Donald W. Winnicott

Erikson's ideas on basic trust are reviewed, along with a briefer review of Winnicott's thoughts on the importance of trust for the psychoanalytic process.  I seek to answer the following questions about mistrust by patients in their analysts.  (1) What is mistrust?  Is it a developmental arrest or deficit?  Or is it more accurately understood as a defense against intimacy and vulnerability.  (2) Is there a special relationship between mistrust and trauma? (3) When and to what degree is mistrust normal or healthy? (4) What personality types or clinical syndromes are prone to mistrust? (5) How problematic is mistrust for a psychoanalytic process?  Is trust a prerequisite for psychoanalytic treatment.  Can mistrust be analyzed, or can trust be earned?

Résumé – Dans cet article, l’auteur propose de considérer l’errance chez l’adolescent en tant que processus psychique. Les modalités d’expression de ce processus polymorphe ouvrent des voies de compréhension aux parts infantiles non symbolisées. S’appuyant sur une situation clinique, l’auteur fait l’hypothèse qu’en errant l’adolescent exercerait une tentative d’utilisation de l’espace en tant qu’objet. Le processus d’errance tendrait ainsi à essayer de circonscrire l’espace et le temps révélant des rythmes premiers qui n’ont pu s’instaurer jusqu’alors. Ceci conduit à proposer l’idée que l’utilisation de l’espace et du temps serait un autre formant de l’utilisation de l’objet.
Mots clés – Adolescence - errance - espace - temps - utilisation de l’objet

“But where do they run?” Note about the teenager wandering.

Summary – In this article, the author suggests to consider the teenager’s wandering as a psychic process. Modalities of expression of this polymorphic process open ways to understand the unsymbolised infantiles parts. Based on a clinical situation, the author makes the hypothesis that when the teenager wanders, he tries to exercise an attempt to use the space as an object. The wandering process aims at trying to contain the space and the time, revealing the first rhythms that they cannot be established yet. This carry to suggest the idea that the use of space and time could be an other component of the use of the object.
Keys-words – adolescence - wandering - space - time - use of the object.

This article examines seventeen children poems by Sylvia Plath written in the years 1960-63, in relation to the poetics of romantic love. Drawing on motherhood studies (Klein, 1975; O’Reilly, 2010; Rich, 1976; Winnicott, 1956, 1965, 1967), the maternal shift in psychoanalysis (see Bueskens, 2014: 3-6), and attachment theory (Bowlby, 1950, 1969, 1988), it reads love as a continuous human disposition, informed by one’s attachment history, and realized at different stages of one’s life (Hazan & Shaver, 1987). It specifically refers to Daniel Stern’s and Anthony Giddens’s largely overlapping concepts of maternal and romantic love to argue that Plath’s children poems are significantly infused with a poetics of romantic love. This poetics, however, becomes gradually compromised by a poetics of ambivalence, withdrawal, and self-effacement.

The article takes its basis in D.W. Winnicott's theories of play and transitional space to argue that Stagnation-era sound recordings and animated films found a devoted audience of both adults and children because, like Winnicott's good-enough mother or therapist, they created the conditions for playing: they did not merely narrate play, but also embodied, invited, and enacted it. Fishzon looks closely at the performative and analytic functions of Vladimir Vysotskii's popular musical adaptation of Alisa v strane chudes (Alice in Wonderland, 1977), which employed and served as a play framework or analytic session. Vysotskii's broadly circulated, well-known work enabled Brezhnev-era citizens to dream a new habitus and ideology at a time when irony and playing were becoming increasingly difficult. While opportunities for paradox narrowed in Soviet official discourse and printed fiction after the Thaw, children's records and animated films shaped critical imaginations and made space for subjectivity.

This forthcoming (rewritten) paper argues for the significance of swearing as a different type of language (a "proto-language") - one that serves to project and express unbearable, pre-verbal frustration, fear and feelings about Life's struggle, as well as truly awesome beauty. It is pitched somewhere in the psyche as an intermediary between feeling and action, before thinking makes its mark as a modifying agent.

A detailed exploration of the various unconscious meanings of different types of swearing modes is undertaken, and swearing is revealed as a complex and important form of emotional communication, notwithstanding its basis in the "primitive" origins of infantile anxiety.
The paper - originally a conference presentation with audio and video excerpts - is currently being updated (from its pre HBO-Netflix original form) because times have changed significantly in the past decade re Swearing no longer being quite the taboo that it once was.
During "renovations" this draft for the conference presentation is being made available, temporarily, and comments are welcomed - although the audio-visual elements are absent, and some paragraphs are still in shorthand form.

במאמר מוצג המושג "כללי המשחק" בהקשריו הפוליטיים, מתוך כוונה להתמודד בעזרתו עם השאלה האם וכיצד שינוי בשדה הפוליטי הוא מן האפשר. בְּעולם משולל עוגנים טרנסצנדנטיים. החשיבה על המשחק
(game/play)
מסייעת לי להציג מודל שבו שלושה טיפוסי משַחקים השונים זה מזה ביחסם אל כללי המשחק; יותר מכך – היא מאפשרת לי להראות עד כמה פרומים ועמומים הגבולות שקיימים לכאורה בין הטיפוסים האנליטיים השונים של המשַחקים.
שאלת היתכנותו של שינוי חברתי מעסיקה את ג'ודית בטלר בספרה "טענת אנטיגונה". עבור בטלר, אנטיגונה היא מופת למי שמצליחה לא רק לקרוא תיגר על חוקי המשחק של הסדר הסמלי, אלא גם לפרוץ מגרש חדש ותקדימי – שכן על אף שהיא מתה, "המעשה שלה נחקק בשפה". במאמר אני מבקשת להרחיב את דיונה זה ולהאירו באמצעות מושג המשחק, כפי שפוּתח בכתיבתם של הפסיכואנליטיקאי דונלד ויניקוט ושל הפילוסוף לודוויג ויטגנשטיין.
אף שהתחום החברתי-פוליטי הוא לא בהכרח המגרש הביתי של שני הוגים אלה, לטענתי יכולה להיות לכתיבתם על משחק תרומה חשובה לסוגיה שמעסיקה את בטלר ורבים אחרים. בין תחומי המחקר של ויטגנשטיין וויניקוט ישנו לכאורה מרחק רב, אך העיון בדיוניהם על אודות מושג המשחק מגלה כי לשניהם משותפת העמדת רעיון ההסכמה בבסיס החיים החברתיים. במאמר משורטט הקשר בין רעיונות אלה לבין רעיון הפרפורמטיביות של בטלר, אשר על פיו כל ניסיון לפעול על פי כללי המשחק הוא ניסיון פרשני שמקבל את מובנו מההקשר שבו הוא מתבצע. כפי שאני מראה במאמר, לתפיסה זאת יש השלכות מרחיקות לכת לגבי שאלת היתכנותו של שינוי פוליטי ולגבי היחס בין גישות שונות לכללי המשחק.
התרומה המיוחדת של המפגש הלא טריוויאלי בין בטלר לבין ויניקוט וויטגנשטיין טמונה בין השאר באפשרות להאיר כך את הנקודה העיוורת אצל השניים האחרונים לגבי משחק ומשמעות, המביאה אותם להתעלם מההיבטים האלימים הפוטנציאליים של המשחק; תרומה נוספת היא ההזדמנות להעמיק כך בסוגיית החריגה מכללי המשחק, ולנסח באופן פורה את האפשרות לחריגה שעדיין מצליחה להישאר באזור הגבול העמום של כללי המשחק, ושמאפשרת – כדברי בטלר – "לכתוב אותם מחדש או אפילו לכתוב אותם לראשונה".

O filme Frozen, uma aventura congelante, teve seu roteiro congelado por cerca de 74 anos, só saindo do papel em 2011. Por encantar ao cantar a dor, o filme trata da jornada do crescimento em que, por vezes, o sujeito demora em se (re)encontrar. Desse modo, descongelar o que estava gélido, petrificado, é a saída para qualquer um de nós, pois é o encontro com o nosso verdadeiro eu que fascina. E se é no brincar que o adulto pode ser criativo, por meio dessa história busco ilustrar um tema intrigante e assustador: o falso
self. Parafraseando o filme, convido-o: vamos brincar na neve?

This paper reads Roger Simon’s concept of “transactional memory” in relationship to D.W. Winnicott’s theory of the “transitional space” to examine the emotional dimensions of making historical significance. Drawing on a personal memory ofarchival study with Simon, I suggest that his attention to the ethical qualities of remembrance at the same time offers a theoryof remembrance as a work of creative play that sets into motion the painful and hopeful process of working through the anguish ofloss.

The phrase “fear of breakdown” in this chapter's title alludes to the last essay written by the groundbreaking pediatrician-turned-analyst, DW Winnicott, in which he pointed to the kind of agony that can lead to serious regression for individuals and, as I will argue here, for collectivities too. The fear is of something to come that is really an agony over what has already transpired. Those words capture a phenomenon that seems to lurk on the periphery of many of the world’s current political troubles.

Political economists have argued that user activity on corporate social media is regarded as labour that appears playful and fun but is exploited and sold to advertisers for profit maximization. This article begins with the working assumption that such user labour on social media constitutes a form of playing. It is theorized through a psychoanalytic perspective on the term as developed by D. W. Winnicott and André Green. The notion of gaming–playing is put forward to account for set interface structures on Facebook that resemble a game as well as free-flowing dimensions more akin to playing. Some user discourses on Facebook are analysed through this prism. A psychoanalytic conceptualization of user labour as playing allows one to analyse both positive discourses that emphasize Facebook as a space for creativity, exploration and the unknown, as well as negative discourses that critique the platform with regard to lacking privacy controls or data ownership. Both discourses are conducted in a playful manner that creatively utilize a sense of user agency in relation to others and Facebook itself, but often remain without consequences.

While it is essential that we live as self-defined individuals, independently negotiating with an independent reality, this experience is not exhaustive of our reality. Such experience is importantly contextualized by two other kinds of experience, each an experience of intimacy. First, independent individuality depends upon a process of childhood development in which identity is formed through a familial intimacy in which the child lives from a non-reflective, bodily sense of a sharedness of identity with another (typically, but not necessarily, the mother). Second, independent individuality finds its healthy development in the establishment of new intimate bonds; these adult intimacies, unlike childhood intimacy, are bonds between persons who themselves have developed the sense of independent individuality and thus have experiential characteristics significantly different from those of childhood intimacy. From a developmental perspective, each of these two forms of intimacy is something good in itself but also something whose good resides in its enabling of something else, childhood intimacy facilitating the transformation into independent individuality and adult intimacy facilitating a transformative engagement with one's own limitations.

No livro " O brincar e a realidade " , publicado no ano de 1975 pela editora Imago, o autor Donald Woods Winnicott aborda questões relacionadas à infância nos primeiros anos de vida. Ele relata em seu livro o fato de que o bebê ao nascer inicia com o processo de satisfação de instintos de zonas erógenas, por exemplo, a oral. Assim, como o bebê busca o prazer por meio de tal satisfação, com o passar do tempo ele acaba por adotar objetos de transição que auxiliam esse processo, sendo isso de extrema importância na formação do indivíduo. Esses dois fenômenos estão ligados, visto que a estimulação erógena é o primeiro passo para levar uma criança a transicionalidade, que não deixa de ser uma zona intermediária. O autor fala que apesar de existir a realidade externa e a interna, há a necessidade da criação de uma terceira divisão: a experimentação. Referindo-se à experimentação o autor comenta: " A área intermediária a que me refiro é a área que é concedida ao bebê, entre a criatividade primária e a percepção objetiva baseada no teste de realidade. " (p. 26, grifo do autor). Esta por sua vez não deixa de ser uma área que está entre o que se é percebido conscientemente e o que se é percebido inconscientemente. Isso o levou a estudar a ilusão. A ilusão é apresentada ao bebê por intermédio da mãe, que da mesma maneira que cria a oportunidade de ilusão a retira, mesmo que o ser humano nunca a perca por completo. O autor fala em ilusão no sentido de que nos meses iniciais o bebê não passou pelo processo de narcização, portanto não distingue o que faz parte dele e o que é externo a ele, cria-se assim, mesmo que intencionalmente, a ilusão ao bebê de que ele e o seio materno são um só. Nas primeiras etapas da ilusão encontra-se o fenômeno de transicionalidade. O objeto de transicionalidade (que deve ser real e não fruto do imaginário) possui inúmeras utilidades, entre elas pode-se citar o fato de que é uma defesa contra a ansiedade-principalmente do tipo depressiva. Os pais permitem o uso desse objeto, pois ele acalma a criança e com isso buscam mantê-lo o menos afastado possível do bebê, visto que temem por uma ruptura de continuidade que pode fazer com o significado dessa ação seja perdido. Porém, é importante ressaltar que muitas vezes não há objeto transicional além da mãe, ou até mesmo o bebê não consegue aproveitar a fase de transicionalidade. 1 Acadêmica do primeiro nível do Curso de Psicologia da Universidade de Passo Fundo.

O texto discute o ativismo em direitos humanos nas favelas cariocas, com o objetivo de promover uma aproximação da psicologia ao sofrimento nas margens da cidade. A autora baseou-se em pesquisa de cunho etnográfico, na qual foi fundamental a interface com a antropologia da indiana Veena Das, referencial que privilegia a assim chamada vida ordinária. Acompanha o ativista Deley de Acari em algumas de suas atividades diárias na favela de Acari (RJ), bem como em seus escritos publicados na internet. Acari possui um histórico de referência na luta por direitos humanos, ocupando lugar de destaque na cidade do Rio de Janeiro. Como resultado, traz algumas reflexões sobre o papel ético do pesquisador em ciências humanas com relação ao ato de testemunhar o sofrimento vivenciado no dia-a-dia de populações cujas mortes são consideradas irrelevantes pela grande mídia, bem como a respeito de uma psicologia nas margens.

Roland Gori - Un mondo senz'anima: La fabbrica dei terrorismi

a cura editoriale di Angela Peduto e Francesco Di Maio
prefazione e traduzione di Angela Peduto

Nel chiaroscuro delle crisi politiche nascono i mostri. Nascono dal vuoto culturale di un mondo politico senz’anima, dove la tecnica è divenuta folle, dove crescono la collera e la disperazione. La politica, priva d’immaginazione e di coraggio, ha preso l’aspetto grigio e rassegnato dei mercati, ai quali è asservita. In questo mondo di carta, dove regnano cifre e astrazioni, non circolano né vita né desiderio, ma solo le tristi passioni dell’odio e dell’oppressione. I fascismi nascono da queste ideologie mortifere ed estenuate: le imbrattano con i cupi colori della nostra epoca, le ritmano con i canti funebri che coprono la voce, sempre imprevedibile e incerta, dell’amore e della creazione. Tuttavia, mai come oggi, mentre si diffonde la proletarizzazione dell’esistenza, i popoli si sono mostrati affamati di nuove forze simboliche e di nuove illusioni: per vivere, desiderare, sognare insieme. Un messaggio di speranza attraversa il saggio di Roland Gori, l’attesa di un nuovo patto d’umanità, capace di sorgere da questa egemonia culturale disastrosa e dai crimini di massa che essa favorisce. Occorre innanzitutto riconciliare politica e cultura, uscire dal “secolo della paura”, rinnovare il legame con l’esperienza sensibile di una nuova rivoluzione simbolica, che dia al mondo e alla vita quel senso e quella coerenza politica e poetica di cui oggi siamo orfani.
Il “sospiro degli oppressi” […] vuole essere inteso. Senza un nuovo “patto d’umanità”, sostenuto da ideologie politiche umaniste e democratiche, il “carburante rivoluzionario” del terrorismo jihadista rischia di assorbire, sotto l’ingannevole apparenza della “religione”, la disperazione, le umiliazioni, la collera, le rivolte di un mondo smembrato e frammentato. Sarebbe il folle riciclaggio della rabbia rivoluzionaria, senza possibilità di una rivoluzione autentica. Al di là dei sentimenti di orrore e di collera, al di là del senso di annientamento che proviamo, si tratta di capire da quale vuoto politico e culturale emergono questi teofascismi e in che modo sono in grado di bloccare le speranze tradizionalmente riposte nelle rivoluzioni.

In this work, I elucidate Winnicott’s principle of ‘mutual playing’ with reference to the treatment of a highly traumatised twelve-year-old boy, whose elder brother had committed suicide. Lamentably, he had discovered his brother’s dead body and following this experience became electively mute, lost contact with his friends, and was compulsively preoccupied with images of murder and death. It seemed that in unconscious fantasy, he believed his envy had killed his brother. He appeared to have lost the ability to imagine, and, in lacking enough contact with reality, was unable to creatively transform his unspeakable pain to comprehend the trauma. I suggest that my use of the countertransference and improvisation supported this young man’s efforts to convert the trauma into living play images. In every session, it was as if I had to become both the playwright and the supporting actor in ‘playing’ the traumatic experience with him. This form of mutual playing helped the patient regain his own ability to play, and his emotional state improved considerably. I utilise and extend Ogden’s concept of ‘talking-as-dreaming’ and suggest that a therapist often has to play from the feeling tone and imagery of the child’s experience, not about it. I suggest that with this approach, playing becomes the dream of the trauma in waking life.

This paper focuses to appropriate and apply the concepts of "container-contained" and "holding and holding environment" theorized respectively by Wilfred Bion and Donald Winnicott, across the nature of Alicia's relationships with her father and husband to understand the resultant silence after her husband's murder in the novel The Silent Patient. The objective of this paper is to explore and investigate how the nature of child Alicia's relationship with her father impacted her childhood psychic development and how this leads to her husband's murder from psychoanalytic perspectives of Bion and Winnicott. The childhood development of Alicia has been traced and explored deploying various concepts developed by Freud, Bion, Winnicott and Lacan using in-depth qualitative methods like content analysis and textual analysis. The paper finds that, the nature of Alicia's relationship with her husband and the murder has interconnectedness with the nature of relationship Alicia had with her father. Alicia didn't get a containing and holding environment during childhood. The importance of this paper lies in its scope and spectrum of revisiting the reinforced focus on having a contained and safe childhood development.

This chapter of my book "Veiled Presence" explores how Lotto's images of the clothed body communicate a novel sense of being-in-the-world. In Lotto's paintings dress or drapery is possessed in both senses of the word: it proclaims ownership, but it is also stirred by strange animation. The intimate textiles of domestic life, including veils, kerchiefs and towels energize Lotto's smaller religious paintings, while his larger ones are enlivened by the movement of ritual drapes, such as vestments, altar cloths and curtains.  Such cloths function at times as "transitional objects", mediating between the real, the fictive and the imaginary.  Clothes disguise and drapery may hide or withold, as when a cloth is laid over a mirror.  It signals both remembering and forgetting.

This research paper highlights the relationship between psycho-trauma linked to exile and art practice. Under the current climate of ‘refugee crisis’, this study interrogates the binary notion of being in exile and opens the door to more subjective and human definitions. It explores the dual quality of exile as traumatic but also as a creative space, using clinical psychology, psychoanalysis and art theory. Then through the analysis of case studies of female artists Sukran Moral, Louise Bourgeois, Ana Mendieta and Shirin Neshat, it demonstrates different kinds of psychological dynamics underlying art practice and their possible function. The relationship of these artists to their homeland (fighting against patriarchy or commemoration of the home country) seems to be a distinct factor in defining their art practice. It also discusses various community-based art practice projects where artists meet with the exiled to construct relationships and create a shared, inclusive story. Equally, the work relates the researcher’s work as an artist and mental health activity manager concerning the research questions. It concludes by demonstrating that both individual and collective art practice can help to process emotions linked to exile and that artists have a responsibility towards inclusivity, with regards to people who have been pushed to the margin of society.

Created in 1957, the well-known English children's book character Paddington Bear is the product of a dizzying number of displacements. Author Michael Bond (1926-2017) was inspired to make Paddington an undocumented migrant by World War II and Cold War mass evacuations in Europe, but he transposed Paddington's origins to the troped space of "Darkest Africa" only to relocate them to "Darkest Peru." Fleeing earthquake for England, Bond's ursine protagonist assumes the name of the London train station where he is "found." The story's literary and film critics have challenged its elevation to universality, arguing that it extends colonial discourse and idealizes Paddington as a nonthreatening, assimilated migrant. This article complicates those claims by tracing the character's emergence as an icon of migrant justice movements in the United Kingdom and Europe, turning to object relations psychoanalysis to examine Paddington's complex affective pull. Drawing on archival work in Bond's papers and interviews with his contacts, including migrant justice activists, I contend that although Paddington's literary construction reflects imperial imaginaries, his reception also attests to the transformative, solidaristic, and creative uses of cultural objects.

This research paper is presented by Mel Dixon to the Faculty of Fine Arts and Music, in partial fulfilment of the requirements for the degree of Bachelor of Fine Arts (Honours) in the field of Visual Art at The Victorian College of the Arts, Faculty of Fine Arts and Music, The University of Melbourne.

Supervisor: Dr Kate Daw
Date: October 2018

This article examines the experience of being seen and analyzes its central role in the formation of a coherent sense of self. Tove Jansson's short story from 1962, 'The Invisible Child', serves as the red thread of the article, and the story is analyzed in the light of Donald Winnicott's work on social mirroring. The analysis is enriched by the psychoanalytic insights of Veikko Tähkä and Heinz Kohut, and complemented by Axel Honneth's philosophical elaborations as well as by recent developmental findings as presented by Vasudevi Reddy. The article is divided into an introduction and three sections. After summarizing Jansson's story in the introduction, the first section elaborates and examines different senses of social invisibility. The second section assesses developmental factors that promote social invisibility and highlights the importance of being seen. The third and final section interprets Jansson's story as an analogy to an intensive therapeutic process, while pinpointing those elements that facilitate the restructuring of a disturbed sense of self. As a whole, the article thus discusses an issue that is often simply taken for granted in discussions of empathy and interpersonal experience: social visibility.

Uma longa experiência como médico pediatra e psicanalista proporcionou ao autor desta importante obra uma posição ímpar no estudo da Psiquiatria Infantil, e poucos especialistas terão até hoje realizado mais para apresentar o extraordinário mundo da criança - e o dos pais - ao público em geral. Começando pelo vínculo natural entre mãe e filho o autor versa sucessivamente as fases mãe-filho, pais-filho, criança-escola. Dos problemas de alimentação, moralidade, primeiros passos e outros da fase inicial da evolução do ser humano passa a focalizar dificuldades concretas como o filho único, os gêmeos, o roubar e mentir, e as primeiras tentativas de independência. Timidez, educação sexual nas escolas, as raízes da agressão, a delinqüência juvenil, são outros temas abordados por esta obra originalíssima pelos conceitos e invulgar pelo âmbito abrangido, tornando-a um verdadeiro clássico no assunto, apesar do tom por vezes coloquial e familiar que adota. Ao abrir as primeiras páginas, poderá o leitor iludir-se, supondo ser este um livro especialmente escrito para as mães ou, pelo menos, como guia de comportamento materno. Mas esta obra da moderna escola da pedagogia infantil é sobretudo válida para educadores devotados ao estudo e entendimento da criança e o seu mundo, assim como pediatras e psicanalistas.

Para abordar el siguiente trabajo, comienzo desde las preguntas ¿cómo concebimos a la salud y a la enfermedad?, ¿las consideramos como elementos mutuamente excluyentes? ¿Consideramos a la enfermedad como el daño de un órgano, o un elemento aislado que no se correlaciona con el contexto donde esta inmersos los sujetos?

Resumen:
En el marco de las Xas Jornadas Interdisciplinarias de la Facultad de Filosofía y Humanidades “Memoria, razón, locura”, propongo en primera instancia exponer algunos conceptos sobre la locura desde la teoría de Winnicott tales como la movilidad del par locura-cordura, la paradoja y el miedo a la locura; a su vez, busco enriquecer este aporte desde la literatura, utilizando para ello el cuento “Corazón Delator” de Edgar Allan Poe. En la instancia final, y como conclusión, realizo algunos comentarios psicoanalíticos sobre este último.
PC: Locura-Razón-Psicoanálisis- Donald Winnicott-Corazón Delator.

Trabajo publicado en libro:
Salcedo, Pablo: “Reflexiones sobre la locura desde “Corazón Delator” de Edgar Allan Poe y psicoanálisis”, publicado en Memoria, razón, locura/ Carlos Schickendantz… (et. al); edición literaria a cargo de Lila Perrén de Velasco. Córdoba: EDUUC – Editorial de la Universidad Católica de Córdoba, 2013.

In this paper I will attempt to thoroughly analyze the character of Teddy Daniels (Leonardo Di Caprio) from two different hypothetical models i.e., a) the psychoanalytical theory and, b) the psychotherapeutic theory. This dual approach would allow an in-depth abstract examination of the film narrative via the assistance of psychoanalytical & psychotherapeutic analysis emerging from the works of Sigmund Freud (1856-1939), Carl Jung (1875-1961), Donald W. Winnicott (1896-1971) & George L. Engel (1913-1999). The psychoanalytical theory and analysis can be broadly utilized in the abstract investigation of Teddy’s personality dispositions or his musings and hallucinations while the psychotherapeutic model and reasoning would examine the underlying presence & portrayal of psychosomatic and psychiatric disorders. 

When is a situation good enough? When is it bad enough? We are all familiar with this agonizing dilemma. This article draws on Winnicott's concept of the good enough mother to discuss how to know whether a situation is good enough to continue or bad enough to end. This dilemma is explored in terms of literature, musical prodigies and 'onetime wonders', but also clinical syndromes, such as anorexia and pathological gambling. Using the ending of the film Casablanca as an amplification, the author goes on to discussing one-sided endings by the analyst, drawing on interviews with forty analysts. The psychological differences between a good enough situation as opposed to a bad enough are discussed.

How to read a text and how to hear a text. How to open words and syllables so that knowledge arises within your own body, within your inner awareness. When you are located in mind alone, when you are located in conceptualness and concrete mind alone, you will be locked in and contained. William Reich described concrete minds as living machines. Concreteness can be described as rigidity, a mode of tense cognitive activity. Strangely enough, concreteness with its compulsiveness, its drivenness can distort the sense of presence and the sense of reality. The concrete mind in its literalness struggles to find the right solution. The literal view can be narrow, highly vigilant and stimulus−stimulation bound. The concrete mind struggles to find the right solution relentlessly. Of course whatever the solution, it never is enough. One becomes stuck in the stimulus of the word and stuck in the signification of the word. The nexus between the signifier and signified is without space and is densely bound.

Alpes Italia ha dato alle stampe la seconda edizione, riveduta e ampliata, di Contenimento Seduzione Anticipazione. Nelle pagine del testo viene individuata e segnalata una sequenza di punti di vista, vertici di osservazione dai quali poter scorgere gli effetti della presenza dell'inconscio dinamico nello sviluppo dell'infans e nel suo ingresso nel mondo delle relazioni umane. Il susseguirsi delle prospettive scorte ha assunto la configurazione di un percorso che parte da alcune ipotesi freudiane e prosegue avvalendosi essenzialmente delle indicazioni offerte da quattro diverse guide: Donald W. Winnicott, Jacques M. E. Lacan, Jean Laplanche e Piera Aulagnier. Con le loro indicazioni è possibile ritrovare le tracce di ciò che, all'insegna dell'intreccio tra contenimento, seduzione e anticipazione, è possibile definire fondamento intersoggettivo (ma non interpersonale) delle dinamiche intrapsichiche. In alcune occasioni è mi parso necessario riprendere testualmente (il più delle volte all'interno di riquadri tematici) queste indicazioni, ponendo così, almeno spero, i presupposti per la realizzazione di un incontro diretto tra un lettore non specialista (destinatario principale, ma non unico, del volume) e i testi di riferimento.

Partindo da reflexão sobre um caso clínico e atravessando as
diferenças e similitudes conceituais de vários autores, entre eles Freud, Férenczi e Winnicott, Eliza Santa Roza e Eliana Schueler Reis interrogam neste livro a importância do infantil
para a psicanálise.
Assim, não só propõem que as indagações relativas à análise de
crianças são fundamentais para a prática da psicanálise, como também sublinham a importância de tornar possível a emergência do que, mesmo estando presente como marca do vivido, não existe como lembrança, não se aproveita como
experiência, não se enuncia como desejo.

The main objective of this paper is to present a unified view of Winnicott’s contribution to psychoanalysis. Part I (Sections 1-4) starts off by recalling that, according to some important commentators, Winnicott introduced a change in paradigms in psychoanalysis. In order to show that this change can be viewed as an overall “switch in paradigms”, in the sense given by T. S. Kuhn, this paper presents an account of the Kuhn’s view of science and offers a reconstruction of Freud’s Oedipal, Triangular or “Toddler-in-the-Mother’s-Bed” Paradigm. Part II (Sections 5-13) shows that as early as the 1920’s Winnicott encountered insurmountable anomalies in the Oedipal paradigm and, for that reason, started what can be called revolutionary research for a new framework of psychoanalysis. This research led Winnicott, especially during the last period of his life, to produce an alternative dual or “Baby-on-the-Mother’s-Lap” Paradigm. This new paradigm is described in some detail, especially the paradigmatic dual mother-baby relation and Winnicott’s dominant theory of maturation. Final remarks are made regarding Winnicott’s heritage and the future of psychoanalysis.

Il presente lavoro intende far emergere le peculiarità del processo di soggettivazione di un gemello rispetto ad un nato singolo. Al fine di ciò, è stata posta la vita prenatale della coppia come oggetto d’indagine, in quanto ritenuta la primaria fonte di esperienza dell’Altro e il nucleo centrale dello scarto tra gemello e fratello.