Psychoanalytic Interpretation

This study examined a Jungian picture interpretation schema, which utilizes a specific quadrant method. This proposed schema, which is used in training at the C. G. Jung Institute in Zürich, attaches significance to specific areas of a drawing. The upper left of a drawing is associated with the father; the lower left with the unconscious; the lower right with the mother; and the upper right with the future. Three questions served as the foci of this study: Is the schema valid? Do certain types within Jung's personality theory respond better than others to the schema? Does the schema work best when it elicits a strong affective response from the person who created the picture? Subjects took one of two tests: a space domain test, or a colour associative test. The results revealed only two significant effects: a positive association (in the space domain test) between unconscious material with the unconscious quadrant and a negative association (in the colour associative test) of mother material with the mother quadrant. These results suggest that the Jungian quadrant schema used to interpret drawings is invalid and of minimal practical utility. Other methods of picture interpretation are discussed as well as suggestions for future research that would be helpful to this field.

Psychoanalytic ideas about trauma and mastery can enhance our understanding of Silas, of his creator, and of ourselves. Because Eliot gives such detailed attention to Silas's withdrawal, we can recognize it as a common response to traumatic loss. Silas's isolation, his hoarding, and his deadened senses are attempts at mastering loss, but they keep him numbed and incapable of healing. When events repeat the trauma, however, his old wounds reopen, providing the possibility of a new outcome. This time, by acknowledging--to others and to himself--the intolerable pain of loss, Silas begins to heal, initiating a return to relatedness and to life. article Margaret Keenan and I have collaborated in recent years, leading discussions about trauma and mastery in the poetry of Anne Sexton and Sharon Olds, and more recently in the novels of George Eliot. Although our collaboration produced the ideas that follow, I express them in a singular voice.

The author examines Bowlby's attachment theory and more recent versions of it from an epistemological viewpoint and subjects it to questioning on whether they are in line with central concepts of Freudian psychoanalysis. He argues that Bowlby's basic tenets regarding attachment theory, which later attachment theorists never seriously questioned, do not conform to scientifi c standards, and that psychoanalytic issues such as the dynamic unconscious, internal confl icts, interaction of drive wishes and the role of defence in establishing substitutive formations are either ignored or not treated in suffi cient depth. In the light of this, Fonagy's assertion that psychoanalytic criticism of attachment theory arose from mutual misunderstandings and ought nowadays to be seen as outdated is reversed: psychoanalytic criticism can only be regarded as outdated if either basic tenets of Freudian psychoanalysis, or attachment theory or both are misunderstood.

The Children's Play Therapy Instrument (CPTI), its development, and reliability studies are described. The CPTI is a new instrument to examine a child's play activity in individual psychotherapy. Three independent raters used the CPTI to rate eight videotaped play therapy vignettes. Results were compared with the authors' consensual scores from a preliminary study. Generally good to excellent levels of interrater reliability were obtained for the independent raters on intraclass correlation coefficients for ordinal categories of the CPTI. Likewise, kappa levels were acceptable to excellent for nominal categories of the scale. The CPTI holds promise to become a reliable measure of play activity in child psychotherapy. Further research is needed to assess discriminant validity of the CPTI for use as a diagnostic tool and as a measure of process and outcome.(The Journal of Psychotherapy Practice and Research 1998; 7:196–207)

Objective: According to psychoanalytic theory, interpretation of transference leads to increased insight that again leads to improved interpersonal functioning over time. In this study, we performed a full mediational analysis to test whether insight gained during treatment mediates the long-term effects of transference interpretation in dynamic psychotherapy. Method: This study is a randomized clinical trial with a dismantling design. One hundred outpatients seeking psychotherapy for depression, anxiety, personality disorders, and interpersonal problems were randomly assigned to 1 year of weekly sessions of dynamic psychotherapy with transference interpretation or to the same type and duration of treatment with the same therapists but without the use of transference interpretation. Interpersonal functioning and insight were measured pretreatment, posttreatment, and 1 year and 3 years after treatment termination. Results: Contrary to common expectation, patients with a life-long pattern of low quality of object relations and personality disorder pathology profited more from therapy with transference interpretation than from therapy with no transference interpretation. This long-term effect was mediated by an increase in the level of insight during treatment. Conclusions: Insight seems to be a key mechanism of change in dynamic psychotherapy. Our results bridge the gap between clinical theory and empirical research.

Transference-Focused Psychotherapy (TFP) is a manualized evidence-based treatment for borderline and other severe personality disorders that is based on psychoanalytic object relations theory. The treatment contracting/setting the frame, managing countertransference, and the interpretative process are three critical components of TFP. We provide vignettes to illustrate these techniques and data that support their role in facilitating treatment outcome.

Freud's initial formulations viewed psychoanalysis as working towards the rediscovery of psychic elements - thoughts, feelings, memories, wishes, etc. - that were once known - represented in the mind, articulatable, thinkable - but then disguised and/or barred from consciousness. His subsequent revisions implicated a second, more extensive category of inchoate forces that either lost or never attained psychic representation and, although motivationally active, were not fixed in meaning, symbolically embodied, attached to associational chains, etc. Following Freud's theory of representation, the author conceptualizes these latter forces as "unrepresented" or "weakly represented" mental states that make a demand upon the mind for work and require transformation into something that is represented in the psyche, if they are to be thought about or used to think with. This paper describes, discusses and presents illustrations of this transformational process (f...

This article deals with critical psychic transformation in a schizoid personality disorder that evolves in an object relations psychoanalysis in which "developmental mourning" plays a central role. Within a mourning process that allows for the grieving of loss related to arrested separation-individuation development, the analysand confronts the existential grief of regret that had always unconsciously haunted her. The unconscious guilt related to the existential grief of regret had caused much dissociation of self-experience and affect states. The analysand acknowledges her own part in the destruction of primal and current relationships after the traumatic impact of her early life is understood. This allows her to repair current relationships, both within her internal and external worlds so that she can open to capacities for love and creativity. The analysand's courage to consciously grapple with her regret (loss and guilt combined) allows her to relinquish self-sabotaging character defenses such as contempt and emotional withdrawl. Consequently, a second marriage is salvaged and enriched, and the analysand's relationship with her two children is dramatically improved.

Post-modern psychology embodies two core themes, the social mind and the narrative self. Whereas the social-mind thesis seems diametrically opposed to Jung’s position regarding human nature, the narrative-self thesis is associated with research and theorizing about personal myth and mythmaking in ways that could make contact with Jung’s concerns. Jung’s view is examined here with particular attention to McAdams’ theory of narrative identity. It is suggested that the ostensible differences between Jung and post-modern psychology might reflect divergent interests, rather than necessarily irreconcilable worldviews.

... A Case Study in Perversion and Sadomasochism ... masculinity and incorporates into her simulacrum violence, cruelty, penetration, oppression, voyeurism, sadism, perversion, and ... rendition of the novel, to emphasize and illustrate different aspects of perversions and masochism. ...

The author contends that Caesura, one of Bion's last works, can be read as the equivalent of Descartes's Discourse on Method. In this compact and complex text, the dictate of 'methodical' and 'hyperbolic doubt'-so called because it is taken to the extreme form of application to the faculty of thought itself-which, for Descartes, represents the fundamental principle of philosophical and scientific research, is reflected in the formula of 'transcending the caesura'. Bion directs his attention successively to the pairs of opposing concepts that structure psychoanalytic discourse and demonstrates their paradoxical and non-separative logic. The binary system of producing meaning is deconstructed through the systematic use of non-pathological-i.e. not static but dynamic-reversible perspective. A viewpoint that appears natural, self-evident and primary is plunged into crisis and proves to be founded on what the punctuation mark of the slash excludes. Yet the new point of view does not supplant its predecessor, but supplements it. The conceptual opposition is not overturned, but merely destabilized in such a way as to maintain a creative tension that generates new thoughts. By this technique of wrong-footing the reader, Bion achieves what is tantamount to a Kuhnian revolution: the transition from Freud's semiotic or evidential paradigm to an aesthetic one, centred on emotional experience-to a 'science of atone -ment'. Working with the antithetical concepts of censorship and caesura, the author illustrates some clinical implications of this radical shift.

The children's stories written by the nineteenth-century Danish author, Hans Christian Andersen, have become a part of our cultural heritage. They are charmingly like fairy tales, but as they also contain a strong note of moralism, Andersen's stories may contribute to a ...

Each generation of psychoanalyst has found different things to value and sometimes to censure in Lewis Carroll's remarkable fiction and flights of fancy. But what does Carroll's almost 'surrealist' perspective in the Alice stories tell us about the rituals and symbols that govern life beyond Wonderland and Looking-Glass World? Arguing that Carroll's strong interest in meaning and nonsense in these and later works helps make the world strange to readers, the better to show it offkilter, this essay focuses on Jacques Lacan's Carroll-the writer-logician who stressed, as Lacan did, the difficulty and price of adapting to the symbolic order. By reconsidering Lacan's 1966 homage to the eccentric Victorian, I argue that Carroll's insight into meaning and interpretation remains of key interest to psychoanalysts intent on hearing all that he had to say about psychic life.

This paper identifies the problem of arriving at a solid definition of C. G. Jung's notion of the Self, and seeks its resolution. The author first demonstrates how this problem is articulated by scholars of Jungian theory by showing that they have ultimately depended upon 'limited' definitions of the Self, where the Self is no more than a transcendental postulate, a simple derivative from the internal structure of Jungian argument. She then determines the reason for the problem by arguing that there can never be a complete definition of the Self for it encompasses that which is unconscious and is thus irreducible to ego-comprehension. By using a method of philosophical analysis (in the guise of Levinas) the author will show that through the Self's very need to evade comprehension the Self is essentially comprehended as an overpowering and violent entity. The author will argue that the Self as a force of violence is crucial to its definition, and scholars must not ignore the Self as numinous experience in favour of passive functionality. She will thus argue that through the adoption of a Levinasian critique, the Self can be defined and justified outside of the internally self-consistent system from which it is conventionally derived.

Despite clear demonstrations by process researchers of systematic differences in therapists' techniques, most reviews of psychotherapy outcome research show little or no differential effectiveness of different psychotherapies. This contradiction presents a dilemma to researchers and practitioners. Numerous possible solutions have been suggested. Some of these challenge the apparent equivalence of outcome, arguing that differential results could be revealed by more

Each employed their own dreams in rather different ways: as part of an assessment of Freud's work as a psychological theory, as illustrative of the cogency of Freud's method and theories as part of the psychoanalytic process. Each adopted different approaches to the question of privacy and decorum. The paper argues that assessment of the impact of Freud's work must take account of the application of the method to the researcher's own dreams and the personal impact this process of analysis had upon them, and must also gauge how the dreamers' deployment of Freud's methods influenced their explicit relationship to him and his theories.

Who has ever heard of an avid reader placing an advertisement in the papers to
offer the services of her voice to the community? Imagination runs wild at the
thought of potential responses to such an offer. The male agent from an advertising
agency in Michel Deville’s film La lectrice certainly echoes societal doubts, if not
disapproval, at such a request from a young assertive woman by the name of Marie.
Based on Raymond Jean’s satirical and ironic book by the same title (Jean, 1986) as
well as on some of the stories he included in Un fantasme de Bella et autres rcits
(Jean, 1983), the film gives free rein to a weird assortment of customers who require
Marie’s vocal expertise. Deville frames the novel’s narrative within another narrative,
in which Constance reads the novel aloud to her partner Jean while in bed.
Except for short returns to the frame narrative, the film thereafter follows the development of Marie’s clientele and her bibliotherapeutic approach during her housecalls. Her main clients chronologically include an adolescent in a wheelchair keen onerotically-charged texts, an ageing Hungarian countess fixated on her past love life,
the countess’s pretty young companion troubled by spider-bites on her legs, a
6 year-old girl abandoned to her own devices by a self-absorbed mother, a businessman
affected by sexual deprivation after separating from his wife and a retired judge
obsessed with sadistic fantasies. The action focuses essentially on the reading sessions
Marie conducts, in which she indirectly addresses the psychological trouble of
her clients. Interspersed between the sessions, Marie’s brisk walk, visits to her partner
or to her university professor, and other short scenes mark the passage of time.

This article addresses the terrifying power of the father as a dynamic force within the psyche of the female. Its particular focus is on how the psychodynamic form of father internalization within the female effects her creative process and her creative work. Two cases vignettes of female writers are used to illustrate the interaction of traumatizing parental behavior and the daughter's incestuous desire on promoting compulsions and inhibitions in creative work. Writing blocks will be seen as a symptom of trauma and psychic conflict that has taken place in the oedipal and post oedipal years, as opposed to the creative compulsions that result from primal stage preoedipal trauma.

Against the backdrop of a broad survey of the literature on applied psychoanalysis, a number of concepts underpinning the metapsychology of art are revisited and revised: sublimation; interrelationships between primary and secondary processes; symbolization; "fantasy"; and "cathexis." Concepts embedded in dichotomous or drive/energic contexts are examined and reformulated in terms of a continuum of semiotic processes. Freudian dream structure is viewed as a biological/natural template for nonrepressive artistic forms of sublimation. The synthesis presented proposes a model of continuous rather than discontinuous processes, in a nonenergic, biosemiotic metatheoretical framework.

During Argentina's 'Dirty War' , the military regime attempted to erase an entire population; today the photographs of the dead ⁄ missing stand in defiance, contradicting that attempted erasure of the desaparecidos. In this essay, I explain the connection between photography and loss, and how photography fits within Lacan's understanding of the Imaginary, the Symbolic, the Real, and the 'gaze'. I discuss complicated mourning (circumstances which inhibit ⁄ delay mourning) and the difficulties created by political disappearances: as long as the family members maintain the belief that their loved one(s) might still be alive, they cannot begin the process of mourning the permanently lost object. Beginning with the Madres de Plaza de Mayo and, using the web-based art exhibits of Marcelo Brodsky and InØs Ulanovsky, I analyze the role of the photograph in Argentina, how it serves as a linking object, how it is used to symbolize the dead ⁄ missing, and how it can function to facilitate mourning, or to serve as proof of pathological melancholia. I argue that such artistic representations of loss function to reinscribe healthy mourning rituals within the Argentine society.

The paper reviews and discusses Groddeck ' s conception of illness. I fi rst argue that Groddeck was a late Romanticist as much as he was a " wild " psychoanalyst. Then I use Groddeck ' s scattered formulations regarding defi nition, foundation, and meaning of illness in order to articulate them in the form of more explicit scientifi c statements. Finally, I suggest that Groddeck ' s theory of illness is fundamentally different from current medical conceptions, which, nevertheless, does not make our dialogue with him either less useful or indeed less necessary. It is through an investigation of Groddeck ' s therapeutic attitude and the spirit of his work that psychoanalysis and medicine can build foundations of bold, innovative, and healing future.

Après-coup finds its origins in Freud's earliest psychoanalytic writings, but it was only half a century ago that French psychoanalysts rediscovered, clarified, and developed the concept and so brought it recognition as an essential Freudian concept. Because the history of après-coup is embedded in the French reading of Freud, this article will give an account of that reading in relation to après-coup.

The film 2046 is used as a screen and a springboard from which to reflect on the compulsive plight of some lovesick individuals. A particular oedipal constellation that generates lovesickness is hypothesized, wherein an unmourned third object preoccupies yet frustrates the primary object. This thwarted longing for another on the part of the original parent figure inflicts a defect in the self-esteem of the subject, who is then compelled to seek out an object that will re-create, while promising to repair, the wound. A trait common to the new object of adoration and the old, retriggering the peculiar paradoxical draw of the parent, sets this process in motion. The chaotic temporality so often associated with both the raptures of new love and with the chronic condition of lovesickness may be related to a traumatic hobbling of the ego's stimulus barrier in the presence of such a paradoxically exciting object.

a few years ago. When it became time for them to implement the project, I happened to be a graduate student in the right place at the right time. I am ever grateful for the trust they had in me, and for their continued support throughout the project.

This article considers some of the affinities between postmodern literary theory and the psychoanalytic theories concerned with intersubjective phenomena. Postmodern literary theory is described briefly, and it is argued that one of its major concerns is the nature of, and the political and cultural influences on, subjectivity and identity. Despite that, postmodernism generally, and literary postmodernism in particular, can be said to lack a theory of the psychological and interpersonal dimensions of the experience of self. This article contends that the more relational schools of psychoanalytic theory can provide an example of the construction of selfhood that is of importance to contemporary and postmodern literary criticism. The academy has, to a considerable extent identified ‘psychoanalysis’ with the work of Jacques Lacan, but since the 1980s the work of such theorists as Jane Flax and Jessica Benjamin, building on the work of Nancy Chodorow, have increasingly opened up the possibilities of relational and object relations theory for literary studies. The relational psychoanalytic theories operate in the same epistemological universe as postmodern literary criticism, congruent with the postmodern idea of ‘truth’ as constructed and relational, and selfhood as shifting, contingent, and always-in-process. Particular attention is paid to the work of Wilfred Bion, whose understanding of self provides an account both of the failure of meaning, and of the development of mind. Some examples of a relational approach to literary analysis are provided.

This paper explores the relationships between experienced defect and the subsequent shame and longing for recognition. A clinical vignette is presented in which a young woman sought treatment for her infidelity to her husband: a behavior she found totally mystifying and deeply troubling. Using Bollas’ concept of “the unthought known,” parallels are drawn between this patient, who was adopted at 2 weeks of age, and Oedipus’ experience of knowing and not knowing his fate. A case is made for the idea that we both avoid and seek to know what is unbearable about ourselves, including our sense of defects. One motivation for this is the longing to be seen, recognized, known, and, finally, know one’s self.

Lacan’s conception of the end of analysis is different from Freud’s original conception of the end of analysis, which has different goals or aims, which were as follows: (1) when the unconscious “conveys” itself into the preconscious; (2) the overcoming of internal resistances; (3) the replacement of repression with condemnation; (4) the advance from the pleasure principle to the reality principle; (5) saving mental energy to make the best of one’s inherited capacities to become as capable of enjoyment as possible; and (6) partial or complete sublimation. There is debate about whether Jacques Lacan is to be considered a post-structuralist, but there is no doubt that he professed a unique school of psychoanalysis. According to Lacan there are six goals or aims of psychoanalysis that mark the end of analysis: (1) to articulate the truth about one’s desire; (2) the advent of true speech and the realization by the subject of their history; (3) to traverse the radical fantasy; (4) identification with the sinthome; (5) when the analyst becomes the object-cause of the analysand’s desire and falls from position of subject-supposed-to-know; and (6) if the analysand passes to become an analyst themself.

Although the ideal ego, superego and ego ideal participate equally in reproach, it is the latter which is the most decisive. In clinical experience, recrimination may easily colour the analytic dialogue. In such cases, interpretation loses its sense of clari cation and another type of dialogue replaces it. There, words are used to take possession of the other, for its autonomy is a threat to the static character of the pathology of mourning. The problem of recrimination has also tainted the development of psychoanalysis, to the point of disrupting the process of discovery itself. This paper deals with repercussions in the psychoanalytic movement and also in the elements that constitute its structure. Finally, different variations and disturbances in the psychoanalytic ideal are considered, as well as the involvement of the psychoanalytic institution in preserving or transforming the ideal. Here the importance of institutions and institutional ideals is emphasised. Finally, we suggest that ideals either encourage or hinder the working through of individual and collective mourning.

By tracing a portion of close process of a patient's shifts from a relatively silent and inhibited stance to one in which he is beginning to verbalize more about his experience and fantasy, I will illustrate some tensions between the analyst's role as facilitating expressiveness and as occupying a place in the patient's internalized world. Since the analyst's functions as facilitator and as internal object (often an obstacle to the patient's expressiveness) are sometimes in conflict with one another, it is important for the analyst to be able to work internally with this conflict as he works with his patient. Splitting processes between these two functions may provide the analyst with cues related to the patient's and the analyst's resistance to understanding the patient's communication of unconscious conflict and the patient's recruitment of the analyst into the patient's internalized world.

This paper explores the issue of how character is created and re-created in the context of relationships. This theme, salient in the recent film The Hours, has been particularly problematic for creative women, who are often caught in tensions between self-development and relationship. Two case examples are given, in counterpoint to the film and to illustrations from Woolf's life and work. Through these various lenses, we can consider the complex interplays between our conjectures as to the expected price of relationship, and the actual price exacted as our various dramas unfold.

This paper(1) takes the distinction between being conscious ('core consciousness') and knowing that one is conscious (self-reflexive consciousness) as a starting point for differentiating between three different aspects of the self: 1) the overall process of psychosomatic being which we share with all living creatures and which expresses itself through action (self as totality), 2) the conscious awareness of knowing the self that is a peculiarly human phenomenon consequent on the development of symbolic imagination (sense of self including numinous experiences of the self) and 3) having a self (or soul) as an essential attribute of being human that can only be achieved through being endowed with a self in the mind of others (self-identity leading to the self as the centre of the personality). Some clinical implications of these distinctions are considered including the role of interpretation as fostering integration through the provision of alternative self-images, the loss of self-reflexive consciousness in states of overwhelming affect and the attack on the spontaneous psychosomatic being of the self in states of self-hatred and self-division.

From the point of view of the history of ideas in psychoanalysis, a major shift may be described from Freud's starting point considering art as sublimation of sexual desires on a largely objectal level to later developments emphasizing the presence in art of destructiveness and narcissistic conflicts. Segal's contribution represents a watershed in this evolution. Following Klein, Hanna Segal suggests considering art in relation to depressive anxieties and reparation in such a way that artistic activity may be seen as an attempt 'to restore and recreate the loved object outside and inside the ego' which implies a successful work of mourning accompanied by symbol formation. For Segal, these reparative processes are conveyed through formal beauty which represents the victory of reparation over destruction. Nevertheless, contemporary art demands that we consider the intervention, in art, of more raw and less symbolized ⁄ sublimated processes, including acting-out in often primitive, psychotic or perverse ways. Thus this paper unfolds in two directions: on the one hand, it examines the differences and continuities between Freud's and Segal's thinking whilst, on the other, the author presents some alternative ideas which stress the search for truth and new thinking in contemporary art.

This paper argues that anorexia may be understood to be a particular kind of autistoid psychic retreat: a defensive withdrawal to a primitive enclosed part of the self that has been damaged by early infantile trauma, the result of a disruption to the mother-infant pair. This damage can be envisaged as an enclosed 'cyst' or 'tumour,' defensively 'sectioned off' from the rest of the individual's psychic life. When a patient takes refuge in an autistoid psychic retreat she is typically experienced as emotionally 'cut off' by others, including her psychotherapist, thereby making it difficult to establish and maintain a 'living' therapeutic alliance. The resulting countertransference, a crucial diagnostic tool for establishing the existence of an autistoid retreat, simultaneously challenges the therapist with a range of unsettling feelings that require processing in order to access the anorexic's inner world. The case of a female adolescent anorexic in psychodynamic psychotherapy will be presented. There were two distinct phases in this therapy, the second phase suggesting emergence from the autistoid retreat. This material will be used to illustrate autistoid dynamics and their implications for treating such patients.

The author discusses the traditional interpretations of the principal dramatis personae in Verdi's Rigoletto, suggesting that the opera expresses the composer's unconscious but highly perceptive and intuitive exploration of: (i) paranoid and perverse father-daughter oedipal dynamics as enacted between Rigoletto and Gilda; (ii) a folie-à-deux sado-masochistic relationship between Rigoletto and the Duke; (iii) the avoidance of conscious guilt and responsibility for Rigoletto's part in the tragedy through the rejection of insight achieved via massive projection, an addiction to mania, and perversion. In this respect Rigoletto is compared with King Lear. Some technical aspects of Verdi's compositional style employed to portray the contrasting characters of the protagonists are analysed. The paper also touches on Verdi's own possible unconscious (as well as conscious) investment in this particular opera, noting similarities between Verdi's portrait of the tragic, hunchback jester and his own self-depiction. The author notes similarities and contrasts between his analysis of the opera and recent papers by Hudson (1992), Tarnopolsky (1995) and Bergstein (2003) on the same subject.