Psychoanalytic Inquiry最新文献_第6页

Searching for Embodied Connection in the Age of COVID-19 在 COVID-19 时代寻找体现的联系

IF 0.3 4区心理学

Psychoanalytic Inquiry Pub Date : 2023-12-19 DOI: 10.1080/07351690.2023.2277173

Heather Ferguson

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Communicating Without Words in Psychotherapy … and Why We Can’t Talk About It 心理治疗中的无言沟通......以及为什么我们不能谈论它

IF 0.3 4区心理学

Psychoanalytic Inquiry Pub Date : 2023-12-19 DOI: 10.1080/07351690.2023.2277154

Mary Jo Peebles

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Prologue: Musicality in Psychotherapy and Psychoanalysis 序言：心理治疗和精神分析中的音乐性

IF 0.3 4区心理学

Psychoanalytic Inquiry Pub Date : 2023-12-19 DOI: 10.1080/07351690.2023.2277149

John R. Paddock

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And He Showed Me Things: The Transformative Power of Sondheim’s Songs – A Discussion of Philipson and Jones’ Stephen Sondheim: Relational Psychoanalyst of the American Musical Theater 他向我展示了一些东西：桑德海姆歌曲的变革力量--讨论 Philipson 和 Jones 的《斯蒂芬-桑德海姆》：美国音乐剧的关系精神分析师

IF 0.3 4区心理学

Psychoanalytic Inquiry Pub Date : 2023-12-19 DOI: 10.1080/07351690.2023.2277217

Matt Aibel

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Early Years: Creating Perceptual Space Where Music and Language Can Meet 幼儿时期：创造音乐与语言交汇的感知空间

IF 0.3 4区心理学

Psychoanalytic Inquiry Pub Date : 2023-12-19 DOI: 10.1080/07351690.2023.2277186

Diana Thielst

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Greek Chorus and the Tactful Therapist 希腊合唱团和机智的治疗师

4区心理学

Psychoanalytic Inquiry Pub Date : 2023-10-03 DOI: 10.1080/07351690.2023.2257581

Giuseppe Civitarese, Sara Boffito

{"title":"Greek Chorus and the Tactful Therapist","authors":"Giuseppe Civitarese, Sara Boffito","doi":"10.1080/07351690.2023.2257581","DOIUrl":"https://doi.org/10.1080/07351690.2023.2257581","url":null,"abstract":"ABSTRACTThe article explores the metaphor of the “Greek chorus” as an image of the position of the analyst who, in the analytic field model, reverberates and returns the emotional content, sometimes slightly modified, so that the patient can listen to his or her own voice and enact a movement of transformation. That of the chorus, a voice made up of several voices, is also an antimoralistic, non-superegoic position, in which the analyst recognizes that he/she can accommodate the most diverse perspectives, emotions, and thus emotional truths that belong to the human. The authors show the relationship of their model to tragedy and, through clinical vignettes of both adults and children, they illustrate the technique of the analytic field in the light of this metaphor. The chorus corresponds to the we, to the overcoming of the I/you split made possible by interpretation. The analyst’s interventions give voice the chorus he/she creates together with the patient.KEYWORDS: Dramachorusdreamcommentinterpretationtact Disclosure statementNo potential conflict of interest was reported by the authors.Notes1 “Three times I tried there to wrap my arms around his neck, Three times his ghost fled the empty closure of my hands, Something like a blowing breeze or a flying dream” (Odyssey 11, 206–208).2 See: Civitarese (Citation2008), Civitarese and Ferro (Citation2020), Civitarese (Citation2021, Citation2022); Civitarese and Ferro (Citation2020), Civitarese and Ferro (Citation2022).3 We all know his playful sonnet “Vowels:” A black, E white, I red, U green, O blue: vowels/Someday I’ll talk about your secret birth-cries,/A, black velvet jacket of brilliant flies/That buzz around the stenches of the cruel,/Gulfs of shadow: E, candor of mists, of tents,/Lances of proud glaciers, white kings, shivers of parsley:/I, purples, bloody salivas, smiles of the lonely/With lips of anger or drunk with penitence:/U, waves, divine shudders of viridian seas,/Peace of pastures, cattle-filled, peace of furrows/Formed on broad studious brows by alchemy:/O, supreme Clarion, full of strange stridencies,/Silences crossed by worlds and by Angels:/O, the Omega, violet ray of her [or his] Eyes!(English translation by A.S. Kline in 2003. Rimbaud, Selected poems. Retrieved from https://bit.ly/31Vz8WV).Additional informationNotes on contributorsGiuseppe CivitareseGiuseppe Civitarese, M.D., Ph.D., is a psychiatrist and training and supervising analyst of the Italian Psychoanalytic Society (SPI), and a member of the American Psychoanalytic Association (APsaA) and of the International Psychoanalytic Association (IPA). He has been the recipient of the 2022 Sigourney Award. He lives and is in private practice in Pavia, Italy. Among his latest books are: Sublime Subjects: Aesthetic Experience and Intersubjectivity in Psychoanalysis, London 2018; Psychoanalytic Field Theory: A Contemporary Introduction, London 2022; The Hour of Birth: Psychoanalysis of the Sublime and Contemporary Art, London 2023,","PeriodicalId":46458,"journal":{"name":"Psychoanalytic Inquiry","volume":"103 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-10-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"135788962","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"心理学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

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Epilogue: Bridging Drama and Psychoanalysis 结语:架起戏剧与精神分析的桥梁

4区心理学

Psychoanalytic Inquiry Pub Date : 2023-10-03 DOI: 10.1080/07351690.2023.2257589

Daniel Goldin

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Prologue: Bridging Drama and Psychoanalysis 前言:戏剧与精神分析的桥梁

4区心理学

Psychoanalytic Inquiry Pub Date : 2023-10-03 DOI: 10.1080/07351690.2023.2257578

Daniel Goldin

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Sanford Meisner, Improvisation, and the Art of Psychoanalysis 桑福德·迈斯纳:《即兴创作与精神分析艺术》

4区心理学

Psychoanalytic Inquiry Pub Date : 2023-10-03 DOI: 10.1080/07351690.2023.2257585

Arthur A. Gray

{"title":"Sanford Meisner, Improvisation, and the Art of Psychoanalysis","authors":"Arthur A. Gray","doi":"10.1080/07351690.2023.2257585","DOIUrl":"https://doi.org/10.1080/07351690.2023.2257585","url":null,"abstract":"ABSTRACTThis paper challenges the strictures in psychoanalysis that seem to decry creativity. Sanford Meisner, a renowned theater teacher, trained actors to perform the same script night after night with an unpredictable sense of freshness. This complex accomplishment was achieved through improvisation. These improvisations relied on imagination and creativity. Meisner’s approach afforded intense, affective engagement between two or more actors. The script created the context for interaction, while improvisation created the affective engagement that was unpredictably different with each performance. The case of Roberto demonstrates how Meisner improvisations afforded a creative entry into Roberto’s feelings of detached isolation. Through these improvisations, impasses in the treatment were transformed. New dimensions in the analyst/patient connection unfolded, and new understanding of the source of the patient’s protracted, detached, isolated, depressed states emerged. Roberto’s discovering new-found satisfaction not only with his analyst but in all relationships supports the value of improvisation as a creative contribution to psychoanalysis.KEYWORDS: Affective engagementcreativitydepressed statesMeisner improvisationpsychoanalysisunpredictability Disclosure statementNo potential conflict of interest was reported by the author.Additional informationNotes on contributorsArthur A. GrayArthur A. Gray, Ph.D., an honorary member of the Institute for the Psychoanalytic Study of Subjectivity (IPSS), is faculty, supervisor, and serves on its Coordinating Committee. Other faculty/supervisory positions are the Postgraduate Psychoanalytic Society’s Group Therapy Department, the Training Institute for Mental Health, and Adelphi University. He is Council Member of the International Association for Psychoanalytic Self Psychology (IAPSP), on the Institute Committee of the American Group Psychotherapy Association, and on the editorial board of the Psychoanalytic Inquiry journal. He consults with self psychology groups in South Africa and in Japan, and conducts supervision online using his published group supervision model. His published articles apply self psychology and subjectivity theory to individual, couples, group, and supervision. He has a specific interest in how improvisation informs the therapeutic process. His latest publication is, “Living Truthfully Under Imaginary Circumstances: Improvisation in Psychoanalysis,” in Psychoanalytic Dialogues 2015. In private practice in New York City, Arthur treats adults using individual, couples, and group psychoanalysis and psychotherapy.","PeriodicalId":46458,"journal":{"name":"Psychoanalytic Inquiry","volume":"9 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-10-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"135788964","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"心理学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

引用次数: 0

Listen Like an Actor: The Key to the Performing Art of Therapy 像演员一样倾听:治疗表演艺术的关键

4区心理学

Psychoanalytic Inquiry Pub Date : 2023-10-03 DOI: 10.1080/07351690.2023.2257583

Mark O’Connell

{"title":"Listen Like an Actor: The Key to the Performing Art of Therapy","authors":"Mark O’Connell","doi":"10.1080/07351690.2023.2257583","DOIUrl":"https://doi.org/10.1080/07351690.2023.2257583","url":null,"abstract":"ABSTRACTAs both a therapist and an actor, O’Connell proposes that: 1) The artforms of acting and psychotherapy share the same core goal: to invite another person to embody a range of their humanity; and 2) Both artforms rely on the same core action to realize that goal – to listen. By listening to clients the way actors listen to their scene partners, O’Connell suggests that clinicians can maximize how we use our most essential instrument for therapeutic engagement: ourselves – particularly in terms of our implicit/nonverbal communication, or “subtext.” He emphasizes that listening like an actor is always the key to performing the art of therapy, no matter what “kind” of therapist we are, and no matter how our “scene work” takes place, (e.g. on “stage” or screen). Anecdotes from both therapy and acting are used to illustrate his ideas.KEYWORDS: Listeningimplicit communicationuse of selfmultiplicity of selfimprovisationacting Disclosure statementNo potential conflict of interest was reported by the author.Notes1 Wallace Shawn’s essay “Why I Call Myself a Socialist,” inadvertently but beautifully illustrates Philip Bromberg’s idea of multiplicity of self (Bromberg, Citation1998) through the lens of acting: “Contrary to the popular misconception, the actor is not necessarily a specialist in imitating or portraying what he knows about other people. On the contrary, the actor may simply be a person who’s more willing than others to reveal some truths about himself” (Shawn, Citation2011).2 Of note: Robin Weigert is the descendant of prominent psychoanalysts, including her father, Wolfgang Weigert and her grandmother, Edith Weigert, who wrote about psychotherapy as a creative art (Weigert, Citation1964).3 In contrast, a few years later I was told to “butch it up,” by a gay director no less, while rehearsing a production of Romeo & Juliet in which I played Romeo. Fortunately, rather than submit to this director’s anxiety about me “seeming gay,” by trying to force a “masculine” exterior – which would have undermined my function in the play (to be driven by genuine, unadulterated love) – I trusted that in order to stay present with my scene partners, and to organically discover and embody the heightened emotions necessary for the role, I would need to start from exactly where I was, even if my mannerisms defied normative expectations for a man who is in love with a woman (O’Connell, Citation2019b).4 I demonstrate and explore the concept of actorly subtext in my workshops for therapists. And I highly recommend video feedback as a tool for psychotherapy training programs, similar to how video is used in screen acting classes – which is to help each performing artist to become aware of their instrument and its possibilities. Relatedly, Romanelli, Moran, and Tishby’s research (Romanelli et al., Citation2019) shows how theatrical improvisational training in particular, can help therapists to be aware of self and other, and make use of our instruments. They spec","PeriodicalId":46458,"journal":{"name":"Psychoanalytic Inquiry","volume":"5 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-10-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"135789164","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"心理学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

引用次数: 0