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Violet Pietrantonio

Abstract

What kind of functions does a theory carry out in the analyst’s mind at work? The author tries to describe, using a few analytic trailers, how Bion Field Theory (BFT) can become an oneiric psychoanalytic tool in the mind of the analyst working with inaccessible states of mind and the violence of nameless turbulences. The hypothesis expressed is that BFT, as described in the works of its principal authors (Ferro, Grotstein, Ogden et.c), seems to evoke a psych-O-analysis that chooses O as psychoanalytic vertex, developing the bionian idea of unconscious as psychoanalytic function of the mind. BFT introduces explains and illustrates an oneiric model of the mind and of the analytic cure. The priority given by this theory to the contact with emotional experience and the capacity to stay at one ment with the unknown emotional experience circulating in the hic et nunc, seems, in author’s analytical experience, to promote both the development of an authentic analytic Self and analytic ethic and a process of subjectivation in analyst, patient, analytic experience.

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Giuseppe Civitarese

Abstract

Terms such as vitality and authenticity are difficult to define. Moreover, they cannot be considered true psychoanalytic concepts. If, however, as is happening, psychoanalysis tries to theorize in a more fine-grained manner the non-specific aspects of treatment, such as those related to the person of the analyst, then it becomes inevitable to refer to them. The thesis of the article is that vitality should emerge from its vagueness and be transformed into a precise psychoanalytic concept. This can be done if we discuss it in light of Bion’s concept of negative capability and the post-Bionian theory of the analytic field. Every time the analyst rediscovers to his surprise the dreamlike dimension of the session, he becomes vital gain and reinvests the patient, the analysis and the psychoanalytic method.Then he realizes that he is always a character in the stories of the analysis and has the chance to try to guess what happens by relying on his intensified bodily or emotional reaction.

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Fulvio Mazzacane

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Melis Tanik Sivri

Abstract

Shirin Neshat is an Iranian contemporary female artist who is in exile by choice. Born in Qazvin, Iran, in 1957, the artist moved to the United States in 1974 in order to study arts. Due to the Islamic Revolution in 1979, she was prevented from going back to her country. In 1990, after almost 12 years, Neshat visited Iran for the first time after the revolution, which transformed her artistic life into a productive one, full of prizes. The aim of this article is to reflect on the impact of Neshat’s homecoming experience in developing an authentic artistic identity. The emphasis of the paper will be on the artist’s first cinematic film, Turbulent (1998), which will be discussed as a manifestation of the artist’s working through the turbulent encounter with the changes in the motherland after a long separation due to the revolution.

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Rita Teodoru

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Alicia Mirta Ciancio

Abstract

This paper is centered on the subject’s private dialogue with his/her own body during midlife – in this case «body» means an open history coming from the wish of a child that parental figures projected, something that remains open to changes till the last minute of life. This situation revalidatesego’s discourse with him/her during this period of the life cycle, highlighted with the imprint of one’s own finitude. The author also presents a clinical case through which the understanding of the subject’s major intimacy with himself/herself is made possible – something that demands a never-ending re-adoption of changes encompassed by the passing of time. This re-adoption is the core of midlife – a period of the life cycle where physical changes usually imply different kind of losses. Through this clinical case it is also clear that the specific link that exists between the first representations that gave birth to the I-body dialogue and those closely related and specific to midlife.

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Antonino Ferro

Abstract

This article presents a summary of the theses advanced in Bion’s Transformations and describes their application by the analyst in the session. It then discusses the development of post-Bionian transformations in dreaming and play. Clinical material illustrates how these transformations may become effective therapeutic tools.

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Mauro Manica

Abstract

In this work the author considers how the Freudian psychoanalytic paradigm has been transformed by Bion’s theory and how the transference-countertransference dynamics must be transferred into an oneiric way of thinking. Here, a “quid” of lie becomes necessary to compare the traumatic experience of the patient with the analyst’s capacity to suffer his own personal and professional critical steps. If the analyst is to contact the O of the patient, it is necessary for him to contact his own O – during his training and in his personal narrative. Truth needs a “bit” of lie to be born, and the lie of the dream is one of the possibilities for intercepting the truth that the patient brings in analysis or, at least, the only truth that the patient can live. This truth, however, needs a share of lie (of poetry, of dream) in order to generate new emotions and new life.

Open access

Fulvio Mazzacane

Abstract

The question that has prompted this article could be formulated as follows: what are the vicissitudes of the analyst’s subjectivity in the bi-personal models and, more specifically, in the Bion field model? Using a clinical vignette, the author shows his own “toy box” mainly the way he uses reverie and the interplay between plot and characters in the session.