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Erich Fromm’s Productivity: Creativity as Exemplified ny Joyce’s Blooming of Leopold and Molly
(2005)
According to Erich Fromm, the productive character expresses what he called the life force in ways that are, by nature, artistic in quality. His valuing of the vital and the artistic, fueled by this life force in our potential to he human, serves as the cornerstone of his model of psychoanalysis. Gilbert Rose, author of Necessary Illusion: Art as >Witness<, also has identified the parallel between analytic and artistic processes, building on the assumption that the therapeutic alliance and the aesthetic alliance are one and the same. In elaborating this assumption and extending the parallel between Rose and Fromm, I draw the conclusion that the qualities of relationships have an impact on one’s ability to express oneself creatively, to live an artistic life--that is, to live productively. Psychoanalysis is, in practice, a process that is artistic, creative, and recreative in nature. To the degree that authentic expression of emotion-ally charged implicit knowledge of the ineffable (the emotional life that resides deep in the bodymind) results in transformation and healing, the process is artistic in nature. This process is exemplified by examining the life and literary creations of James Joyce, especially Joyce’s characters of Molly and Leopold Bloom in Ulysses.
Entwicklungen, die die Psychoanalyse nach Freud im deutschsprachigen, angelsächsischen und französischen Raum genommen hat, werden umfassend dargestellt. Theoretische Konzepte und Vorgehensweisen der einzelnen Ansätze werden in ihren historischen Zusammenhängen beschrieben. – Aus dem Inhaltsverzeichnis: (1) Die Entstehung der psychoanalytischen Bewegung. (2) Der Abfall Adlers und der Adlersche Einfluß. (3) Der Abfall Jungs und die Jungsche Strömung. (4) Die orthodoxe Richtung [Abraham; Jones; Glover. (5) Die therapeutische Ungeduld [Stekel; Rank; Alexander und die Schule von Chicago. (6) Die symbolischen Differenzierungen Sandor Ferenczis. (7) Die weibliche Konfrontation: Melanie Klein, Anna Freud. Die Psychoanalyse in Grossbritannien. (8) Die New Yorker Schule [Spitz; Erikson. (9) Die kulturalistischen Tendenzen [Anregung der Ethnologen und Psychologen; Hartmann und die Ich-Psychologie; Sullivan und FROMM; Horney; Roheim. (10) Der Freudomarxismus [Wilhelm Reich; Herbert Marcuse. (11) Existentielle Psychoanalysen [Binswanger; Frankl; Caruso; Daim. (12) Französische Ausrichtungen. (13) Jacques Lacan und die Freudsche Schule. (14) An den Grenzen der Psychoanalyse [Einzeltherapien; Psychotherapien mit gesellschaftlicher Dimension; Antipsychiatrie. (15) Fragen und Ausblicke.
Editorial
(2005)
The problematic of narcissism in the way Freud visualized forces us to acknowledge the dualism of drives inside the subject; the object relations theory then builds up on the inherent need and the structuring potential of the object. The paper traces the growth of this concept in Freud's thinking in a bid to show how the object's otherness is not fully metabolized within the Freudian corpus. On the other hand, recent criticisms of object relations theory point to the perfunctory role ascribed to Freud's most radical discovery of the dualism of drives. Winnicott, Laplanche and Green have all developed theories that have provided pertinent rejoinders to the problematic of narcissism and object relations. The paper discusses how deconstructing and >going back over Freud< helps us to redefine object relations and give the drive functioning due importance. Hence the main thesis of the paper – that of narcissism – reveals the decentered subject's tussle with itself and with the alienness emanating from the object's otherness. If used creatively, ideas such as >otherness<, >objectalizing function< and Green's conceptualization of the clinical significance of negative and positive narcissism then seek to enrich the theorization on narcissism.
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.
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.
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<.