The article is dedicated to the analysis of the reception and transformation of psychoanalytic ideas in the Italian novel of the 20th–21st centuries. The study is based on a comparative analysis of two significant novels that mark different literary eras: the modernist novel "Zeno's Conscience" (La coscienza di Zeno) by Italo Svevo and the postmodernist novel "The Prague Cemetery" (Il cimitero di Praga) by Umberto Eco. The subject of this research includes psychoanalytic techniques and principles of text organization (a specific type of discourse; reference to Freud's structure of personality, the realm of the unconscious; narrative strategies) in the aforementioned novels by Svevo and Eco. The aim of the research is to reveal the specifics and evolution of the psychoanalytic paradigm in the Italian novel over the century: from a tool of self-analysis in the modernist novel (Svevo) to a method of deconstructing cultural codes and historical myths in the postmodernist novel (Eco). The methodological foundation of the research is based on key principles developed by the psychoanalytic direction of literary studies grounded in the works of Sigmund Freud, Carl Jung, Jacques Lacan, Erich Fromm, as well as the theoretical and journalistic writings of Umberto Eco in the fields of interpretation theory, semiotics, and literary studies. The research methods include comparative, narrative, and hermeneutic methods. As a result of the analysis, types of psychoanalytic tools used by the authors were identified; it has been established that the appeal to psychoanalysis is evolutionary, reflecting a qualitatively new dimension of the novel in the 20th-21st centuries: from an individually discursive method postulating self-analysis through writing to the projection of subjective mechanisms onto mass consciousness, followed by their transformation into dominant cultural codes and normative constructs. In Svevo's novel, writing functions as a false therapy, revealing the impossibility of genuine self-analysis, while in Eco's novel, self-analysis is reinterpreted in the context of the scholar and writer's semiotic, cultural, and interpretive theories, demonstrating the mechanism of projection and exposing the reasons and methods for creating the archetype of the enemy. The scientific novelty of the study lies in the identification of the psychoanalytic component in Eco's novel "The Prague Cemetery." The results obtained may be useful in research on the history of foreign literature, the poetics of modern psychological and postmodern novels. The conclusions indicate that psychoanalysis in Italian literature evolves from a method of understanding personality to a tool for interpreting historical and cultural experience.

This article is a critique of the research perspective that analyzes political myths based on the methods of the study of myths.The author points to the need to supplement this perspective with the Lacanian theory of fantasy, which allows for capture of subjective desire manifested in myths.Theories in the study of myths (of Lvi-Strauss and Barthes) conceptualize myth as an attempt to overcome the original antinomy of human experience by constructing a space of ahistorical meaning deprived of contradictions.Based on the analysis of classic study of myths texts and Marcin Napirkowski's work, the author points to a paradox within the methods of the study of myths: while it describes myth as a tool for getting rid of historical contradictions, it creates ahistorical, and therefore, mythologized, interpretative categories.Supplementing this method with the Lacanian theory of fantasy allows us to overcome this paradox by pointing to historicized interpretation of desire that is manifested in myths.

The authors of this article, Freudian psychoanalysts in Italy, report on psychological and artistic experiments organized over three years to help recent migrants integrate into Italian culture and high schools. They note that war, poverty, and globalization have created enormous migration flows afflicting millions with a range of psychological challenges meriting some kind of intervention. These migration flows, however, have impacted some countries more than others; many European countries along the Mediterranean, such as Italy, have had to contend with the devastating effects of migration face on. The authors’ experiments are thus praiseworthy given the severity of the problem and the existential distress that migrants can experience when they navigate disparate cultures. The authors contend that migration is often a traumatic journey associated with loss and dislocation that is therefore amenable to psychoanalytic paradigms of wounding, object relations and play. By drawing on group psychoanalytic techniques embedded in psychodrama and popular music, they encouraged the migrants to express their psychological concerns and to create new bonds with native Italian students. The arguments in this article thus draw on several interdisciplinary strands of psychotherapy including traditional Freudian psychoanalysis, the tenets of group psychoanalysis, concepts from object relations, and the ideas of play and attachment theory. This eclecticism reflects the sophistication of its approach but can also become excessively prescriptive, sacrificing depth for breadth in such a compact space. The idea that both adolescence and migration are transitional journeys is one of the principal arguments here. Migrants “struggle with a new body that they will have to narcissistically reinvest and symbolically” (p. 201) re-inhabit—just like adolescents who must adapt to new social realities and responsibilities. This tenuous situation also “brings the person into contact with unconscious experiences of helplessness … when the baby is completely dependent on others” (p. 201), another analogy that is later expanded when the musical group evokes the maternal as dependable safe space, figuring Winnicott’s notion of “holding.” Despite the article’s wealth of citations and contexts for music therapy, drawn mostly from one-to-one psychoanalytic work, the impression that more could have been written about group music therapy from a theoretical perspective remains. A search on PUBMED for the string “group musical therapy” generated almost 5000 results. Given that the leader of group analytic sessions is called a “conductor”, for example, I wondered why the authors did not seize on this convention for its implications in a project about musical group therapy (Davies et al., 2015, p. 48). The authors are innovative in appropriating rap music to foster integration between the migrants and their hosts. Rap music “has been chosen … because it is one of the artistic forms of resistance against authoritarianism, and ‘resistance’ is intended here as the act of resisting difficulties or the ability to develop resilience” (p. 200). The migrants and their student hosts attend workshops with a local rapper to encourage more open communication using music as their cultural mediator. There are missed opportunities to look beyond rap music merely as a symbol of resistance, considering the exquisite richness of rap music as an art form and the fact that many migrants arrive from Africa to Europe. For example, West African Griot chanting is a known precursor of rap music, and these artists often use song and voice to communicate an oral history of their culture (Howard University Centre for African studies, n.d., Transatlantic Memories: Senegal’s Hip-Hop Griots). By choosing rap as a cultural mediator, the authors thus imply that migrants are also protecting and continuing indigenous identities during the process of integration into Italian society. Rhythm and Blues, one of the precursors of rap, is another genre the authors could have included, since its association with sadness, spirituality and loss could easily apply to the underlying experiences of migrants who leave family and loved ones behind to embark on uncertain journeys. Some attention to the disconnected speech patterns and sounds of rap music might have enriched this article’s exposition of the migrant experience. Surely disconnection and percussiveness, features of rap music that are almost universal, are also attributes of their journeys as migrants must reconnect to new cultures and attempt to harmonize with new societies. The choice of rap music evinces many archetypal undercurrents beyond the merely theoretical ones proffered by the authors (Kroeker, 2019). From a Jungian perspective, the project of integration through music is also one of individuation. As Patricia Skar notes, “music is similar [to individuation], in that it makes sound coherent, ordering it in time and creating a meaningful synthesis out of its contrasting elements” (Skar, n.d., para. 3). Jung’s argument that individuation concerns adaptation to the collective thus manifests in the migrants’ re-integration into new cultures and societies through rap music (Jung, 1920, para. 738).

This article examines the role of childhood experiences and metaphors in social entrepreneurs’ (SEs) career choice processes through a psychoanalytic lens. Metaphors are a unique projective tool to explore SEs’ subconscious processes. A total of 104 in-depth semi-structured interviews and 24 in-depth life-story interviews with SEs were conducted based on psychoanalytic theories emphasising family dynamics, childhood experiences and mental processes. The SEs were asked about significant childhood experiences and for a metaphor that describes their occupation. The metaphors they chose were justice fighter, caregiver, creator, leader and martyr. Thematic analysis showed specific recurrent significant negative childhood experiences, especially loneliness, family crisis and abuse and feeling lost, among others. Analysis revealed strong correspondence between specific metaphors and childhood experiences. Interpreted through a psychoanalytic lens, these findings denote compensation processes that underlie career choices and offer a deeper understanding of how and why SEs choose, develop and narrate their careers. In conclusion, using such psychoanalytical tools is recommended in SEs’ career training.

This paper focuses on Horia Lovinescu (1917-1983), a member of one of the most important dynasties of modern Romanian culture. Six of Horia Lovinescu’s dramas are interpreted in a close reading system, by psychoanalytical tools and by focusing on the family constellations the author imagines. These plays are related to the historical context (“the terror of history”), in order to understand how works of art are the reverberation of biographical-creative data of the greatest importance and how they echo in a paradoxical way social-political transformations. This double reading, psychological and historical, is justified by the playwright himself, through the construction of his plays and through his many allusions to psychoanalysis in his writings. Keywords: Horia Lovinescu, psychoanalysis, historical reading, communism, dramas, artistic creation, myth.

IntroductionTranscendental cinema, distinguished from slow cinema by Paul Schreader, draws on the philosophy of existentialism and depicts the complexity of the human psyche using psychoanalytic tools. We claim that through the use of special procedures, the projection of transcendental cinema essentially becomes a meditation session in the spirit of mindfulness, which has been proven to alleviate and cure more than just neuropsychiatric ailments.ObjectivesThe purpose of this work is to demonstrate the similarity between mindfulness philosophy and transcendental cinema. We believe that the assumptions of both currents are so similar that we can treat the film screening in the category of a meditation session. Thus, we arrive at a situation in which we not only watch the protagonist developing his own consciousness in accordance with the mindfulness philosophy (also following the path of psychoanalysis), but also we, as viewers, develop self-awareness.MethodsWe analyze D. Lynch’s Twin Peaks series in accordance with Paul Schrader’s understanding of ‘transcendental cinema’. In addition, we use the scientific achievements of classical psychoanalysts, analyzing the metaphysical world of the characters in accordance with this trend. Using J. Kabat Zinn’s scientific publications, we analyze cinema in terms of a meditation session.ResultsParticipation is crucial; in meditation and in the transcendental cinema. Mindfulness means focusing on the emotions and feelings experienced at a given moment, on what comes to us, what we experience. Transcendental cinema using specific formal and narrative tools (e.g. extended scenes, no cuts, etc.) forces us to actively participate. Transcendental cinema fulfills the tenets of mindfulness, and during the screening we undergo a meditation session. What’s more, this style in cinema allows an in-depth exploration of the psyche, it brings us closer to the metaphysical, emotional dimension of humanity what develops in us the ability to understand the psyche of others, as well as our own.ConclusionsWe claim that the similarity between the philosophy of mindfulness and transcendental cinema allows us to treat a film screening as a meditation session. Cinema enriches us not only with knowledge about disorders and the therapeutic process, but is in itself a supportive tool - screening can allow viewers to deepen their awareness and improve their health. What is more, David Lynch’s work brings us closer to exploring the human psyche and the individualization of inner experiences, while also showing us what influence transcendental meditation has on characters and what happens when they undergo a kind of therapy; in the spirit of psychoanalysis or mindfulness philosophy.Disclosure of InterestNone Declared

Abstract In this article, the authors aim to exemplify how psychoanalysis can apply to the community partially modifying its external setting, such as opening to group settings and including arts and music, while remaining firm in some structural tools, such as psychoanalytical observation and listening, play and attention to the intrapsychic dynamics of participants, including the psychoanalysts and their countertransference. They illustrate the experience of some projects, in particular one carried out for 3 years and ongoing, where young migrants, hosted in Refugee Shelters, meet Italian students in Secondary Schools. This article also describes the value of Music as an element of ‘psychoanalytic play’, establishing intrapsychic and interpersonal links.

Based on the psychoanalytic tools of (counter)transference, the importance of bodily phenomena that affect the body of the body psychotherapist is presented as a concept of bodily countertransference in concentrative movement therapy and illustrated by a practical example. Bodily (counter)transference is both a diagnostic tool and action guiding for the design of the therapy process. The defence process of projective identification is of special significance in body psychotherapeutic processes. The effect of body psychotherapeutic action, co-movement and body contact in the context of bodily (counter)transference is discussed. Furthermore, the question arises which traces physical (counter)transference leaves in the body of the body psychotherapist and what influence do physical changes, impairments and illnesses of body psychotherapists have on the therapeutic (counter)transference process?

ABSTRACT Anen’s paper adeptly uses a racial lens to psychoanalytically examine an important but neglected aspect of racism, namely how white privilege is deeply rooted in narcissistic states of mind. The white psyche and corollaries such as having whiteness as a psychological condition are a current focus of psychoanalytic writers. Anen’s approach adds significantly to this burgeoning inquiry by adapting additional psychoanalytic tools to the inquiry. He ably stretches established and familiar theories of narcissism, shame, internalization, and capacity for aloneness to interrogate white privilege. His additional perspectives give the analytic thinker more adequate scaffolding to hold the tensions of exploring the polarizing topic of white privilege. The openness of Anen’s inquiries and his highly illuminating case example also make room for additional questions such as whether the tools he offers adequately address the underlying hatred of racism and one of its weapons, namely, white privilege.

The article is dedicated tothe poetics of psychoanalysis in the early prose works of S. Protsyuk. The system of psychoanalytic codes in the collections of novels and short stories “The Gallows for Tenderness”and “Seraphimsand Misanthropes”consists of categories of destruction, immorality, neurosis, conflict, fear, the presence of which allows to interpret the early prose of Ukrainian writers by psychological works. It is revealed that S. Protsyuk’s early prose works significantly influenced the formation of the author’s unique poetics and style, built on the principles of psychoanalysis in his great epic (“Infection”, “Totem”, “Sacrifice”, “Doll Destruction”, “Fingers between the sand”etc.). It is investigated that psychoanalytic constructs in the collections “Gallows for Tenderness”and “Seraphimsand Misanthropes”are not presented systematically and quite heterogeneously, which indicates the process of development and formation of the author’s style. Techniques of self-knowledge, self-copying, insight, self-criticism and honesty with oneself are naturally reinforced by complex categories of fear, insecurity, destruction, immorality, despair, psychosis, neurosis, perverted fantasies and suicidal thoughts of early epic characters. Psychoanalytic typification of characters is facilitated by the introduction into the structure of the text of psychiatric terms that form thebackground of psychoanalysis, motivating some of the actions of the characters in the works. S. Protsyuk’s early work is marked by anti-imperial motives as one of the basic factors in the formation of dissatisfaction, resistance, unconscious resistance and resistance to the system, devaluation of social values and more. Psychoanalytic sounding in the works is acquired by neurotic love (“Gallows for Tenderness”), undivided love (“Drop of Beresh”), mental and psychological vicissitudes of the participants of the love triangle (“Red Rose”, “Black Rose”), “Self-destruction and Monologues”). Psychoanalytic constructs of novels form a new type of hero in the literature of the late XX–early XXI centuries the writer skillfully characterizes the mental organization of a number of psychoanalytic tools, techniques and tools.

“Psychoanalysis Meets Transgender Children” analyzes the progression of psychoanalysis from a position of perceiving gender diversity in children as an illness in need of cure to understanding it as an expression of self in need of therapeutic understanding and support. Developing the concepts of true gender self, false gender self, and gender creativity, based on D.W. Winnicott’s work, and calling on Irene’s Fast’s notion of early gender inclusivity, this paper presents a gender affirmative psychoanalytically-informed model for clinical work with gender diverse/transgender children. Finally, a segment of therapy with a gender-exploring child is presented demonstrating the usefulness of psychoanalytic tools in discovering the true gender self.

Lorsque l’intersexuation rencontre la psychanalyse. Entre norme et renouvellement théorique

Employing theoretical resources from Transactional Analysis (TA) and drawing from interviews with managers dealing with social or environmental issues in their role, we explain how CSR activity provides a context for dramas in which actors may ignore, or discount aspects of self, others, and the contexts of their work as they maintain and reproduce the roles of Rescuers, Persecutors and Victims. In doing so, we add to knowledge about CSR by providing an explanation for how the contradictions of CSR are avoided in practice even when actors may be aware of them. Specifically, we theorise how CSR work can produce dramatic stories where adversity is apparently overcome, whilst little is actually achieved at the social level. We also add to the range of psychoanalytic tools used to account for organisational behaviours, emphasising how TA can explain the relational dynamics of CSR.

This paper attempts to explore the presence of Freud’s psychoanalytical tools- id, ego, and superego and their role in determining the protagonists’ optimistic/pessimistic cycle towards life. The researcher has applied Psychoanalysis theory of Sigmund Freud to analyse the novel. The research has successfully revealed application of Freudian psychoanalytical tools. Moreover, the researcher has also unveiled the psychological drives which were evident during the optimistic/pessimistic cycle of protagonists’ lives. The researcher has concluded her research on the ground which illustrates when protagonists were having positive approach towards life, the working of superego in their life was indicated and while having pessimistic approach in their life witnessed the presence of id.

The monograph deals with a subject that is rarely covered by Russian philologists: préciosité and the gallant tradition of 17th c. French culture. The author singles out the French and Russian approaches to interpreting preciousness, noting their differences and the fact that Russian scholars are lagging behind the French on the subject of salon literature. A. V. Golubkov rejects the principle of ‘neutrality’ towards the subject of the study, which is evident from his context-based use of psychoanalytical tools, including the term ‘frigidity’ to describe the social genesis of the gallant tradition and the habitus of préciosité. In his examination of the sources of these French cultural phenomena (‘academy’, ‘préciosité’, ‘gallantry’, and ‘salon’) the author shows their association with types of creative activity, Baroque and Classicism, and oral and written practices of salon culture, and portrays linguistic and genre-specific experiments of the précieuses. He stresses their preference of the salon literary genres over rhetorical skills, identifies elements of dialogue-based poetics, and reveals the principal indicators of a new language art.

This paper attempts to explore the presence of Freud’s psychoanalytical tools- id, ego and superego and their role in determining the protagonists’ optimistic/pessimistic cycle towards life. The researcher has applied Psychoanalysis theory of Sigmund Freud to analyse the novel. The research has successfully revealed application of Freudian psychoanalytical tools. Moreover, the researcher has also unveiled the psychological drives which were evident during the optimistic/pessimistic cycle of protagonists’ lives. The researcher has concluded her research on the ground which illustrates when protagonists were having positive approach towards life, the working of superego in their life was indicated and while having pessimistic approach in their life witnessed the presence of id.

This paper attempts to explore the presence of Freud’s psychoanalytical tools- id, ego and superego and their role in determining the protagonists’ optimistic/pessimistic cycle towards life. The researcher has applied Psychoanalysis theory of Sigmund Freud to analyse the novel. The research has successfully revealed application of Freudian psychoanalytical tools. Moreover, the researcher has also unveiled the psychological drives which were evident during the optimistic/pessimistic cycle of protagonists’ lives. The researcher has concluded her research on the ground which illustrates when protagonists were having positive approach towards life, the working of superego in their life was indicated and while having pessimistic approach in their life witnessed the presence of id.

This discussion considers Palestinian subjectivity in a perpetual state of doubleness, commuting between a number of transnational political and cultural contexts and positions. Engaging Lama Khouri’s “Through Trump’s Looking Glass into Alice’s Wonderland: On Meeting the House Palestinian,” this paper reveals how, on one hand, Zionism is intricately and inextricably linked with and haunted by a Palestinian identity, which it fundamentally works to negate; on the other hand, it also engages the ideological aspects of Palestinian Arab identity when it is transplanted to the United States, interpolating all identities through its racialized social and class hierarchy. In examining the structures of these binary identity systems, I gesture toward a decolonializing psychoanalysis that adopts psychoanalytic tools to understand how alienating two-ness can become a productive mode of confronting and dismantling Zionist objectification and radicalized othering.

In this article I am interested in understanding - reliant on psychoanalytic conceptual tools - the dynamics of political humiliation and its psychosocial consequences, as well as the types of resistance to political humiliation. I depict political humiliation in terms of a modified notion of Winnicott’s notion of potential space, the dynamics of identification-disidentification, and the concept of internalization. In addition, I identify and depict four types of resistance, relying on these concepts to illustrate each type. I begin the discussion with a definition and description of political humiliation and its impact on psychosocial well-being.

The section ‘gay rights in Israel’, part of the gaytlvguide.com website promoting gay life and culture in Israel, narrates Israel as ‘… one of the world’s most progressive countries in terms of equality for sexual minorities… by far the most tolerant Middle Eastern country towards homosexuals’. The ways in which Israel has been positioning its spatio-cultural exceptionality and the rise in LGBT discourses of national inclusion in Israel and beyond has already been identified by Jasbir Puar as ‘homonationalism’. This article, however, asks how. Namely, how do homonational discourses come to produce and hail queer populations as national loyal subjects? I suggest that, to better understand the hailing power of homonational discourses in Israel and beyond, theories of national-civilisational belonging, affect and interpellation must be reassessed and the insecurity at the heart of the national-civilisational edifice interrogated. To do so, the article draws on Lacanian psychoanalytical tools as I look into the Israel Defense Forces’ (IDF’s) approach towards LGBT recruits as well as the rise in LGBT campaigning on the political right.