Psychoanalytic Quarterly最新文献

Analytic process is a poorly understood concept often thought to have an agreed upon meaning despite evidence to the contrary. So long as it remains ill-defined, its value as a metric of both candidate progression and whether a presented case demonstrates said process is dubious. To rectify the matter, the author proposes an expansion of what is thought to constitute analytic process in order to bring that concept in line with evolving trends in our collective thinking about clinical practice.

At the intersection of literature and psychoanalysis, this essay draws on Freud's discovery of the infantile sexual unconscious to explore moments in the late novels of Henry James, in which an adult protagonist both recognizes and disavows the visible evidence of a sexual relationship. The essay considers Hans Holbein's 1533 painting, The Ambassadors, as a possible source for Henry James' choice of title for his 1903 novel: the painting's visual play with point of view touches on the narrative disavowal of what is there to be seen. The essay explores some narrative dimensions of Freud's writing to highlight the dynamic disclosure of the infantile within the adult. The concept of Nachträglichkeit, recognizing the deferred or belated impact of disruptive recurrences in mental life, helps to understand such moments and gives insight, more broadly, into narrative experience. Drawing on Nachträglichkeit as a principle of mental life, the essay explores the resonances of infantile sexuality, fantasy, and trauma in narrative, and more generally, as a resource in creative expression.

The purpose of this paper is to reformulate the concept of interpretation in a way that better reflects the interpsychic and processive dimensions of this concept as increasingly represented in psychoanalytic writings. Implicit in my redefinition is the view that, while the interpretive process is essential to therapeutic action, the notion of making interpretations is an artificial and problematic way of viewing the work of analysis. In this paper I will review an expanded definition of interpretation as developed through the writings of Hans Loewald and elaborated by more contemporary thinkers such as Sheldon Bach, Ronald Britton, and Antonino Ferro.

Is the erasure of memories truly possible? What existed prior to this erasure, and what remains afterward? In this paper, I will explore the concept of erasure within the art of second-generation, Holocaust survivor artists and its implications in psychoanalysis, particularly examining its connection to the phenomenon of dissociation among these individuals. I will distinguish between two types of pathological dissociation through second-generation, Holocaust survivor artists: one in which a link between different states of consciousness is preserved, allowing individuals to experience phantom pain, and another type where symptoms are less accessible for processing and analytical work. In the latter case, these symptoms are primarily sensorial and primal, which calls for a specific set of clinical recommendations. Additionally, the paper will outline strategies for clinical responses to trauma experienced by second-generation Holocaust survivors.

Employing an applied psychoanalytic lens to Spike Jonze's her (2013), this paper expands on meaning-making opportunities available to the film. Such expansion is pursued by focusing additional attention to cinematic strategies and language, attended to by a psychoanalytic appreciation of object relations and Andre Green's thoughts on negation. With such considerations in place, the paper further articulates unconscious material pertinent to the film and culture at large, as it better appreciates the developmental crisis endured by the film's protagonist.

This introductory essay provides an integrative summary and critical analysis of seven papers on endings in psychoanalysis. There is strong agreement regarding the essential individuality of each ending, rather than any usual criteria that apply to some but not to all endings of treatment. Recent developments in analytic theory and practice that focus on early trauma, dissociation, and the need for development of missing and inadequate structures and capacities raise new and newly emphasized questions regarding analytic endings. The advantages and disadvantages of different forms of post-treatment contact are considered, as are the implications of remotely conducted analysis. The analyst's resistance to ending emerges as a consistent emphasis in this series of papers.

The psychoanalytic field continues to struggle with the dilemmas of conceptualizing gender and the experience of gender transition, even though gender appears to be very present in its multiple and transitional forms in the realm of the psyche as it manifests through the affective situation of the transference. In this paper, I want to move to an understanding of different situations of transitions that are grounded in gender but that suggest a wider world of experience with the claim that understanding the self is a complicated matter; and while this in itself is obvious to everyone, its complexity still comes as a surprise because of the unconscious. I turn to four memoirs: P. Carl's Becoming a Man; Susan Faludi's In the Darkroom; Masha Gessen's "To Be or Not To Be"; and Jane Gallop's Sexuality, Disability and Aging: Queer Temporalities of the Phallus. Each text depicts different notions of transition that suggest a wider world of experience: physicality (age, illness, disability), generation, sexuality, and relationality. In unpacking each narrative as unique figurations of transitioning, I show how each gives us a foothold into a new way of imagining gender. I argue that by reading memoirs the analyst enters a world that is theirs and not theirs. It is a way into an imaginative realm that allows us entrance into conflicts, questions, and representations of being in the world.