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Introduction: Despite struggling to establish itself as an autonomous profession, occupational therapy remains extensively regulated and controlled by discursive authorities inside and outside the discipline. After overcoming the profession’s reformist ideals, the military governance that supported its rapid expansion morphed into civil institutions but both were based on similar grounds: occupational therapists should obey a strict set of rules while disobedience and dissent are consistently repressed or silenced. Objective: The objective of this article is to deconstruct dominant (consensual) discourses that shape the status quo in occupational therapy and envision alternative paths for the development of the discipline. Method: Drawing on the work of Erich Fromm and Jacques Rancière, we propose a (critical) theoretical analysis of the concepts of disobedience and dissensus as they apply to occupational therapists. Results: The concepts of disobedience (Fromm) and dissensus (Rancière) can be used to revisit the consensus shaped by discursive authorities inside and outside occupational therapy and expose the political nature of such processes. We argue that remaining oppressive forces similar to those of a warfare regime persist in regulating occupational therapy practice and knowledge by enacting a form of >disciplinary propaganda.< Rather than threatening the development of the discipline, disobedience and dissensus constitute critical responses to disrupt dominant discourses and give rise to healthier concepts. Conclusion: The use of politically charged terms such as disobedience or dissensus can be seen as controversial and unsettling for a profession like occupational therapy but we believe they are necessary for the future of our discipline.
The author tells the history of his relationship with Malcolm Pines, and uses it in order to describe the latter’s personality and thinking, as well as to trace the influence that he has had on his thinking and practice. The focus of the discussion is on Malcolm’s understanding of the socio-political context of mental processes, including the creation of psychoanalysis by Freud, and the inner politics of psychoanalytical and group-analytical institutions. Malcolm is described as a revolutionary character, in Fromm’s terms. The article is a celebration of Pines’ life and contributions, as he reaches the age of 85.
In dieser Arbeit sollen anhand des Freiheitsbegriffes die Zwänge der modernen Gesellschaften beschrieben werden. Da der Begriff der Freiheit ein weitläufiges Themenspektrum umfasst, beschränkt sie sich auf die Theorien von Erich Fromm, Amartya Sen und Ulrich Thielemann. In ihren Überlegungen beschäftigt sich die Autorin mit verschiedenen Anknüpfungspunkten zum Freiheitsbegriff, hierbei stehen die Wirkungsweisen menschlichen Handelns im Vordergrund. Insbesondere soll die Freiheit in der modernen Gesellschaft, im Hinblick auf die wirtschaftlichen Bedingungen und den sich daraus ergebenden Sachzwängen beleuchtet werden. Dazu beschreibt die Autorin zu Beginn die Charakteristiken einer modernen Gesellschaft, um ein grundlegendes Verständnis zu schaffen, auf welchen Gesellschaftstyp sich die folgenden Überlegungen beziehen. Nach einer allgemeinen Betrachtung des Freiheitsbegriffs soll die Freiheit in der modernen Gesellschaft behandelt werden, und zwar wie jene Freiheit unter den Bedingungen wirtschaftlicher und politischer Einflüsse zu betrachten ist. Aus diesen Einflüssen ergeben sich Konsequenzen, die sowohl die äußere wie auch die innere Freiheit beeinträchtigen. Welche Positionen die Politik, unter den Bedingungen der freien Marktwirtschaft einnimmt, wird anschließend thematisiert. Im anschließenden Teil der Arbeit beschäftigt sich die Autorin zunächst mit dem Begriff Sachzwang, um nachfolgend die Instanzlosigkeit der Marktwirtschaft zu verdeutlichen. Aus dieser Instanzlosigkeit resultiert eine veränderte Wahrnehmung, welche den Sachzwang als natürliche Gegebenheit erscheinen lässt, doch in Wahrheit stehen Personen beziehungsweise Personenkreise hinter den Sachzwängen, welche es zu identifizieren gilt. Aus all den Verknüpfungen ergibt sich dann die allgemeine Frage nach der Lebensqualität in der Zwangslage und nach den wahrhaftigen Bedürfnissen der Menschen. Die Problemlösungen als Ausblick sollen vor allem den Bogen zur Freiheit zurückspannen, denn nachdem der Begriff der Freiheit zu Beginn viele Fragen aufwirft, scheint abschließend die Freiheit auch diese Fragen beantworten zu wollen. [Eurobuch.com]
Zum Geleit
(2022)
Artykuł ma na celu analizę wybranych spektakli Angéliki Liddell, współczesnej hiszpańskiej dramaturżki, reżyserki i aktorki teatralnej poprzez teorię psychoanalityczną Ericha Fromma. Głównym konceptem, który wydaje się być kluczowy dla dogłębnego zrozumienia wymowy Liddellowskich sztuk, jest koncept nekrofilii, czyli umiłowania zniszczenia, śmierci i rozkładu, w przeciwieństwie do biofilii, orientacji życiowej nakierowanej na wzrost i syntezę. Sztuką, która jest rozpatrywana szczególnie dogłębnie pod kątem charakteru nekrofilijnego jest >Rok Ryszarda<, wystawiona w 2005 roku wariacja na temat >Króla Ryszarda III< Szekspira. Motywy, jakie pojawiają się w tym przedstawieniu, będą powracały w kolejnych tekstach wychodzących spod pióra Liddell, takich jak >Co zrobię z tym mieczem? Wokół problemu Prawa i Piękna< czy „Liebestod – zapach krwi stoi mi wciąż przed oczami – Juan Belmonte<. We wszystkich tych sztukach znajdziemy centralną figurę, która na skutek fizycznej deformacji wykluczona jest ze świata miłości, a więc skazana na samotność. Samotność ta wywołuje ogromny lęk i agresję, która popycha bohatera do wejścia ze światem w więź sadystyczną, bazującą na kontroli. Jednak jak zauważyła Simone Weil, najdoskonalszym przejawem siły, najpełniejszą formą kontroli jest zabicie obiektu, toteż ostatecznie bohaterowie Liddell pławią się w krwi, zaś ona sama próbuje przedstawić widzowi akty najbardziej odrażającej przemocy jako rytuały, które mogą nam pomóc w odnalezieniu trascendencji. Jej pesymistyczna i z punktu widzenia psychologicznego wypaczona koncepcja miłości, wedle której zawsze ostatecznie zabija się to, co się kocha, stoi w jaskrawej sprzeczności z biofilijną etyką Fromma, dla którego, jak przytaczamy w artykule, miłość do troska, odpowiedzialność poszanowanie i poznanie. Ostatecznie w artykule podkreśla się psychopatologiczny charakter Liddellowskiej ideologii, zwracając uwagę na konieczność oceny dzieła sztuki nie tylko przez pryzmat estetyki, ale także etyki, społecznego wpływu dzieła.
El presente artículo es una aproximación al personaje de Ricardo, protagonista de >El año de Ricardo< de Angélica Liddell, desde el punto de vista del psicoanálisis de Erich Fromm. Un concepto especialmente útil a la hora de abordar esta reescritura moderna de la famosa tragedia shakespeariana es la >orientación necrófila<, un término acuñado por Erich Fromm para describir un carácter destructivo, que manifiesta una clara fijación en las actividades y los procesos contrarios a la vida, al desarrollo, al crecimiento. Una herramienta complementaria, que también se emplea en el análisis del personaje, es la noción de >carácter anal<, de Freud, cuyas teorías han sido reinterpretadas y elaboradas por Fromm. Siguiendo el planteamiento de Liddell, en el artículo se destaca el íntimo vínculo que existe entre la estructura psíquica y la vida pública del personaje, y, por extensión, de cualquier político.
Podjęty w monografii temat charakteryzuje się uniwersalnością, albowiem problematyka wojny i pokoju jest stale aktualna i niezmiernie znacząca. Co więcej, o uniwersalności tematu świadczy i to, że wojna, jako destrukcyjne zjawisko społeczne, nie została jak dotychczas wyeliminowana z przestrzeni społeczno-politycznej. Stąd dyskurs naukowy nad genezą kolektywnej agresywności może stanowić nowy impuls w debacie zarówno naukowej i politycznej, jak i medialnej ze Wstępu.
The prominent modernist writer Katherine Mansfield exhibits her innovative modernity, mixture of complex sentiments and rational interior exploration most conspicuously in her short stories. Yet despite the modernity of her thought, spontaneity and extroversion, of her expression and her other pivotal contributions to modernist literature, she is marginalized in literary arena with some of her themes, such as escape, being neglected by her readership and scholarship. However, escape as a complex and action has actually been one of the most essential themes recurring in Mansfield’s short stories and her life when she has kept struggling between idealism and realism. And escape as a shared choice of her characters trapped in predicaments or psychological dilemmas is often formulated in the contradiction between the escapists and society as well as their own intrapsychic conflict. Therefore, the thesis will engage Erich Fromm’s theories of human nature and escape to offer a socio-psychological reading of Mansfield’s escape theme accordingly. The thesis discusses the escape theme of Mansfield’s 16 short stories in three aspects of manifestations, causes and final destinations of escape. Chapter one focuses on the two major patterns of escape in terms of its manifestation: retreat and camouflage, which are respectively defined by escapists’ receptive orientation or marketing orientation. Receptive oriented Rosabel and the old lady and marketing oriented Gregory and Duquette are among the train of escapists examined here.– Chapter two unrolls the causes of the escape. The external determinants include three kinds of social forces restraining various human needs and two kinds of alienated family relations caused by authority or immature love. Miss Brill’s escape posed by social ostracism, Linda’s escape stemming from social convention and Ma Parker’s escape due to social hierarchy demonstrate how these three social forces determine their escapes. Moreover, escapes of Kezia and Matilda as results of their alienated relations with parents and the escapists including Monica and Mr. Salesby formulated in their alienated relations with spouses highlight the causality between the alienated family relations and escape. And the internal determinant refers to the identity dilemma that stems from one’s doubt over either his real self or social self. Both Bertha’s escape from her real self and Millie’s from her social self are made in a common backdrop of their identity dilemma.– As for the two opposite destinations including the positive and the negative ones, chapter three elucidates them as respectively the results of positive freedom or negative freedom procured by escapists represented by Miss Moss. Briefly, either through retreat or camouflage, most escapists perpetuate or exacerbate their predicaments after transient alleviation brought by their escapes. Only a few productive oriented ones could escape from predicaments ultimately for their escapes underpinned by their productiveness are quintessentially spontaneous negotiations with the world rather than self-deluding compromises or evasions. Hence they could realize their inherent potentiality, remain self-consciousness and external connection in the midst of escape and extricate themselves from their predicaments afterwards.– Besides, the theme of escape illustrated in the thesis is actually imbued with Mansfield’s own life experience and philosophy. Through offering a socio-psychological interpretation of Mansfield’s escape theme, the thesis hence hopefully aims to enrich the understanding of Mansfield and her characters, draw more attention to Mansfield and invoke, in particular, more reflections on the escape of her short stories, especially in the contemporary context of human existence. [English: www.cnki.net, 4/2022]
Negative freedom was the ideological rallying call of the bourgeoisie’s historically progressive period, when it overthrew the economic and political power of the landed aristocracy and gave birth to modern liberalism. Liberal philosophers asserted the moral primacy and autonomy of the individual and advocated the market and representative democracy as forms of association that allowed freedom from externally imposed authority. Only those relations of obligation and authority entered into voluntarily by the individual could have legitimacy.
In the television series >The Walking Dead<, survivors of an apocalypse take shelter in a prison, while zombies circle the fences looking for a way in. The zombies are shadows cast by a past to which the survivors cannot return but which they cannot escape. The living dead represent the past that, as Karl Marx wrote, >weighs like a nightmare on the brains of the living.< The prison that holds us today is what right-wing philosopher Francis Fukuyama called >the end of history,< a predicament in which >we cannot picture to ourselves a world that is essentially different from the present one, and at the same time better.<
This paper explores Erich Fromm’s concept of humanism, arguing that it provides us with a unified theory for both clinical work as well as social criticism. Fromm’s humanistic ideas are rooted in a structure of thought that sees our existence, our ontology as human beings, as constituted by our inherent capacities for both relatedness as well as positing ends and purposes in the world. By cultivating a self-awareness of these dual capacities, we can achieve a state of freedom, a self-consciousness of our capacity to shape our reality as opposed to conforming ourselves to it. In this way, Fromm’s ideas constitute a critical humanism that can be realized in the world via self- and social transformation and not merely an abstract set of principles or concepts.
Is there such a thing as midwifery ethics? Yes, there is. As human beings (moral agents), midwives are to be ethical, moral, responsible persons and professionals. Midwives work in moral relationships with other persons. They serve by the moral standards of their profession as now embodied in written codes of ethics, a profession that is part of the larger health care profession. As part of the professional world, midwives participate in the general standard that to be professional is to be ethical and to be unethical is to be unprofessional. The professions, in turn, are part of what Erich Fromm calls >human ethics<. If midwives are to be ethical, we suggest they need to understand ethics and to reason morally. Better health care for all is the result.