Pub Date : 2024-02-02DOI: 10.1016/j.evopsy.2024.01.002
Norbert Godon (Artiste, conférencier)
{"title":"Dessins de courbes gaussiennes représentant les probabilités de résultats obtenus en lançant deux, trois, quatre et cinq dés","authors":"Norbert Godon (Artiste, conférencier)","doi":"10.1016/j.evopsy.2024.01.002","DOIUrl":"https://doi.org/10.1016/j.evopsy.2024.01.002","url":null,"abstract":"","PeriodicalId":45007,"journal":{"name":"Evolution Psychiatrique","volume":null,"pages":null},"PeriodicalIF":0.6,"publicationDate":"2024-02-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"139738717","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"医学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2024-01-30DOI: 10.1016/j.evopsy.2023.12.001
Clément Fromentin (psychiatre, psychanalyste) , Olivier Douville (psychologue, psychanalyste, Maître de conférences des Universités)
Objective
The aim of this article is to offer an overview of the notion of sublimation in Lacan's teaching. More specifically, the aim is to approach the notion of sublimation not from the point of view of artistic creation, but from the point of view of its function in love relationships. Lacan uses the category of courtly love in particular to highlight this dimension.
Method
This work is based on a study of Freud's and Lacan's developments of the notion of sublimation and the amorous encounter. Following a review of the historical principles of courtly love, we will successively address the question of love at first sight in Freud, the articulation of the notions of sublimation and idealization, Lacan's developments on ecstatic love and its distinction from narcissistic love, the conception of the Thing, and finally the distinction between two types of sublimation distinguished by Lacan in 1969: that which is accomplished via the object to reach the woman, the other which is accomplished via the drive, the prototype of which is the work of art.
Results
Lacan bases his version of sublimation on a distinction between instinct and drive, which tends not towards an object but towards das Ding. This field of the Thing, which lies beyond the regulation of the pleasure principle, designates that of jouissance, which is electively targeted by sublimation. This forbidden jouissance constitutes a void around which creation is constituted.
Discussion
The object that plays a primordial role in sublimation is never reduced to a narcissistic object of imaginary idealization, but instead relates to a process directed towards the real of the unattainable Thing. Sublimation in love allows us to conceive that there is no desexualization of the drive.
Conclusion
Courtly love plays on this double articulation, which allows desire to address itself to a signifying being, based on a poetic linguistic creation, but which also authorizes the exercise of a transgressive jouissance, in relation to the partner's body.
{"title":"La sublimation amoureuse","authors":"Clément Fromentin (psychiatre, psychanalyste) , Olivier Douville (psychologue, psychanalyste, Maître de conférences des Universités)","doi":"10.1016/j.evopsy.2023.12.001","DOIUrl":"https://doi.org/10.1016/j.evopsy.2023.12.001","url":null,"abstract":"<div><h3>Objective</h3><p>The aim of this article is to offer an overview of the notion of sublimation in Lacan's teaching. More specifically, the aim is to approach the notion of sublimation not from the point of view of artistic creation, but from the point of view of its function in love relationships. Lacan uses the category of courtly love in particular to highlight this dimension.</p></div><div><h3>Method</h3><p>This work is based on a study of Freud's and Lacan's developments of the notion of sublimation and the amorous encounter. Following a review of the historical principles of courtly love, we will successively address the question of love at first sight in Freud, the articulation of the notions of sublimation and idealization, Lacan's developments on ecstatic love and its distinction from narcissistic love, the conception of the Thing, and finally the distinction between two types of sublimation distinguished by Lacan in 1969: that which is accomplished via the object to reach the woman, the other which is accomplished via the drive, the prototype of which is the work of art.</p></div><div><h3>Results</h3><p>Lacan bases his version of sublimation on a distinction between instinct and drive, which tends not towards an object but towards das Ding. This field of the Thing, which lies beyond the regulation of the pleasure principle, designates that of jouissance, which is electively targeted by sublimation. This forbidden jouissance constitutes a void around which creation is constituted.</p></div><div><h3>Discussion</h3><p>The object that plays a primordial role in sublimation is never reduced to a narcissistic object of imaginary idealization, but instead relates to a process directed towards the real of the unattainable Thing. Sublimation in love allows us to conceive that there is no desexualization of the drive.</p></div><div><h3>Conclusion</h3><p>Courtly love plays on this double articulation, which allows desire to address itself to a signifying being, based on a poetic linguistic creation, but which also authorizes the exercise of a transgressive jouissance, in relation to the partner's body.</p></div>","PeriodicalId":45007,"journal":{"name":"Evolution Psychiatrique","volume":null,"pages":null},"PeriodicalIF":0.6,"publicationDate":"2024-01-30","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"139737909","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"医学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2024-01-24DOI: 10.1016/j.evopsy.2024.01.001
Christophe Chaperot (Psychiatre, psychanalyste)
{"title":"L’homme Freud dans son temps. À propos de… « La psychanalyse dans le monde du temps de Freud. Chronologie » de Olivier Douville","authors":"Christophe Chaperot (Psychiatre, psychanalyste)","doi":"10.1016/j.evopsy.2024.01.001","DOIUrl":"10.1016/j.evopsy.2024.01.001","url":null,"abstract":"","PeriodicalId":45007,"journal":{"name":"Evolution Psychiatrique","volume":null,"pages":null},"PeriodicalIF":0.6,"publicationDate":"2024-01-24","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"139633352","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"医学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2024-01-23DOI: 10.1016/j.evopsy.2023.11.005
Sylvain Missonnier
Objectives
This research focuses on the work of Arthur Conan Doyle and his famous detective Sherlock Holmes, considered a true secular myth. His worldwide fame is exceptional. The detective plays with the boundary between reality and fiction to establish himself deeply and durably in individual and collective psychic surreality. Paradoxically, the Scottish physician Arthur Conan Doyle had very little literary regard for his famous hero, and much preferred his other novels: “My lowest works cast into the shadows that of which I am most proud.” In 1893, he murdered his creation in issue 36 of The Strand Magazine, where he published “The Final Problem.” Doyle received countless letters from outraged readers insulting him and demanding the rebirth of the hero.
Method
As part of a clinical psychopathological reflection on Doyle's creative work, this paradox is explored here through an analysis of the links between Sherlock Holmes and John Watson.
Result
The strategic role of the inseparable chronicler-narrator John Watson in this detective fiction is seen both as a mirror of Doyle's creative anaclitism and as a constant support for Sherlock Holmes’ deployment of his observational skills and the mastery of his indexical logic. The consulting detective's iconoclastic method is seen as characteristic of anaclitic creativity.
Discussion
This picture of an intersubjective framework between the detective and Watson's “presence-support,” conducive to crisis resolution, does not leave the psychoanalytically-oriented clinician unmoved.
Conclusion
In literature, the “body of work” is not always where the author consciously wishes it to be! Doyle's unwitting self-writing is a source of inspiration for the clinician.
{"title":"La fiction détective chez Conan Doyle : une création anaclitique ?","authors":"Sylvain Missonnier","doi":"10.1016/j.evopsy.2023.11.005","DOIUrl":"10.1016/j.evopsy.2023.11.005","url":null,"abstract":"<div><h3>Objectives</h3><p>This research focuses on the work of Arthur Conan Doyle and his famous detective Sherlock Holmes, considered a true secular myth. His worldwide fame is exceptional. The detective plays with the boundary between reality and fiction to establish himself deeply and durably in individual and collective psychic surreality. Paradoxically, the Scottish physician Arthur Conan Doyle had very little literary regard for his famous hero, and much preferred his other novels: “My lowest works cast into the shadows that of which I am most proud.” In 1893, he murdered his creation in issue 36 of <em>The Strand Magazine</em>, where he published “The Final Problem.” Doyle received countless letters from outraged readers insulting him and demanding the rebirth of the hero.</p></div><div><h3>Method</h3><p>As part of a clinical psychopathological reflection on Doyle's creative work, this paradox is explored here through an analysis of the links between Sherlock Holmes and John Watson.</p></div><div><h3>Result</h3><p>The strategic role of the inseparable chronicler-narrator John Watson in this detective fiction is seen both as a mirror of Doyle's creative anaclitism and as a constant support for Sherlock Holmes’ deployment of his observational skills and the mastery of his indexical logic. The consulting detective's iconoclastic method is seen as characteristic of anaclitic creativity.</p></div><div><h3>Discussion</h3><p>This picture of an intersubjective framework between the detective and Watson's “presence-support,” conducive to crisis resolution, does not leave the psychoanalytically-oriented clinician unmoved.</p></div><div><h3>Conclusion</h3><p>In literature, the “body of work” is not always where the author consciously wishes it to be! Doyle's unwitting self-writing is a source of inspiration for the clinician.</p></div>","PeriodicalId":45007,"journal":{"name":"Evolution Psychiatrique","volume":null,"pages":null},"PeriodicalIF":0.6,"publicationDate":"2024-01-23","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"139632562","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"医学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2024-01-18DOI: 10.1016/j.evopsy.2023.12.004
Nicolas Dissez (Psychiatre et Psychanalyste) , Édouard Bertaud (Psychologue Clinicien et Psychanalyste)
Objectives
The Freudian notion of repetition compulsion is marked, in its inaugural conception, by a negative connotation, that of a return of the same, which does not give the measure of the multiple facets of this register. Raising repetition to the rank of one of the four fundamental concepts of psychoanalysis, Lacan uses Kierkegaard's text entitled “La reprise” to point out the renewal, of fecundity that the movement towards repetition can induce. This article aims at underlining how much the creative dimension of repetition finds a particularly vivid illustration in the field of music, a domain that makes regular and varied use of the term “reprise”.
Method
This article takes up themes deployed in a series of conferences during the academic year 2021/2022 at the École Pratique des Hautes Études en Psychopathologie, associating musicians – Vincent Ségal – psychoanalysts -Marc Morali, Corinne Tyszler, Olivier Douville- and music lovers, Mario Choueiry, and leaving a large place to musical listening. This study, beyond a reading of the repetition as an expression of the death pulsion, studies the way in which we can hear and put to work this Freudian notion through its manifestation in the musical register. It is a question here of exploring the question of repetition in the sphere of popular music but also in jazz and classical music in order to apprehend its articulation with the very movement of creation.
Results
In so-called popular music, and mainly in rock music, the cover consists, not in imitating but in proposing a version, more or less faithful or distant, of an original piece. Listening to this cover causes a particular satisfaction in the listener who can identify it. Usually considered as a tribute to the pioneers or the mark of a debt towards the elders, the cover version is however above all an attempt, impregnated with hostility, to erase the origin. This is how covers come to not only supplant the original pieces but also to repress them, to make them totally forgotten. Jazz is also attached to covering standards, not only as a necessary learning exercise, but as a way for those who try to impose their own style and thus gain recognition. The cover of standards can be the occasion to make hear the blind spot of a piece of origin or to make resurface a trait of identity unknown to itself. Within the context of classical music, the progression of a work is also regularly done through the repetition of a theme that always knows how to renew itself through slight displacements. Finally, the contemporary repetitive music pushes, perhaps to its height, this creativity inherent to the effects of the repetition.
Discussion
Pleasure, repression, origin, hostility, imitation and identification: these terms are closely linked to psychoanalysis, which only uses the concept of “repetition”. It is however usual to hear oneself on the divan
{"title":"The reprise in the musical field. About the creative dimension of the repetition compulsion","authors":"Nicolas Dissez (Psychiatre et Psychanalyste) , Édouard Bertaud (Psychologue Clinicien et Psychanalyste)","doi":"10.1016/j.evopsy.2023.12.004","DOIUrl":"10.1016/j.evopsy.2023.12.004","url":null,"abstract":"<div><h3>Objectives</h3><p>The Freudian notion of repetition compulsion<span> is marked, in its inaugural conception, by a negative connotation, that of a return of the same, which does not give the measure of the multiple facets of this register. Raising repetition to the rank of one of the four fundamental concepts of psychoanalysis, Lacan uses Kierkegaard's text entitled “La reprise” to point out the renewal, of fecundity that the movement towards repetition can induce. This article aims at underlining how much the creative dimension of repetition finds a particularly vivid illustration in the field of music, a domain that makes regular and varied use of the term “reprise”.</span></p></div><div><h3>Method</h3><p>This article takes up themes deployed in a series of conferences during the academic year 2021/2022 at the École Pratique des Hautes Études en Psychopathologie, associating musicians – Vincent Ségal – psychoanalysts -Marc Morali, Corinne Tyszler, Olivier Douville- and music lovers, Mario Choueiry, and leaving a large place to musical listening. This study, beyond a reading of the repetition as an expression of the death pulsion, studies the way in which we can hear and put to work this Freudian notion through its manifestation in the musical register. It is a question here of exploring the question of repetition in the sphere of popular music but also in jazz and classical music in order to apprehend its articulation with the very movement of creation.</p></div><div><h3>Results</h3><p>In so-called popular music, and mainly in rock music, the cover consists, not in imitating but in proposing a version, more or less faithful or distant, of an original piece. Listening to this cover causes a particular satisfaction in the listener who can identify it. Usually considered as a tribute to the pioneers or the mark of a debt towards the elders, the cover version is however above all an attempt, impregnated with hostility, to erase the origin. This is how covers come to not only supplant the original pieces but also to repress them, to make them totally forgotten. Jazz is also attached to covering standards, not only as a necessary learning exercise, but as a way for those who try to impose their own style and thus gain recognition. The cover of standards can be the occasion to make hear the blind spot of a piece of origin or to make resurface a trait of identity unknown to itself. Within the context of classical music, the progression of a work is also regularly done through the repetition of a theme that always knows how to renew itself through slight displacements. Finally, the contemporary repetitive music pushes, perhaps to its height, this creativity inherent to the effects of the repetition.</p></div><div><h3>Discussion</h3><p>Pleasure, repression, origin, hostility, imitation and identification: these terms are closely linked to psychoanalysis, which only uses the concept of “repetition”. It is however usual to hear oneself on the divan","PeriodicalId":45007,"journal":{"name":"Evolution Psychiatrique","volume":null,"pages":null},"PeriodicalIF":0.6,"publicationDate":"2024-01-18","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"139635093","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"医学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2024-01-13DOI: 10.1016/j.evopsy.2023.10.005
Goals
The objective of this article is to question gender-affirming therapies at the theoretical and clinical levels. They are, in fact, presented in the DSM-5-TR as the only possible therapies for gender dysphoria; we demonstrate that this is questionable from the point of view of the interaction between medical activity and clinical practice with the subject, as well as from the point of view of the evolution of psychopathological models of treatment of gender-related issues, particularly with regard to psychoanalytic data (diagnoses, associated processes and therapies).
Method
Our method combines an analysis of the literature and two clinical cases. First, we study diagnostic developments from transsexualism to gender dysphoria in the field of psychopathology and psychoanalysis. Next, we present two clinical cases of patients who have considered or initiated a transition. Then, we study the medical activity involved in gender-affirming care, based on Canguilhem's theses.
Results
The DSM-5-TR has a reductive and contradictory conception of dysphoria: it implicitly locates the cause and the solution in the social environment, without taking into account the interaction with the patient. Psychoanalytic theories have, on the contrary, maximized the potential of this interaction, thus making it possible to argue the psychotherapeutic interest of gender reassignment (or affirmation), but also to demonstrate its limits, in particular by taking into account the subjective position of the subject in its psychic structure.
Discussion
Reassignment presents itself as a normativation of dysphoria by medical treatments. However, normativation must rather be understood as the process by which subjects establish gender norms that are specific to them and which allow them to treat their dysphoria, by making specific use of medical reassignment protocols. Due to the interaction between subject and environment, normativation is not an adaptation to external or social reality, but implies that the latter is also modified by the former.
Conclusion
We cannot therefore subscribe to the thesis of the DSM-5-TR according to which dysphoria has only one possible predefined, systematic, and general treatment. The internal clinical dimension of medical activity assumes that the suffering of patients precedes the formalization that can be made of it, and that medical tools are designed and applied secondarily to a diversity of psychopathological configurations. This is also what the cases and the history of the ideas and practices presented demonstrate. The standardization of patients applies to their environment including therapies, which therefore should be modified and diversified.
{"title":"Les thérapies d’affirmation de genre : activité médicale et normativation du sujet","authors":"","doi":"10.1016/j.evopsy.2023.10.005","DOIUrl":"10.1016/j.evopsy.2023.10.005","url":null,"abstract":"<div><h3>Goals</h3><p>The objective of this article is to question gender-affirming therapies at the theoretical and clinical levels. They are, in fact, presented in the DSM-5-TR as the only possible therapies for gender dysphoria; we demonstrate that this is questionable from the point of view of the interaction between medical activity and clinical practice with the subject, as well as from the point of view of the evolution of psychopathological models of treatment of gender-related issues, particularly with regard to psychoanalytic data (diagnoses, associated processes and therapies).</p></div><div><h3>Method</h3><p>Our method combines an analysis of the literature and two clinical cases. First, we study diagnostic developments from transsexualism to gender dysphoria in the field of psychopathology and psychoanalysis. Next, we present two clinical cases of patients who have considered or initiated a transition. Then, we study the medical activity involved in gender-affirming care, based on Canguilhem's theses.</p></div><div><h3>Results</h3><p>The DSM-5-TR has a reductive and contradictory conception of dysphoria: it implicitly locates the cause and the solution in the social environment, without taking into account the interaction with the patient. Psychoanalytic theories have, on the contrary, maximized the potential of this interaction, thus making it possible to argue the psychotherapeutic interest of gender reassignment (or affirmation), but also to demonstrate its limits, in particular by taking into account the subjective position of the subject in its psychic structure.</p></div><div><h3>Discussion</h3><p>Reassignment presents itself as a normativation of dysphoria by medical treatments. However, normativation must rather be understood as the process by which subjects establish gender norms that are specific to them and which allow them to treat their dysphoria, by making specific use of medical reassignment protocols. Due to the interaction between subject and environment, normativation is not an adaptation to external or social reality, but implies that the latter is also modified by the former.</p></div><div><h3>Conclusion</h3><p>We cannot therefore subscribe to the thesis of the DSM-5-TR according to which dysphoria has only one possible predefined, systematic, and general treatment. The internal clinical dimension of medical activity assumes that the suffering of patients precedes the formalization that can be made of it, and that medical tools are designed and applied secondarily to a diversity of psychopathological configurations. This is also what the cases and the history of the ideas and practices presented demonstrate. The standardization of patients applies to their environment including therapies, which therefore should be modified and diversified.</p></div>","PeriodicalId":45007,"journal":{"name":"Evolution Psychiatrique","volume":null,"pages":null},"PeriodicalIF":0.6,"publicationDate":"2024-01-13","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"139638424","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"医学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2024-01-11DOI: 10.1016/j.evopsy.2023.11.004
Frédéric Vinot (Maître de Conférences HDR en Psychologie Clinique) , Michel Pascal (Professeur en composition de musique électroacoustique) , Virginie Cayla (Psychologue Clinicienne)
Objectives
The aim of this article is to highlight the clinical effects of an immersive music device used as a therapeutic mediator with autistic children. As musical immersion is based on the hypothesis that space is a component of timbre, the aim is to bring together in a novel way two major problematic issues in autism: space and voice. To do this, post-Freudian and Lacanian psychoanalytical references are mobilized and discussed.
Method
After a technical presentation of the immersive device and an explanation of the spatial and aesthetic characteristics of the works played on it, the authors describe the clinical case of an 11-year-old autistic child and identify the different stages of the relationship. The initially observed effects of containment were quickly limited, and the child almost rejected the system. It was only during a work based on different spatializations of a voice that the child was able to reengage with the device and with the relationship with the caregiver as “a double,” going so far as to invent games that included him. To shed light on the subjectivizing effects of these sessions, the authors first recall the specific relationship that the autistic subject has with the voice as an “a object,” relying in particular on the notion of “delocalization of the voice,” which is active in all devices for distancing the timbre, the latter being understood as one of the names of the Real of the voice. The article goes on to describe in detail the spatial characteristics of the work to which the child was so sensitive in renewing his relationship with the other. After analysis, the work in question turns out to be composed not of a single unified or unifying space, but of several sound spaces, sometimes broadcast simultaneously.
Results
The notion of the delocalization of the voice is then confronted with the fact that the work of immersive music can offer much more than a simple point of delocalization of the voice in the same space: it offers the experience of several simultaneous sound spaces, which we call a “delocalization of the delocalization of the voice,” making it possible to relieve the autistic subject of what Lacan called the “real weight of the subject” implied by the voice object.
Discussion
The article raises several points for discussion: firstly, immersive musical works should not be considered as recreating a realistic sound environment (of the virtual reality type), but rather as proposing impossible sound spaces. In this respect, there are both aesthetic and ethical issues at stake in the clinical use that can be made of these immersive musical devices. Moreover, the construction of autistic space is not just a matter of the gaze but also of the voice in its impulsive dimension. Finally, the “delocalization of the delocalization” of the voice would enable the autistic subject to experience the atopic part of it, i.e. its
{"title":"Autisme et médiation thérapeutique musicale immersive : l’espace comme composante du timbre","authors":"Frédéric Vinot (Maître de Conférences HDR en Psychologie Clinique) , Michel Pascal (Professeur en composition de musique électroacoustique) , Virginie Cayla (Psychologue Clinicienne)","doi":"10.1016/j.evopsy.2023.11.004","DOIUrl":"10.1016/j.evopsy.2023.11.004","url":null,"abstract":"<div><h3>Objectives</h3><p>The aim of this article is to highlight the clinical effects of an immersive music device used as a therapeutic mediator with autistic children. As musical immersion is based on the hypothesis that space is a component of timbre, the aim is to bring together in a novel way two major problematic issues in autism: space and voice. To do this, post-Freudian and Lacanian psychoanalytical references are mobilized and discussed.</p></div><div><h3>Method</h3><p>After a technical presentation of the immersive device and an explanation of the spatial and aesthetic characteristics of the works played on it, the authors describe the clinical case of an 11-year-old autistic child and identify the different stages of the relationship. The initially observed effects of containment were quickly limited, and the child almost rejected the system. It was only during a work based on different spatializations of a voice that the child was able to reengage with the device and with the relationship with the caregiver as “a double,” going so far as to invent games that included him. To shed light on the subjectivizing effects of these sessions, the authors first recall the specific relationship that the autistic subject has with the voice as an “a object,” relying in particular on the notion of “delocalization of the voice,” which is active in all devices for distancing the timbre, the latter being understood as one of the names of the Real of the voice. The article goes on to describe in detail the spatial characteristics of the work to which the child was so sensitive in renewing his relationship with the other. After analysis, the work in question turns out to be composed not of a single unified or unifying space, but of several sound spaces, sometimes broadcast simultaneously.</p></div><div><h3>Results</h3><p>The notion of the delocalization of the voice is then confronted with the fact that the work of immersive music can offer much more than a simple point of delocalization of the voice in the same space: it offers the experience of several simultaneous sound spaces, which we call a “delocalization of the delocalization of the voice,” making it possible to relieve the autistic subject of what Lacan called the “real weight of the subject” implied by the voice object.</p></div><div><h3>Discussion</h3><p>The article raises several points for discussion: firstly, immersive musical works should not be considered as recreating a realistic sound environment (of the virtual reality type), but rather as proposing impossible sound spaces. In this respect, there are both aesthetic and ethical issues at stake in the clinical use that can be made of these immersive musical devices. Moreover, the construction of autistic space is not just a matter of the gaze but also of the voice in its impulsive dimension. Finally, the “delocalization of the delocalization” of the voice would enable the autistic subject to experience the atopic part of it, i.e. its","PeriodicalId":45007,"journal":{"name":"Evolution Psychiatrique","volume":null,"pages":null},"PeriodicalIF":0.6,"publicationDate":"2024-01-11","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"139538250","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"医学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2024-01-11DOI: 10.1016/j.evopsy.2023.12.003
François Laplantine (Anthropologue, professeur émérite des universités) , Anne Brun (Professeur de psychopathologie et de Psychologie clinique à l’université Lumière Lyon 2, Psychanalyste SPP) , Olivier Douville (Psychanalyste, maître de conférences des universités)
Objective
Based on an interview with François Laplantine, anthropologist and professor emeritus at the University Lumière Lyon 2, the aim is to explore the main milestones in his career, from the philosophy of evil to the anthropology of illness and ethnopsychiatry, in particular psychoanalytic ethnopsychiatry, then from work on Brazil and Japan to a focus on the theme of artistic creation.
Method
The method consists of an interview with François Laplantine. The questions deal first with his personal background, then with the reasons for the evolution of the themes on which his works are based, and finally with his exploration of various fields of creation: literature, cinema, theatre and contemporary dance.
Results
François Laplantine describes his transition from the philosophy of evil, with his first thesis in philosophy under the supervision of Paul Ricœur, to the anthropology of illness, with his encounter with Devereux. He describes his work on the question of métissages, then his transition from psychoanalysis to an initiation into Candomblé in Brazil, a practice of the multiple that he likens to different forms of theatre in France. He then traces the evolution of his writings from his explorations in Brazil and Japan to artistic creation, particularly literature, music, dance, and film. He discusses the work of many artists, as well as different types of staging of disasters, particularly minimalist stagings in Japanese theatre, with nō and butô. The question of language, of the unspeakable and the invisible, appears central to his work in relation to creation. He also discusses his work on the imaginary and the off-screen, as well as on time and space, in relation to the issue of creation.
Discussion
François Laplantine defends the idea that one of the missions of contemporary arts is to attempt to express catastrophe; he explores the limits of language and argues that one of the functions of theatre, and even more so of contemporary dance, is to stage the drama of the inadequacy of language. Recourse to artistic creation is a necessity, in the tension between telling and showing.
Conclusion
Exploring artistic creation appears to be a royal road for an anthropologist like François Laplantine.
{"title":"Grand entretien avec François Laplantine","authors":"François Laplantine (Anthropologue, professeur émérite des universités) , Anne Brun (Professeur de psychopathologie et de Psychologie clinique à l’université Lumière Lyon 2, Psychanalyste SPP) , Olivier Douville (Psychanalyste, maître de conférences des universités)","doi":"10.1016/j.evopsy.2023.12.003","DOIUrl":"10.1016/j.evopsy.2023.12.003","url":null,"abstract":"<div><h3>Objective</h3><p>Based on an interview with François Laplantine, anthropologist and professor emeritus at the University Lumière Lyon 2, the aim is to explore the main milestones in his career, from the philosophy of evil to the anthropology of illness and ethnopsychiatry, in particular psychoanalytic ethnopsychiatry, then from work on Brazil and Japan to a focus on the theme of artistic creation.</p></div><div><h3>Method</h3><p>The method consists of an interview with François Laplantine. The questions deal first with his personal background, then with the reasons for the evolution of the themes on which his works are based, and finally with his exploration of various fields of creation: literature, cinema, theatre and contemporary dance.</p></div><div><h3>Results</h3><p>François Laplantine describes his transition from the philosophy of evil, with his first thesis in philosophy under the supervision of Paul Ricœur, to the anthropology of illness, with his encounter with Devereux. He describes his work on the question of métissages, then his transition from psychoanalysis to an initiation into Candomblé in Brazil, a practice of the multiple that he likens to different forms of theatre in France. He then traces the evolution of his writings from his explorations in Brazil and Japan to artistic creation, particularly literature, music, dance, and film. He discusses the work of many artists, as well as different types of staging of disasters, particularly minimalist stagings in Japanese theatre, with nō and butô. The question of language, of the unspeakable and the invisible, appears central to his work in relation to creation. He also discusses his work on the imaginary and the off-screen, as well as on time and space, in relation to the issue of creation.</p></div><div><h3>Discussion</h3><p>François Laplantine defends the idea that one of the missions of contemporary arts is to attempt to express catastrophe; he explores the limits of language and argues that one of the functions of theatre, and even more so of contemporary dance, is to stage the drama of the inadequacy of language. Recourse to artistic creation is a necessity, in the tension between telling and showing.</p></div><div><h3>Conclusion</h3><p>Exploring artistic creation appears to be a royal road for an anthropologist like François Laplantine.</p></div>","PeriodicalId":45007,"journal":{"name":"Evolution Psychiatrique","volume":null,"pages":null},"PeriodicalIF":0.6,"publicationDate":"2024-01-11","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"139633529","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"医学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2024-01-08DOI: 10.1016/j.evopsy.2023.12.002
Déborah Leroux (doctorante contractuelle, chargée de cours)
Context
The author, a photographer and photo-therapist, tries to develop a new therapeutic approach based on the photographic act.
Aims
This article aims to examine the psychic processes involved in the dynamics of taking photos and to explore what can be done with the photographic medium in clinical practice.
Method
We will listen to the photographic works of the famous Japanese photographer Hiroshi Sugimoto to see what they say about clinical work involving photo-therapy.
Results
During his artistic practice, Hiroshi Sugimoto summons up memory traces related to his own history and that of his ancestors and updates them in his photos. He experiences all kinds of bodily sensations and hallucinations. His photos are already within him in the form of inner visions, even before he has expressed them materially. The elaborative transposition of the inner image, which has become pre-conscious, takes place in a very specific material: his antique medium-format camera and his special lighting not only serve to create an atmosphere, but also to take him on a journey through the history of humanity and his own inner history. He comes to identify completely with his camera, which helps to plunge him into a state of fusion with the object being photographed.
Discussion
During his creative process, the photographer goes through phases similar to those that the baby goes through during his development, in an attempt to achieve a (re)actualization of the self: alternating phases of integration and non-integration of the self with more or less chaotic regressive phenomena, a primary identification with a quasi-fusional state between the photographer and the camera and between the photographer and the photographed object, the mobilization of bodily sensations and a return to a state of fluidity in the gaze and gesture.
Conclusions
In photo-therapy, this re-actualization of the self is sought and the creative process in photography seems to contribute to this to a certain extent. The regressive states accompanied by bodily sensations, that is to say, this state of pathos that runs through the photographing patient, can, in the aftermath, restore movement in the psyche and bring back to life certain aspects that had not been (sufficiently) represented. The inner images of the psyche are expressed in the form of material external photos but this fixation allows the initial inner image to be reworked in a retroactive loop, and thus to reshape the psyche, through the body. The camera, which has the particularity of being both the tool and the surface of inscription, becomes part of the body of the photographer-patient. The transference is thus diffracted between the analyst and the photographic medium. From the subjectivity of the photographing subject and that of the photographed object, a third subjectivity is created, a kind
{"title":"Analyse du processus créatif en photographie et son implication clinique en photo-thérapie","authors":"Déborah Leroux (doctorante contractuelle, chargée de cours)","doi":"10.1016/j.evopsy.2023.12.002","DOIUrl":"10.1016/j.evopsy.2023.12.002","url":null,"abstract":"<div><h3>Context</h3><p>The author, a photographer and photo-therapist, tries to develop a new therapeutic approach based on the photographic act.</p></div><div><h3>Aims</h3><p>This article aims to examine the psychic processes involved in the dynamics of taking photos and to explore what can be done with the photographic medium in clinical practice.</p></div><div><h3>Method</h3><p>We will listen to the photographic works of the famous Japanese photographer Hiroshi Sugimoto to see what they say about clinical work involving photo-therapy.</p></div><div><h3>Results</h3><p>During his artistic practice, Hiroshi Sugimoto summons up memory traces related to his own history and that of his ancestors and updates them in his photos. He experiences all kinds of bodily sensations and hallucinations. His photos are already within him in the form of inner visions, even before he has expressed them materially. The elaborative transposition of the inner image, which has become pre-conscious, takes place in a very specific material: his antique medium-format camera and his special lighting not only serve to create an atmosphere, but also to take him on a journey through the history of humanity and his own inner history. He comes to identify completely with his camera, which helps to plunge him into a state of fusion with the object being photographed.</p></div><div><h3>Discussion</h3><p>During his creative process, the photographer goes through phases similar to those that the baby goes through during his development, in an attempt to achieve a (re)actualization of the self: alternating phases of integration and non-integration of the self with more or less chaotic regressive phenomena, a primary identification with a quasi-fusional state between the photographer and the camera and between the photographer and the photographed object, the mobilization of bodily sensations and a return to a state of fluidity in the gaze and gesture.</p></div><div><h3>Conclusions</h3><p>In photo-therapy, this re-actualization of the self is sought and the creative process in photography seems to contribute to this to a certain extent. The regressive states accompanied by bodily sensations, that is to say, this state of pathos that runs through the photographing patient, can, in the aftermath, restore movement in the psyche and bring back to life certain aspects that had not been (sufficiently) represented. The inner images of the psyche are expressed in the form of material external photos but this fixation allows the initial inner image to be reworked in a retroactive loop, and thus to reshape the psyche, through the body. The camera, which has the particularity of being both the tool and the surface of inscription, becomes part of the body of the photographer-patient. The transference is thus diffracted between the analyst and the photographic medium. From the subjectivity of the photographing subject and that of the photographed object, a third subjectivity is created, a kind ","PeriodicalId":45007,"journal":{"name":"Evolution Psychiatrique","volume":null,"pages":null},"PeriodicalIF":0.6,"publicationDate":"2024-01-08","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"139456039","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"医学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2024-01-04DOI: 10.1016/j.evopsy.2023.09.006
Pierre Delion (Professeur émérite de pédopsychiatrie, praticien hospitalier honoraire, psychanalyste)
{"title":"Une belle articulation entre neurosciences et psychopathologie transférentielle. À propos de … « Tact-pulsion. La mémoire de forme de notre psychisme » de Régine Prat","authors":"Pierre Delion (Professeur émérite de pédopsychiatrie, praticien hospitalier honoraire, psychanalyste)","doi":"10.1016/j.evopsy.2023.09.006","DOIUrl":"10.1016/j.evopsy.2023.09.006","url":null,"abstract":"","PeriodicalId":45007,"journal":{"name":"Evolution Psychiatrique","volume":null,"pages":null},"PeriodicalIF":0.6,"publicationDate":"2024-01-04","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"139391662","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"医学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
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