Psychoanalytic Quarterly最新文献

The authors describe their experiences as members of an international online study group, initiated before the COVID-19 pandemic to read aloud and discuss Bion's (1965) Transformations. The three separately authored essays and commentary included here reflect the multifaceted phenomena in which images and voices in Zoom rectangles are transformed into shared emotional experience, the O of the group in Bion's language. These observations show how group members translate online experience into a felt sense of being with others, and suggest that oscillations in the sense of being inside or outside the group demonstrate the dialectical and constantly changing nature of the analytic field in an online group.

King Lear is a timeless exposition of humankind's attempt to find meaning amidst the ceaseless turbulence of existence. This entails navigating the disintegrating pulls of nature and harmful human action that exist alongside affiliative, life-promoting gestures shown toward one another. As the predictability and safety afforded by social and two-dimensional psychic constructs collapse, several characters in this play are forced to reckon with the untamed, less organized realms of the mind and natural world. This leads to movements toward psychic paralysis and disintegration, as well as toward growth and interpersonal healing, dynamics that hinge on the characters' internal structuring.

The author offers a creative reading of Winnicott's (1967) "Mirror-role of mother and family in child development." Winnicott presents the idea that a pivotal experience in the process of the infant's coming into being as himself is the mother's communicating to the infant, by the look in her eyes, what she sees there when she looks at him. In the absence of the experience of being seen, the infant's capacity to feel real and alive atrophies. The author fleshes out Winnicott's thinking by suggesting that just as the infant comes more fully into being as he sees himself in his mother's eyes, so too, the mother comes more fully into being as a mother as she sees herself in the infant's eyes. The paradigm shift that Winnicott has contributed to psychoanalysis is reflected in the clinical work he presents: (1) the goal of psychoanalysis is no longer the enrichment of the patient's self-understanding; rather, the analytic goal is the patient's coming more fully alive to himself; and (2) the analyst helps the patient achieve this end not by making astute interpretations but by allowing the patient to experience the pleasure of making discoveries of his or her own.

The concept of praxis in psychoanalysis includes the way clinical practice embodies the values on which psychoanalysis is founded. As psychoanalysis evolved from a medical treatment to a process of open-ended psychic development, its underlying values evolved as well. Free-floating attention has many facets, shown in the variety of names given to it. From being a means to an end clinically, it became an implicit statement about the human value of the person being attended to. Clinical vignettes, contributions from philosophers, and examples from literature converge around the idea that the unreserved openness of free-floating attention amounts to an act of love. It is underpinned by the values, which are also virtues, of hope, and faith in the possibility of good; it can also be seen, in non-religious terms, as a form of prayer.

The author explores some ways that we help patients to hold paradoxical realities intrinsic to transference and play in analytic work. He suggests that Winnicott's guardianship of the setting for the emergence of playing raises questions about the role of neutrality in an ontological analysis. The author tries to demonstrate some ways that the work of helping patients to hold paradox in play overlaps with a concept that he has earlier referred to as an activity of neutrality. He explores how in the analytic process, understanding and being are two dimensions of the analytic process that work in concert with each other. Often the analyst works quietly in spaces between epistemological and ontological approaches in the holding of paradox.

This paper explores how the film The Babadook illuminates psychoanalytic understandings of melancholia and mourning. The author attempts to unwind the complicated character of melancholia, using Freud as an initial point of orientation, then relying on a few ideas from Klein and later writers. The paper attempts to refine our understanding of the difference between absence and emptiness, especially the difference between being captured in the nothing or deadness of melancholic emptiness, on the one hand, and being alive enough to suffer the absence of a lost object, which bears a potential for mourning, on the other. The possibility of psychic tension between these states is explored. Some implications of the relationship between absence and emptiness for the mourning process are considered. The author uses the film as a resource throughout.

Wilfred Bion's contributions to psychoanalysis are numerous: his early work on the psychology of groups that grew out of his experiences in the first World War; theories and work on the treatment of psychosis with Melanie Klein and later psychoanalysis with her; and the beginning of his own theoretical and clinical ideas, which nurtured analytic thinking and treatment approaches beginning in the mid-1960's followed by his relocation to the United States (1967). Bion's thinking can be deceptively simple, such as his statement that his third book, Transformations (1965), considered by many as exceptionally dense, is about "the communication of both patient and analyst about an emotional experience" (p. 29).