In “Constructions in analysis” (1937), S. Freud compared the analyst’s work to that of the archaeologist searching among vestiges, with the big difference that the object of our work is alive, and working with it causes fear, pain and suffering. Last year, during a visit to Pompeii and Mount Vesuvius, impressed by the strangeness of the atmosphere, by people carbonised by lava, eternal statues in a shocking atemporality among the archaic objects and traces of the place, I picked up the thread of psychoanalytic reflections on such ruins, vestiges, the layers of “ash” also present in the human psyche and their relevance in the work of the analytic cure. How to communicate the unthinkable, the unsayable, the un-representable, the barely figurable? How to transform traces of your “ancestors’ ancestors’ ancestors”, even as passed down from Superego to Superego, or via inter-transgenerational transmissions? How to transform the formless into form?
From S. Freud to D. W. Winnicott, and W. Bion, from A. Green and J. McDougall, via D. Anzieu and R. Roussillon, the author is proposing to revisit the psychic vestiges as they are expressing during the analytic process.
The majority of book-to-film adaptations operate more or less important adjustments on the initial text. In this respect, the present article attempts to investigate the psychoanalytical relevance of such a textual intervention in Roman Polanski’s 1992 film, “Bitter Moon”, based on Pascal Bruckner’s novel, “Lunes de fiel” (1981). The analysis takes the Freudian theories on sadomasochism and death instinct as a starting point.
Is it possible to speak of the compulsion to create? And if so, what underlies it? In this article, I set out to offer a comprehensive explanation of what may cause the strong desire for creative activity observable in many artistically-inclined individuals. To describe this desire, I use the term compulsion to create, and drawing upon examples from both pop-culture and the lives of famous artists on the one hand, and philosophical and scholarly writings on the other, I seek its sources in the individual’s psyche. I discuss how the compulsion to create depends, among other factors, on an individual’s personality and mental state (in the sense of Sigmund Freud’s and Elaine N. Aron’s theories), transcendental circumstances (in the sense of Carl Jung’s theory) and character traits (as defined by Jordan Peterson). Then, I frame the phenomenon studied within the 4Ps Model of Creativity. I point to a significant correlation between the compulsion to create and high levels of an individual’s creativity. Additionally, I discriminate between the notions of the drive to create and the compulsion to create. The article proposes a definition of the compulsion to create which allows for a clear understanding of this notion and its popular application in the field of creatology.
The text aims to present how creativity and creative behaviours, understood as an act of transcending oneself and the world, can positively influence the fields of art, science, education and upbringing. A constitutional feature of creativity is its ability to transcend what is fixed, tamed and predictable, both individually and globally, at the microcosmic and macro-cosmic level; to transcend what is within us and outside us. The author of the article analyzes the following issues: is there a positive aspect to creativity understood as the act of transcendence? And, given such an understanding of creativity, are all acts of creation, whether they involve the creation of great works of art, the pursuit of science, the processes of education and upbringing, or simply the resolution of daily problems, more spiritual than intellectual?
In the interview with Robert J. Sternberg, one of most prolific creativity researchers, we discuss his career, main areas of research interest, chosen research methods and share his thoughts about the future of research on creativity and effectiveness in scientific work.
The purpose of the research was to investigate different types of training in insight problem solving. In doing so, we reviewed the literature on experimental tests of procedures for training insight problem solving. The results revealed that most procedures focused either on restructuring or divergent thinking, and provided some evidence for the effectiveness of both approaches. However, we found no studies that compared the effects of the two approaches. The article reports two experiments that compared different training procedures based on restructuring and divergent thinking. For the latter, the methods focused separately on fluency, flexibility and originality training. The first experiment compared a restructuring approach with fluency training and a placebo control condition. The results indicated that the restructuring training was significantly more effective than the others, but only when instructions were verbal, not in script form. The second experiment compared restructuring training with flexibility, fluency and originality training, all presented in script form, and the results indicated that the restructuring training was significantly more effective than both fluency training and flexibility training. Implications for future research are discussed.
When describing the two instincts in his work “The Ego and the Id”, Freud says that the “Eros, by bringing about a more and more far-reaching combination of the particles into which living substance is dispersed, aims at complicating life and at the same time, of course, at preserving it”. This complication, which I consider to be rather an increased complexity, can be found in the patients’ discourse through the diversification of means of expression and attributed significations, when their “stories” open up to us and to new meanings… However, when stories are meant to free the body of the burden of a stigmata, which must be covered with histories and significants, how can we identify the flux of the Eros in the counter-sense of a Thanatos that, as Freud said, “tends to return the organic to the lifeless state”? I therefore propose that we try and explore this effort to tell the story of the body expression forms trough words, in Mario Vargas Llosa’s novel, The Storyteller…
Fusion is one of the fundamental mechanisms of mental functioning, an essential element in all object relations – with variations only in the degree of participation – along with the component connoted by separateness. There is a continuous dialectic relationship between levels of fusion and separateness in every human relationship.
Among the goals of the basic human search for an object we should also include the attempt to establish common mental areas with sufficiently similar objects through fusion. Mental contents can flow freely between the subject and the objects through these shared areas. Human beings seem characterized by an extremely sophisticated and continuously changing boundary system.
The simultaneous dialectic presence of three levels of mutual relation is stressed in object relations: the level of fusion, the level of incomplete separation and the level of complete separation. The three levels are compared to the three positions (one more primitive: Fusion as well as the Kleinian PS and D).