Unconscious fantasy in context: The work of Jacob A. Arlow

For Jacob A. Arlow, understanding unconscious fantasies was central to his clinical work. These fantasies are to be found at the core of those eruptions that break without warning into our ordinary lives, whether in the form of hysterical symptoms, daydreams or nightmares. What, however, could an unconscious fantasy be on a theoretical level, beyond a vehicle for discharge? Although partly unconscious, such fantasies are sometimes composed of fixed verbal content with a high degree of internal organisation. Unconscious fantasies therefore pose many challenges to understanding.     

无意识目标启动的定义、机制及应用

无意识目标与社会态度、刻板印象和图式等一样, 是行为的满意状态或结果在个体头脑中的一种表征, 包含有目标设定、追求情境和追求手段等内容。这些内容能够被环境中的刺激自动激活, 在意识不到的情况下影响人的心理和行为。无意识目标启动的概念和其他心理表征的启动不同, 无意识目标启动能够促使带有动机性的行为出现, 启动线索的影响不会随着时间的推移而消失。无意识目标启动的自变量与自身心理状态和环境中他人的影响有关, 无意识目标启动的因变量与任务表现和社会关系的处理有关。“知觉-行为模型”、“无意识行为选择模型”、“评价准备模型”和“情感因素模型”能够分别从“无意识”和“目标”两个角度对无意识目标启动的心理机制进行解释。无意识目标启动原理在商业、教育、医疗等领域当中有着广泛的应用前景, 为了更好地完善理论研究和进行实际应用, 今后应该更加重视无意识目标启动的脑机制研究。     

Fantasy formation: a child analyst's perspective

Unconscious fantasy is the principal unit of psychoanalytic investigation. Though individual fantasies, either conscious or unconscious, may emphasize drive, defense, or superego interests, all fantasy life develops from a limited number of themes; these themes concern drive-related issues, experiences of helplessness, or combinations of both. Fantasy formation and fantasy content undergo developmental change. Sensorimotor, behavioral memories occur prior to fantasy and are influential in determining repetitive behavioral enactments. The complexities of infant behavior do not require the postulation of fantasy or representational memory. A complex, innate, instinctual organization of the newborn, similar in many respects to that of other newborn mammals, and distinct from the psychological organization of the older infant, is suggested as an explanation of these phenomena.     

Fantasy,defense, and the representational world

This paper discusses the manipulation of mental representations, particularly in relation to the psychoanalytic concepts of conscious or unconscious fantasy. A distinction is made between the unconscious phenomenal (experiential) aspect of representations and the nonexperiential, quasi-structural aspect. The concept of the representational world is described and elaborated, and its development is seen as a consequence of the infant's interaction with itself and the external world. Processes such as identification and projection can be seen in terms of changes in self and object representations, and the same is true for all the mechanisms of defense. The content of unconscious wishes is transformed, by use of such mechanisms, into representations that are acceptable to consciousness. Major transformations of unconscious representational content occur in the process of creating unconscious (preconscious) fantasy, and further transformations are frequently needed before such (preconscious) fantasies are permitted access to consciousness. The concept of projective identification is considered in the light of the ideas put forward in the paper.     

Unconscious fantasy (or phantasy) as clinical concept

A clinical phenomenology of the concept ‘unconscious fantasy’ attempts to describe it from a ‘bottom‐up’ perspective, that is, from the immediate experience of the analyst working in session. Articles of psychoanalytic authors from different persuasions are reviewed, which taken as a whole would shed some light on how the concept of unconscious fantasy takes shape in the analyst's mind during the session with the patient. A clinical phenomenology in three steps is described. Each step is illustrated by clinical material. Current controversies around the concept of unconscious fantasy (or phantasy) are still trapped in the discussion about if and how they are really unconscious. The strategy to describe from a ‘bottom‐up’ perspective the process of how the analyst's mind embraces the idea that an emerging phenomenon in the relationship with the patient can be defined as ‘unconscious fantasy’, allows us to elude the question as to whether or not we believe that unconscious fantasies exist at all, since we are neither required to assert or deny such a prior existence in order to describe the process of elaboration which, in the end, does formulate a fantasy as fantasy.     

AN ESSAY ON DREAMING,PSYCHICAL WORKING OUT AND WORKING THROUGH2

In this paper the author attempts to expand the idea put forward by Freud who considered dreams as a special form of unconscious thinking. It is the author's contention that the psychical working‐out function performed by dreams is a form of unconscious thinking, which transforms affects into memories and mental structures. He also attempts to clarify the way in which meaning is built and transformed in mental life. In that respect the unconscious internal world is seen as a form of unconscious thinking, a private theatre where meaning is generated and transformed. He focuses on what happens to feelings in dreams in connection with the meanings as a result of and an expression of the several stages of working through. The dream world is described as the setting where the mind gives expressive pictorial representation to the emotions involved in a conflict: a first step towards thinkability. The dreamwork also constitutes a process through which meaning is apprehended, built on and transformed at an expressive non‐discursive level, based on representation through figurative/pictorial images. The author draws on Meltzer's formulation to conjecture that the working‐through function of dreams, mainly in response to interpretations, is performed by a process of progression in formal qualities of the representations made available by dreaming in the form he has called affective pictograms. It is through progression in formal qualities of the representation that the thinking capabilities of the affective life develop and become part of the process of what is called metaphorically the metabolisation of emotional life. This process takes place through migration of meaning across various levels of mental process. In this perspective the analyst'sinterpretations of dreams effect what linguists call transmutation of the symbolic basis, a process that is necessary to help the mind to improve its capacity to think. Something expressed on the evocative plane and condensed into a pictographic image is then transformed into verbal language that expresses meaning. These conceptions are illustrated by a detailed clinical case.     

Four empirical tests of Unconscious Thought Theory

According to Unconscious Thought Theory, people make better decisions after unconscious than after conscious thought (Dijksterhuis, Bos, Nordgren, & van Baaren, 2006a). Unconscious Thought Theory yields four specific predictions. First, an exact replication of Dijksterhuis et al. (2006a) study should indicate that unconscious decisions are superior to conscious decisions. Second, decisions should improve with duration of conscious thought. Third, unconscious decisions should be superior to conscious decisions, even if unconscious decisions are deliberated while having access to information. Fourth, unconscious decisions should be based on a weighting strategy. We report results of four studies, featuring 480 participants, that yield no evidence in favor of these predictions. Therefore our findings cast doubt on Unconscious Thought Theory and its advice to base decisions on unconscious thought. The results of our studies suggest that it is better to base decisions on conscious thought while having access to information.     

Determinants of object choice in adulthood: a test case of object-relations theory

A clinical example of the effects of the absence of the father during the early childhood of a male analysand and its consequences for his later object choice is presented. This patient's biological father left the household when the patient was only a few months old, and his mother did not remarry until he was five years of age. Unconscious fantasies of the lost father, with whom the patient had no contact in reality, and longing for him organized the patient's drives and determined his self-identity as well as his later object choice. The patient developed both a positive and negative identification with the lost father. The identification was with a fantasy object not a real one. The case highlights the need to use a precise term in talking of the object, namely the mental representation of the object which may or may not be built up out of experiences with the real object.     

The poet as prophet: a psychoanalytic perspective

The poet spins a public fantasy, created from his own private daydreams and speaking to the unconscious fantasies of his audience. He presents a socially acceptable form of expression of forbidden wishes and conflicts. A process of mutual exculpation is set up between the poet and his audience. For a special group the work of the poet may also make possible the alleviation of pathogenic anxieties. An examination of the play, The Beard, indicates how an artist may intuit and articulate changes in sexual morality. The poet rebels against the constraints of society, thereby helping his audience to rebel without guilt. He may be the herald of a changing morality, and even more, his art may become an instrument for such change.     

无意识思维:理论、质疑与回应

Dijksterhuis等人发现在解决复杂问题时,无意识思维的加工结果优于有意识思维,并据此提出了无意识思维理论。本文介绍了支持无意识思维理论的基本实验证据,质疑无意识思维的相关研究及对质疑的回应研究。未来研究应重点关注改进无意识思维研究范式和寻找更多影响无意识思维效应的中介变量,无意识思维加工结果如何上升到有意识层面,无意识思维的加工方式以及其在真实和高风险任务情境中的应用。     

The screen function of unconscious fantasy

Although being a fundamental concept in psychoanalysis, fantasy is an ambiguous term. It covers a vast field of conscious and unconscious phenomena, from daydreaming, the manifest narration of the patient’s world of imagination to unconscious fantasy and primal fantasy. Further, it introduces the delicate alternatives of imaginary versus real, subject versus object and internal versus external. Following Freud’s reflections on the ambiguity of fantasy, we arrive at an idea introduced by Freud himself, but elaborated years later by Lacan. Fantasy, accordingly, is seen as a screen which both reveals and conceals. Our aim is to demonstrate, theoretical as well as clinical, how unconscious fantasy serves as a window into not only repressed wishes and conflicts, but also the most primary scenes where the subject may not even have a specific place. Simultaneously, it is the site of protection and defence, including projection and denial, but also repetition of what we will call the identical. A clinical case will be presented to illustrate our theoretical ideas and their clinical implications.     

The unconscious

A discussion of the unconscious leads naturally to Freud and to a theory on subjectivity we may designate as de-centred. The unconscious reminds us that not only do we not know ourselves. In the core of our subjectivity, we have to acknowledge the notion of otherness. Re-reading Freud's text, The Unconscious, from 1915, the current author emphasises the character and function of the unconscious as radically different from what we know about conscious processes. This allows for the concept of the preconscious, which the author links to Winnicott's intermediary area and Green's tertiary processes. Taking as point of departure Freud's differentiation of word presentation and thing presentation, the author points to Freud's introduction of the term thing-cathexies of the object as designating the primal psychic representation. The Freudian perspective is broadened, encompassing the notion of otherness as discussed by Laplanche and Aulagnier. Concluding the paper, the author draws some implications for psychoanalytic technique, focusing especially on transference.     

Mainstream body‐character breach films and subjectivization

The authors analyze a unique cinematic corpus – ‘body‐character breach films’ (one character, initially played by a certain actor, occupies the body of another character) – demonstrating Lacan's notion of traversing the fantasy, both on the level of the films’ diegesis and that of spectatorship. Breaching the alliance between actors and their characters perturbs the viewer's fantasy of wholeness enabled by this very alliance. Consequently, a change in subject/spectatorial position in relation to the lack in the Other is induced, enhanced through the visualization of various scenarios of unconscious fantasies (mostly incest). These are meant to unsettle the spectator into an awareness of how a conscious fantasy conceals another unconscious fundamental fantasy, thereby encouraging a change in spectatorial position (from ‘perverse’/fetishistic to ‘neurotic’). Conflating this change with Lacan's notion of traversing the fantasy, the authors contend that mainstream cinema has the capacity to induce a process of subjectivization (assuming responsibility for one's own desire). This process is contingent on four conditions: identification with the protagonist's fantasy to conceal the lack in the Other; dissolution of this fantasy, initiated by the body‐character breach; rhetorical strategies (the coding of unconscious scenarios cinematically); and an ethical dimension (encouraging the subject/spectator to follow her/his desire).     

“Last Night I Dreamed I Went to Manderly Again”: Vicissitudes of Maternal Identifications in Late Female Adolescence

To move forward into sexual maturity with a sense of bodily agency, the girl must internalize identifications with the mother as a sexual adult in her own right. These new identifications arouse intense internal conflict brought on by internalization with its unconscious association with destructive oral aggression and the archaic fear of retaliatory maternal rage. The unconscious dilemma is how to metabolize the sexual mother and also keep her alive as an internal resource. I present material from analytic sessions and literature to illustrate a characteristic defensive fantasy of late adolescence and the underlying conflicts that the fantasy conceals and attempts to ward off. This fantasy links aggression, internalization, and associated unconscious phantasies of oral sadism. Internalization may be derailed if the daughter's conflicts around aggression are felt to be intolerable. When all goes reasonably well, the late-adolescent girl tolerates the intense aggression associated with internalization and metabolizes representations of the sexual mother as a resonating internal presence that supports and enhances progressive development.     

无意识信息引发的认知控制及其神经机制

对无意识信息引发的认知控制的研究是揭示意识的功能与局限的重要方法和步骤.在无意识认知控制研究中主要采用模式掩蔽和偏对比掩蔽创设无意识条件,使用客观测量方法对意识状态进行测量.作者从无意识抑制控制、无意识冲突控制和无意识错误加工三个方面回顾了近年对无意识认知控制及其神经机制的研究.已有研究从行为和认知神经研究两个方面强有力地证明了无意识认知控制的存在,揭示了其神经机制.这些研究拓展了人们对意识信息广度和深度的认识,也为未来进一步揭示意识的起源等问题奠定了一定的基础.未来的研究可以从无意识认知控制和有意识认知控制的相互转化等方面进行进一步研究.     

Playing and working through: a neglected analogy

The author proposes an analogy between certain features of playing and aspects of working through. Conceptualizing psychoanalysis as the process whereby unconscious fantasy is uncovered and then subjected to rigorous scrutiny, and building on Freud's (1908) insight that play is the same as fantasy--with the essential difference that fantasy links itself to real objects in play, such as toys and playthings--the author proposes that play can be thought of as not merely symbolic, as a fantasy bearer, so to speak, but as a fantasy tester as well. In the process of working through, some analysands attach their unconscious fantasies not only to a transference object, a primary libidinal object, or a significant loved one, but also to actual props within the analytic setting (a Kleenex box, for example), making the analogy with play even more obvious and palpable.     

The Thinking-I and the Being-I in Psychology of the Arts

The thinking-I and being-I are complementary facets of aesthetic creativity and reception. The thinking-1 encompasses perception, cognition, and reflection, whereas the being-I includes representation, unconscious dynamic processes, and transcendence. An intellectual appreciation of art requires attention to sensory processes that embody style as well as an attempt to develop a coherent understanding of the subject matter of the work, visual or literary, and to relate it to various contexts including the world of the artist or author. In relation to the self; an artistic or literally work can explicitly represent significant personal meaning and implicitly embody unconscious meanings. An understanding of these explicit and implicit meanings provides a basis for transcendence or personal growth.     

无意识的意识本性

就精神分析的无意识而言,无意识实际上是由意识创建而来的。不是无意识派生了意识,而是意识派生了无意识。无意识是意识的一种变体,它恰恰体现了意识的塑造能力和它自身的可塑性。弗洛伊德在《意识与什么是无意识》中对意识和无意识的关系问题做了集中的论述。该文借助对这篇论文的全面解析进行阐述。     

AFFECT,SYMPTOM, FANTASY,DREAM: CLINICAL AND THEORETICAL CONSIDERATIONS

A symptom being studied in the process of analysis can be seen as not unlike the unconscious affect it sprang from. The author presents a case in which a symptom, premature ejaculation, was analogous to the unconscious affect of guilt, which itself seemed to be a premature defensive transformation of a deeper current of anger. Guilt was interpreted as if it were a psychic premature ejaculation, a defensive derailment of anger. Fantasy and dream seemed to be engaged in similar transformations, with a fantasy of “premature incarceration” not unlike the symptom itself in its analogous functioning. Analysis of affect, symptom, fantasy, and dream in complex, integrative analytic process led not only to resolution of the symptom itself, but also to a deeper understanding of the mind's complex functioning in general.