropological aspiration to express oneself in creative works, and to overcome the fear of death with its help. Freud admired poets and artists, whose achievements he could not psychoanalytically access, but he considered science superior to the harmless and na ve arts. There are two anthropological radicals: premature birth and the consciousness of death. Freud's massive fear of death made it difficult for him to acknowledge the problem of death appropriately. In Rank's concept, the development of human creativity contributes towards the fear of death being alleviated so that the knowledge of death can be integrated into life; creativity belongs to the fundamental opportunities of man that may enable him to find a way through neurosis. Failure is as much a part of life as is creativity: those who do not experience and accept life in its tragic dimension are denied creativity. Only a creative person who accepts his partial failure finds the strength to continue to be creative without his imperfect work leading to the ritual repetition of the same thing again and again, that is, getting stuck in recidivism.
This author posits that, perhaps because of its religious implications, psychoanalysis has historically avoided speaking of forgiveness, although playwrights have often depicted forgiveness as a psychological mechanism that can help resolve cycles of anger and revenge. The Laramie Project (Kaufman et al., 2001), a play about how a U.S. town deals with a murder and its aftermath, provides an example of the way in which forgiveness offers an exit from vengeance. The play points to both the positive and the negative roles that religious ideas play in human actions. At the same time, however, the play itself avoids some of the painful processes that enable human beings to locate forgiveness. This paper draws on psychoanalytic literature, social commentary, and plays by Aeschylus and Shakespeare to demonstrate how the mechanisms of forgiveness operate. In conclusion, it suggests that although enabling the psychological processes of forgiveness can be extremely difficult, ignoring these processes may be life-threatening.
In their commentaries, Sandage and Frommer each describe ways in which forgiveness may be intrinsic to the therapeutic process. But their papers also point to one of the great difficulties of promoting forgiveness as the goal in either theater or therapy, which is that the need to control the healing process can actually impede that process. This reply examines how that need may have undermined the writing of The Laramie Project, and it suggests that, in order to help audiences and clients find true forgiveness, playwrights and analysts may need to relinquish their own righteousness.
Psychoanalytic Bias Against the Elderly Patient: Hiding Our Fears Under Developmental Millstone's.
(2005)
The aim of this article was presentation the Fromm’s concept of person, person, who is involved to dichotomy of human subsistence. Person live, sometime it lived according to nature, there was part, however, in course of evolution, mental authorities have spread out at it. Person gaining consciousness, it has broken attachment of junction it with nature same. Fear has appeared and sense of alienation. Person has become free, but same very solitary. In purpose of killing existential solitude, person resorts to rate interpersonal. Correct, according to Fromm’s conception, rate is love, however the most often chosen rate is authoritarism, destruction and mechanical conformism. Dichotomies of person incline for choice among life or death, existence or property. Correct orientation, inherent restless being, is existence and life, other postures are secondary in accordance with they and if they are in balance, it lives according to nature person.
Fragmenten Fromm
(2005)
This paper suggests that the interplay between transference and countertransference is considered to be a valuable channel of communication. The author puts an emphasis on the containing function of the analyst. The patient strives for an experience of an object (analyst) that tolerates and copes with the patient's projections. There are some moments when analysts feel themselves to be invaded, controlled or abused by their patient's products. As Bion has postulated, this situation takes the form of a sojourn in the analyst's psyche. Clinical vignettes are given to provide support for the ways in which the analyst contains and elaborates the projections of the patients in his or her own mind and the therapeutic role that these processes have.