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An interpersonal psychoanalytic approach to testing adult survivors of childhood sexual abuse.
(2000)
The way we plan and live our built environments reflect unconscious forms of thinking realised through architecture. Cities become holding environments that offer inhabitants differing forms of psychic engagement with the object world. The way they are planned and the types of objects they offer add up to degrees of >imageability<, an attribute of any city that could become part of a psychoanalysis of the built world, or what Bachelard termed a >topoanalysis<. Cities also play with life and death as those who inhabit built structures will be outlived by the places they inhabit, yet they enliven the inorganic spaces they construct. All buildings may, then, be forms of death brought into lived experience, and architects negotiate complex issues involving the matriculation of forms of death into human life. The >spirit< of human endeavour needs representation in the built environment and we may consider the ways in which a psychoanalysis of the built world could lead to a psycho-spiritual representation of human life.
Art-A Feasible Illusion
(2000)
Instead of using a psychological grid when reading literature, Freud recommended that we let the actual writer instruct us. The same applies to artists. Here I will be asking two questions: can one make a formal comparison between the painter's visual approach, and the analyst's psychic approach which leads him to form a particular interpretation? Can one compare the spectator's feelings when a painting imposes itself on him, with the analyst's feelings when confronted with the silence of the analysand? Out of these two questions another, more general one arises: what can the psychoanalytical approach to artistic representation bring to the understanding of the analytical process?