Psychoanalytic Study Research Articles

Per-forming the <i>Sense of Touch</i>: A Spatio-Temporal Embodied Technology of Resistance

How does resistance and struggle arise and from where? What embodied mechanism and social conditions allow for thought to be thought and for action to emerge? To what extent are movements and freedoms already ‘choreographed’ or pre-determined by regulatory bio(techno)systems and how can post-modern choreography incorporate the radical social shifts and conflicts of our times towards equally radical ‘post-safe’ ethics and practices? A historical, philosophical and psychoanalytical study of the senses with a focus on the sense of touch will aim to reveal the unexpected tactile dynamics of biopolitics (Foucault, 1979) and insert touch into the relational workings of post-capitalistic struggle. Expanded beyond mere contact, touch is posited as a pivotal socio-political instrument of regulation and orientation, and by deduction, an equally powerful mean of resistance. Using historical and contemporary forms of activism, this paper will assert touch as precursor to action in an event arising from the body. The lived body via the senses – of which touch is posited as the mother of all (Montagu, 1971) – is reformulated as a technology bearing and reproducing sensory values and hierarchies structured by ideology (Howes, 2005), therefore as historical and subject to change and intervention rather than physiologically stable entity (Duden, 1991a). Here, the sensual body is boldly re-drawn as wilfully trans-forming, of itself and social relations at once.

Job’s Emotional Struggle with the Womb: Some Psychoanalytic Interpretations

The womb is invested with great significance in the book of Job. As Job regresses from his extended body, concretised in his children, servants and material possessions, to his own, which is then “eaten into” by his skin problems, he longs to return to it. His fantasies about this womb reflect his unconscious anger, wishes and anxieties, processed by his symbolisation of the womb as a holding and containing grave where he can escape the attacks on his body. As such the womb invites a psychoanalytic study, with even transpersonal-psychological prospects, including that God is somehow, at least unconsciously, associated or even identified with the womb.

The Destroyed World and the Guilty Self: A Psychoanalytic Study of Culture and Politics by David P.Levine and Matthew H.Bowker. Published by Phoenix Publishing House, Bicester, 2019; 208 pp, £25.99 paperback

British Journal of PsychotherapyVolume 36, Issue 1 p. 172-174 Review The Destroyed World and the Guilty Self: A Psychoanalytic Study of Culture and Politics by Levine, David P. and Bowker, Matthew H.. Published by Phoenix Publishing House, Bicester, 2019; 208 pp, £25.99 paperback Annie Pesskin, Corresponding Author Annie Pesskin annie.pesskin@gmail.com British Psychotherapy FoundationAddress for correspondence: [annie.pesskin@gmail.com]Search for more papers by this author Annie Pesskin, Corresponding Author Annie Pesskin annie.pesskin@gmail.com British Psychotherapy FoundationAddress for correspondence: [annie.pesskin@gmail.com]Search for more papers by this author First published: 29 January 2020 https://doi.org/10.1111/bjp.12537Read the full textAboutPDF ToolsRequest permissionExport citationAdd to favoritesTrack citation ShareShare Give accessShare full text accessShare full-text accessPlease review our Terms and Conditions of Use and check box below to share full-text version of article.I have read and accept the Wiley Online Library Terms and Conditions of UseShareable LinkUse the link below to share a full-text version of this article with your friends and colleagues. Learn more.Copy URL Share a linkShare onFacebookTwitterLinked InRedditWechat No abstract is available for this article. Volume36, Issue1February 2020Pages 172-174 RelatedInformation

Nostalgia: A Lost Place for the Reviviscence of the Primary Object—A Contribution to the Psychoanalytic Study of Some Clinical Aspects of Nostalgia

In its attempt to revive the past, the nostalgic illusion tries to re-establish the relationship with the primary object, avoiding, in this way, the mourning of separation from it. Through two clinical cases, different aspects of nostalgia could be defined. One of these aspects is described as the subject’s endeavor to take a drive revenge against a past that “won’t go away”: here, nostalgia acquires a compulsive character and comes as a response to early anxieties concerning the subject’s existence itself, reflecting deficits of primary narcissism, and thus an affinity with an unreachable ideal ego. On the contrary, nostalgia in its more evolved forms, since it is associated with the ego ideal, preserves—in a sacralized way—the bond with the object, to which the subject appears devoted and loyal, and comes as a defense against the re-emergence of the polymorphously perverse infantile sexuality.

Lives of the Dead Poets: Keats, Shelley, Coleridge by Karen Swann

Reviewed by: Lives of the Dead Poets: Keats, Shelley, Coleridge by Karen Swann Tadakazu Suzuki (bio) Lives of the Dead Poets: Keats, Shelley, Coleridge Karen Swann Fordham University Press, 2019, 192 pp. ISBN 9780823284177, $30.00 paperback. In calling her book Lives of the Dead Poets, Karen Swann is making obvious reference to Samuel Johnson’s Lives of the Poets (1779–81), with which she hopes to evoke a sense of “the hagiographic, cultic” attachment to the figures of the poet (1). The twist she gives to Johnson’s title—together with the cover image chosen for the book—signals an interest in the afterlives of her subjects, and the book opens with the claim that “this book explores the insistence of biography in the reception [End Page 849] histories of Keats, Shelley, and Coleridge” (1). However, the five main chapters of the book do not really explore the roles biography performed in the processes of the poets’ posthumous receptions. Instead, these chapters mainly engage in examining the allegorical “figures” of the enervated, other-worldly poet that are brought into relief by close readings of the selected writings of Keats, Shelley, and Coleridge, and quotations from biographical accounts written by their contemporaries. Certainly, these chapters develop into the book’s introduction, which helps us to think through our fascination with these poets’ prematurely truncated lives in a constructive way, rather than simply condemning it as naïve and sentimental. Yet, as Swann clearly states, her “primary engagements are with contemporaries who work in British (and in some cases European) romantic studies and who remain caught up, however tendentiously, with the legacy of deconstruction, especially the work of Paul de Man” (26). To some readers, especially those outside the circle of “professional romanticists” on whose work Swann builds her arguments, the discussions after the introduction might seem at times arduous (11). However, Swann’s interesting case studies will be rewarding in their own ways to any reader who perseveres and familiarizes themselves with her prose. The book’s title evokes, for a Keats lover, the state of the “posthumous life”: an untimely suspension of life in an insulated space “that open[s] between the death sentence . . . and the moment of his actual death” (31). The represented “figure,” which is in this equivocal state, functions as a Benjaminian allegory of “the Poet” in the age of commodity capitalism. Swann focuses on this poet-figure, which we encounter as a character in a poem or as an image of a particular poet constructed by themselves and their contemporaries. Chapter 1 explores the accounts of Keats in his “posthumous life” and the figures of arrested, beautiful youths in Endymion and The Fall of Hyperion. Chapter 2 looks at Shelley’s controversial elegy Adonais and finds in it the narrative of melancholic fixation dramatized as Urania’s longing for Adonais whose death she fails to encounter. Chapter 3 takes up what Swann calls the “pod people” in Shelley’s poems—“hermetic figures” appearing in Canto 10 of The Revolt of Islam or the “glamorous Witch” of The Witch of Atlas—that resonate with the image of the elusive and ephemeral Shelley the Poet (76, 83), and speculates on their radical political potential in their disengagement from our social and political concerns. Chapters 4 and 5 deal with late Coleridge who, “after the heady period of the first edition of the Lyrical Ballads, or alternatively, after the crash of 1802 that led to his convalescence trip to Malta in 1803” (99) frittered away his intellect in ways that were “not productive in ordinary terms” (92). Chapter 4 is a kind of performative “abstruse research” that teases out the figure of Coleridge engaging in his research—his “work without hope”—that is “unrenderable into any common language and unsuited to any common use” (95–96). Here, she gives concentrated readings of Coleridge’s two notebook poems and “Constancy to an Ideal Object,” informed by André Green’s psychoanalytical study of “the work of the negative” (100). This “long detour” prepares the reader to encounter “Coleridge the Talker” [End Page 850] in Chapter 5 (114). Making a good use of biographical materials, many of which are taken from...

What We Don't See in What We See: A Response to Cinema and Fascination

What We Don't See in What We See:A Response to Cinema and Fascination Ackbar Abbas (bio) The world is an enigma, Nietzsche said, but an enigma composed of its various solutions (qtd. in Calasso 3). In much the same way, we can say that fascination in cinema is an enigma made up of its various interpretations. The essays in this special issue of Postmodern Culture, each brilliant in its own very different way, draw on a wide range of disciplines—from psychoanalysis and philosophy to sound art and quantum physics—as if to say that what is fascinating about cinema exists everywhere and not just in cinema alone. However, each essay manages to construct its argument around a reading of one or two films. The arguments are staged in dialogue with Freud or Lacan, Blanchot, Barad, or Bersani, but these canonical figures are not given the last word on the enigma of fascination. (More often than not, they appear like apotropaic gargoyles attaching themselves to an argument.) Rather, the significant emphasis is always on how fascination informs and deforms all the elements in cinema, including words and images—informs by de-forming them, like the sly way Deleuze's "dark precursor" works, or the way Lucretius's clinamen conditions atoms to swerve from the straight and narrow. What emerges from this special issue, then, is not a unified theory of fascination, but something perhaps more valuable: descriptions from the field of how fascination is present in a film and how a viewer or reader experiences it. Taken together, the essays suggest that behind the question "What is fascination?" lies the question "What is cinema?" Let me begin with Kwasu D. Tembo's essay, which raises some key questions about fascination and cinema, including, if only by implication, the question of film form. Tembo notes that fascination is often used today as a term of approbation, especially when we do not know what to say, but he also reminds us that there is a sinister side to it, highlighted by the psychoanalytic study of sexuality. When sex is linked to power, as it always is, we find "aberrations" like sadism and masochism. In the first half of the essay, Tembo brings out the heavy artillery (Freud, Lacan, Gallop, and others) to argue that Steven Shainberg's Secretary (2002) is about psycho-sexual fascination as a form of bondage. The film deals with the affair between Lee Halloway and her boss Edward Grey; Lee has masochistic tendencies, and Grey sadistic. Not unlike the master/bondsman dialectic, psycho-sexual bondage is "bidirectional." Furthermore, it turns around a Lacanian "thing," an objet petit a, a thing that is a no-thing—like the dead earthworm Lee mails to Grey—which Tembo calls in his title "the power of absolute nothing." The work of Jane Gallop, herself a reader of Freud and Lacan, opens the further possibility of a feminist reading. However, it should be obvious that what accounts for the film's fascination is not any scholarly apparatus but its overall tone, the fact that it is not a case study but a romantic comedy given several generic twists. In the film, bondage as "bidirectional exchange" is less a psychological insight than a comic formula whose automatism makes it appropriate for farce: so less a psychoanalytic tour de force than a Schnitzleresque tour de farce. The marriage of true minds takes the farcical form of a sadist and a masochist falling in love. Of course, it will have to be a kinky kind of love, romantic comedy taken to unexpected places. Nevertheless, like more conventional affairs, kinkiness has its own trials and tribulations, as well as its own precise if perverse algorithm of desire, seen most clearly in the minute detail of the fetish. One example is Grey's red pencil. He uses it like an instrument of torture, a red-hot branding iron, to circle Lee's typing errors. Tembo points to an even better example, the dead earthworm that Lee mails to Grey when all else fails to rekindle his passion. She tries enticing him to no avail by placing a sexy photo of herself on his desk or dressing...

Continued relevance of Dante Alighieri’s Comedy that transformed the soul and the culture

The following essay is a modified version of an invited presentation given in Florence, Italy in May 2017. It builds on and extends some of the previous psychoanalytic and multidisciplinary studies of Dante’s Divine Comedy as a “psychoanalysis of the Middle Ages” that greatly contributed to the incipient changes of the cultural episteme. The paper will explore and elaborate the continued relevance of Dantian proto-psychoanalytic insight into the complex role of regression, destruction, transgression, and conflict in generating growth, expansion, and creativity, and the ways in which ethics and erotics intertwine in a complex path towards unity, within the context of his multivocal presubjective, intrasubjective, and intersubjective inquiry leading to psychic reorganization. The liminal nature of Dante’s poetry, extending the symbolic and representational range in a way unprecedented in the vernacular literature of his time, vivifying and representing what is traditionally thought of as beyond representation, will also be considered in terms of its relevance to the contemporary psychoanalytic discourse.

ОБРАЗ КСЕНОМОРФА В АМЕРИКАНСКОМ ФИЛЬМЕ УЖАСОВ: ИДЕОЛОГИЯ АНТРОПОЦЕНТРИЗМА В ИНТЕРПРЕТАЦИИ ЭВОЛЮЦИИ ЖИЗНИ

Актуальность исследования обусловлена тем, что современная массовая культура является примером парадоксальной конкуренции различных типов интерпретации сущности природы и цивилизации. Сегодня в них превалируют популистские и обывательские модели объяснения этих парадоксов, для которых характерны стереотипность, предвзятость и вульгарный антропоцентризм. В то время как исследования современной визуальной культуры призваны актуализировать значение научного подхода в изучении диалектики взаимодействия Homo sapiens с иными формами жизни на планете. Цель: сравнительное семиотическое и психоаналитическое исследование парадоксов современной визуальной культуры, которая все более тяготеет к отказу от естественных природных образов и экранному конструированию искусственных витальных объектов. Методы: феноменологический, семиотический и психоаналитический методы изучения визуальной культуры, позволяющие проанализировать антропоцентристскую символику современной массового общества, его идеологические приоритеты и смысловое содержание. Результаты. Американский фильм ужасов выступает в авангарде процессов, происходящих в современной массовой культуре, и создает особую идеологическую технологию визуализации массовых страхов и фобий по отношению к непознанной окружающей природе планеты. Будучи бессознательными в своем основании, эти эмоциональные состояния имагинируют и объективируют наиболее острые противоречия цивилизации и природы, которые переносятся на дочеловеческие формы жизни. Сложная композиция из атрибутов образов различных живых существ, которые в массовой культуре стереотипно соотносятся с опасностью и злом, сублимируется в визуальных моделях экзоморфных существ. Они становятся общечеловеческими символами зла и смерти и представляют агрессивные способы покорения окружающего мира и культуры. Именно в форме агрессии экзоморфных существ американский фильм ужасов повествует о чрезмерной угрозе для личности и всей природы, исходящей от цивилизованного человечества. Выводы. Показательно, что голливудские кинообразы экзоморфных существ последовательно воспроизводят имагинативные закономерности становления сознания и в силу этого получают особую популярность в массовой культуре. Кроме того, этим художественным образам целенаправленно приписываются сакральные и сверхъестественные качества. Экзоморфы выступают итогом конструктивного симбиоза внешних качеств различных живых существ, их манеры поведения, типа охоты, питания и размножения. В итоге подобные экзоморфные существа являются собирательными образами, в которых концентрируется, с одной стороны, вся мощь природы, а с другой – весь деструктивный потенциал цивилизации как ее искусственного оппонента.

Una propuesta de complementariedad entre los estudios de migración y psicoanalíticos en salud mental

El objetivo de este artículo es discutir los fundamentos epistemológicos de los estudios psicoanalíticos y su posibilidad de complementariedad con los estudios de migración basados en la sociología. La metodología utilizada fue la revisión de producción teórica sobre el tema de epistemología en psicoanálisis y la tradición de investigación en sociología, así como sobre estudios de migración enfocados en salud mental. Entre los resultados, se encontraron importantes coincidencias epistemológicas y metodológicas entre ambas disciplinas. A partir de eso, se presenta una breve propuesta que pone en evidencia la viabilidad de generar estudios complementarios sobre migración, específicamente en contextos fronterizos. Se sostiene que el valor de este artículo radica en la exploración de una posibilidad metodológica poco desarrollada en los estudios de migración, la cual profundiza en aspectos subjetivos e intersubjetivos en la experiencia de migrar. Se considera que dicha propuesta puede fungir como guía para estudios posteriores

A Tale of Tortured Souls: A Psychoanalytical Study of Toni Morrison’s A Mercy

الملخص يتناول هذا البحث بالدراسة رواية الکاتبة توني موريسون (رحمة) من منظور التحليل النفسي مع الترکيز على دور اللاوعي في توجيه سلوک وتصرفات شخصيات الرواية. ولقد تبنت هذه الورقة البحثية أفکار وافتراضات فرويد فيما يتعلق بدور اللاوعي کعامل مؤثر في توجيه السلوک البشري، وهذا المنطلق –کما سيتضح لاحقا في الورقة البحثية- له دلالة هامة في سبر أغوار الشخصيات البشرية إلى جانب اختيار موريسون الموفق لأساليب سرد روائية بعينها لتحقيق هذه الغاية. فطرح التحليل النفسي لأفکار وأساليب موريسون الروائية يمکن القراء من خلق معاني وأفکار جديدة في فهم الأدب الأفروأمريکي. وتنتهي هذه الورقة البحثية إلى إثبات أن الشخصية المستقرة هي الشخصية المتسمة بالاتزان بين جوانبها الاجتماعية والنفسية.

Nobody kills himself if he doesn't want to kill the other

In this paper, traditional and novel forms of suicidal behavior are analyzed from the perspective of the death drive. Special attention is paid to such phenomena as "death groups" and "suicide terrorism". Previously, suicide was described as a singular act voluntarily and independently committed by an individual, but in the recent decades, hundreds of episodes have occurred in which suicidal individuals killed dozens or even hundreds of innocent people together with themselves. Results of psychoanalytic studies of suicidal behavior are analyzed. Such contemporary societal problems as loss of meaning and perverted ideological attitudes are discussed as an influential cause of increase in aggressive and suicidal behavior.

SURRENDER AND SILENCE: THE PROBLEM OF NARRATIVE AND NON-NARRATIVE IN PSYCHOANALYSIS

Emmanuel Ghent’s innovative view of surrender developed out of his Buddhist beliefs and special interest in Eastern philosophies, and has come to be one of the most significant concepts in contemporary psychoanalysis, particularly among relational and intersubjective thinkers. Drawing on my own Japanese cultural background, I attempt to relate Ghent’s surrender to emptiness—as conceived in traditional Eastern philosophies—and narrative in psychoanalysis. Western readers will be asked to put aside responses and assumptions based in standard psychoanalytic literature and practice, in order to encounter a different and unfamiliar conception of emptiness. In return, this paper concludes, the idea of surrender to emptiness can be a useful therapeutic mode for Western analysts, allowing them to go beyond spoken and unspoken narratives or formulated and unformulated experiences. A psychoanalytic case study of a female patient who often fell asleep in sessions or remained silent for long periods, is used to illustrate this conclusion.

CORRIGENDUM

International Journal of Applied Psychoanalytic StudiesVolume 16, Issue 3 p. 208-208 CORRIGENDUMFree Access CORRIGENDUM This article corrects the following: Vamik's room: A documentary by Molly Castelloe (2019) Ira Brenner, Volume 16Issue 1International Journal of Applied Psychoanalytic Studies pages: 78-80 First Published online: March 8, 2019 First published: 22 July 2019 https://doi.org/10.1002/aps.1625AboutSectionsPDF ToolsRequest permissionExport citationAdd to favoritesTrack citation ShareShare Give accessShare full text accessShare full-text accessPlease review our Terms and Conditions of Use and check box below to share full-text version of article.I have read and accept the Wiley Online Library Terms and Conditions of UseShareable LinkUse the link below to share a full-text version of this article with your friends and colleagues. Learn more.Copy URL In the article “Vamik's room: A documentary by Molly Castelloe (2014)” (https://doi.org/10.1002/aps.1607, Brenner, 2019), published in the International Journal of Applied Psychoanalytic Studies, Volume 16, Issue 1, March 2019, pages 78–80, an error has been identified in the publication date of the documentary and thus the article title. The correct information is detailed below: Vamik's room: A documentary by Molly Castelloe (2019). Furthermore, in the second paragraph referring to the island of Vamik Volkan's childhood home, the correct spelling is Cyprus. The author apologizes for this oversight. REFERENCE Brenner, I. (2019). Vamik's room: A documentary by Molly Castelloe (2019). Int J Appl Psychoanal Studies., 16, 78– 80. https://doi.org/10.1002/aps.1607 Volume16, Issue3September 2019Pages 208-208 ReferencesRelatedInformation

Honami's Personality Aspects: A Study on Freud's Psychoanalysis of the Main Figures in Holy Mother's Novel by Akiyoshi Rikako

This study aims to reveal the character of one of the main characters, Honami in the Holy Mother novel. The data source in this study is the Holy Mother novel wrote by Japanese author Akiyoshi Rikako,which has been published in Indonesia in 2016. The technique used for data collection in this study is library techniques. The method usedin conducting this research was the psychoanalysis method which was first put forward by Sigmund Freud. The results showed that based on psychoanalytic studies, the main character of the novel,a woman namedHonami, showed that the Id aspectinfluences all of herthoughts and actions. This was triggered by various events, namely herown misfortune which had many miscarriages and had a disease that made it difficult for herto get pregnant, and Kaoru's existence that changed herlife to became more meaningful. The emergence of fear and concern for her daughter because of the successive killings that struck a small child in the city where she lived, making her falsify and obscure the fact that Makoto, wascommitted murder to protect her daughter. The results also showed thatthe personality of the main character, Honami, is dominated by an element of the Egopersonality that defeats the Superego.

How participating in an international community of psychoanalysts can offset local psychoanalytic institutes’ insularities and enliven practice

ABSTRACTIn this article the author attempts to show how participating in an international community of psychoanalysts can have a transformative effect on a psychoanalyst’s training and practice. The article focuses on the beneficial consequences for candidates of being involved in the International Psychoanalytical Studies Organization (IPSO), due to certain felicitous specificities of this organization, though much of what is discussed can be applied to being involved in other organizations. At the level of training, insular tendencies and local institutional dynamics can limit candidates to a restricted range of thinking, combined with emotional entanglements, which may curtail their intellectual freedom. The breadth of differences in approaches to training that IPSO exposes candidates to, and the fact that this takes place outside of their home institute and its hierarchies, is potentially an antidote to this. At the level of practice, psychoanalysis is a rewarding but also arduous profession that exposes its practitioners to many hardships, the extent of which is sometimes minimized or denied. IPSO embodies a spirit that marries intense intellectual interest for psychoanalysis with an enthusiastic attitude towards sharing good times with colleagues. The author posits that this libidinal investment is paramount to surviving and enjoying our work.

CREATIVE PERSONALITY OF THE WRITER: PROJECTION ON PSYCHOGRAPHY

The article is devoted to the consideration of the author’s concepts of the writer’s psychological organization (psychography). In the literary critique of the twentieth century, psychography as a method of differential psychology is established, which was proposed by the German scientist William Stern. Psychography involves the systematization of individual characteristics on a psychological basis, taking into account the uniqueness of the inner world of man and his biography. Based on the psychological understanding of individuality as a set of properties of different levels, psychology as a «description of the soul» involves the analysis of mental properties, and literary study of the psychological character of the writer is primarily directed to literary and domestic material. Understanding the personality of the writer as an organic unity of his psychological characteristics and literature as a product of his creative activity, the approach to its careful scientific examination falls within the framework of literary-psychological psychographic analysis. The basis for the analysis of this type should take psychological theory. The concepts of the writer’s psychography, proposed in his time in the psychoanalytic studies of Stepan Baley, Sigmund Freud, the characterological works of Alexander Lazursky, the psychopathological works of Karl Jaspers and Ernst Kretschmer, are consonant with the predestination of the psychological structure of the writer and his literary works — this is about the impact on the content of the artistic works, author’s style, creative potency and the creative process in general. In professional psychological works, the structuring of the writer’s inner world is one of the components of the problem of the psychology of the artist’s creativity, which is solved depending on the general guidelines of the representatives of the direction in which it is stated: classical psychoanalysis of the Freudian model, differential psychology, psychopathology. Such a professional reading of the personality of the writer by psychologists becomes a reliable methodological basis for conducting in the field of literary studies further scientific interpretation of the psychological and creative essence of the author.

‘Peripheral Visions’: A Conference Celebrating the Contribution of Jeremy Holmes and 20 Years of Psychoanalytic Studies at Exeter University, UK

British Journal of PsychotherapyVolume 35, Issue 2 p. 215-216 ‘Peripheral Visions’: A Festschrift for Jeremy Holmes, 2018 ‘Peripheral Visions’: A Conference Celebrating the Contribution of Jeremy Holmes and 20 Years of Psychoanalytic Studies at Exeter University, UK Mary Hepworth (formerly Target), PhD, Corresponding Author Mary Hepworth (formerly Target), PhD m.hepworth@ucl.ac.uk Professor of Psychoanalysis, UCLSearch for more papers by this author Mary Hepworth (formerly Target), PhD, Corresponding Author Mary Hepworth (formerly Target), PhD m.hepworth@ucl.ac.uk Professor of Psychoanalysis, UCLSearch for more papers by this author First published: 17 April 2019 https://doi.org/10.1111/bjp.12457Read the full textAboutPDF ToolsRequest permissionExport citationAdd to favoritesTrack citation ShareShare Give accessShare full text accessShare full-text accessPlease review our Terms and Conditions of Use and check box below to share full-text version of article.I have read and accept the Wiley Online Library Terms and Conditions of UseShareable LinkUse the link below to share a full-text version of this article with your friends and colleagues. Learn more.Copy URL Share a linkShare onFacebookTwitterLinkedInRedditWechat No abstract is available for this article. Volume35, Issue2May 2019Pages 215-216 RelatedInformation

Sándor Ferenczi, Géza Róheim and the University of Budapest, 1918–19

The article deals with the prehistory and the circumstances of Sándor Ferenczi's university career, and also discusses the university affairs of another prominent Hungarian psychoanalyst, Géza Róheim. Ferenczi's application for lectureship at the Medical Faculty was refused by the conservative professors in 1913. However, after the revolution in 1918 the university students themselves demanded Ferenczi's invitation to teach at the university. The Faculty resisted again, but finally, in April 1919 Ferenczi was appointed as professor Chair of Psychoanalytic Studies and Psychoanalytic Clinic of the Medical Faculty of the Budapest University. His appointment was confirmed by the Communist government, which came to power in March 1919. Róheim's application for lectureship was also refused, by the Philosophical Faculty, in 1917. In contrast to various legends, Róheim was not rewarded with a university chair in 1919, although he gave lectures on anthropology for different audiences and supported the cultural politics of the Councils' Republic.

Psychanalyse et développements psychiques : le temps à l’épreuve du désir infantile

ContextThe keen observation of emotional and behavioural exchanges between a young child and its parents is part of a long tradition initiated by psychoanalysts such as Anna Freud and Melanie Klein. Considering that these interactions are underpinned by parents’ and children's conscious and unconscious fantasies, clinical observations are compatible with psychoanalysis's theoretical elaboration of psychic functioning. This helps to complete the understanding of complex situations taking place at birth and during early childhood. Moreover, a standardised observation of the interactions between the baby and its family, inspired by development psychology, accounts for the baby's or young child's difficulties in regulating its behaviour, and its sensory, attention, motor, or emotional physiological processes, while considering the contextual aspects. The 0–5 classification, of which a French translation is underway, offers a simple photograph of the present moment, always open to modifications and evolution (Miri Keren, 2018). ObjectivesWith this new knowledge of different orientations, we will explore the necessary dialogue between the developmental approaches and the psychoanalytic study of children and parents, considering their compatibilities and their limits. MethodsThe concepts of containing, the psychic skin, “objeu” (the dynamic of presence/absence during play), and attachment – situated on the border of observation and metapsychological elaboration – are examined in this article. They account for the psychic functioning of the child in relation to others and have proved their relevance in the context of normal situations and in psychopathology. ResultsModels in child psychoanalysis have been developed from both a reconstructive perspective and observation. Such contextual, inventive working constructs allow one to think and elaborate the clinical field of the beginnings of psychic life through heuristic fictions. A better knowledge of the child's developmental context, in terms of emotional and tonic-motor regulations, enriches the data collected during consultations. ConclusionsThe transdisciplinary discussion of development alongside individual and family psychoanalytical clinical practice is necessary because, beyond generating innovative concepts, it also prevents conceptual sclerosis. To remain vital and capable of understanding any human activity, a method should adapt itself to the object studied and not the other way around, for example, by considering the subjectivity of the researcher and the clinician as a resource and not as source of errors.

Socially accepted violence by “agents of law”: Sublimation of aggression as a model

Abstract The term “Socially accepted violence” refers to the use of physical force in a manner that is perceived as legitimate in certain cultures. The exploration of psychological processes characteristic to those who carry-out such forms of violence must, therefore, take into careful consideration the mutual influences between social constructions and the individual's psyche. This paper proposes a psychoanalytic study of a certain type of socially accepted violence, that which is committed by “agents of law” – members of institutions responsible for the execution of the state monopoly of violence. It examines the potential contribution of the underdeveloped Freudian concept of sublimation – the directing of drive towards a socially valued goal. Ideas by Freud, Elias and Girard regarding the elementary role of violence in social institutions servers to highlight the part of sublimation of aggression in the complex psychology of individuals who carry out socially accepted violence in the name of law.