Cordelia, Lear, and forgiveness

Painful human interactions are often followed by urges to forgive, be forgiving, or seek forgiveness. The insight analysands develop into their transferences highlights their finding gratification in constantly reenacting painful interactions. Their new understanding can make forgiveness seem irrelevant; waiving the question of forgiveness might then seem the wiser course to follow. Also thrown into question is whether total forgiveness of self and others can ever be achieved. Shakespeare's The Tragedy of King Lear raises these questions. There we encounter, first, the painful interaction of Cordelia and Lear and, finally, Cordelia's response, "No cause, no cause," to a dying Lear's begging her forgiveness for having initially treated her cruelly. Cordelia's response seems to be waiving the question of guilt and forgiveness, but could it be wholehearted? In a search for answers, a reading of Cordelia's and Lear's lines is interwoven with interpretations of unconscious conflict that might be considered were one to encounter clinically a "Cordelia" abused by an aging and failing father at a turning point in her womanly development. Unconsciously, it is concluded, unforgivingness persists alongside the loving, insightful waiving of forgiveness made possible by higher-level ego functioning. Methodological reflections on reading and interpretation are included.     

DREAMING THE ANALYTIC SESSION: A CLINICAL ESSAY

This is a clinical paper in which the author describes analytic work in which he dreams the analytic session with three of his patients. He begins with a brief discussion of aspects of analytic theory that make up a good deal of the context for his clinical work. Central among these concepts are (1) the idea that the role of the analyst is to help the patient dream his previously “undreamt” and “interrupted” dreams; and (2) dreaming the analytic session involves engaging in the experience of dreaming the session with the patient and, at the same time, unconsciously (and at times consciously) understanding the dream. The author offers no “technique” for dreaming the analytic session. Each analyst must find his or her own way of dreaming each session with each patient. Dreaming the session is not something one works at; rather, one tries not to get in its way.     

THE ANALYST'S HATRED OF ANALYSIS

Analytic work is loved and hated. Both attitudes deserve scrutiny, but the analyst's hatred of analysis, which transcends countertransference responses to individual patients, represents an impediment to gratifying analytic work whose recognition and conceptualization has been resisted. The author suggests that antipathy among analysts toward analysis and the analytic situation is normative and expectable, yet commonly experienced as shameful. He speculates that it is sometimes disavowed and projected. Training institutes might inadvertently foster this sense of shame rather than promote its working through. The recognition that analytic identity functions as both a loving and a persecutory internal object has implications for psychoanalytic education and practice.     

Affect,Reason, and Persuasion Advertising Strategies That Predict Affective and Analytic-Cognitive Responses

Advertisements are messages designed with the goal of persuasion and can therefore be considered as ecologically valid examples of persuasive messages. The study of responses to advertisements can provide insights into the interplay of affective and analytic-cognitive aspects of the persuasion process. This study develops and tests hypotheses concerning the relationship of specific advertising strategies to affective (syncretic-cognitive) and analytic cognitive responses in the audience. Specifically, it is postulated that different advertising strategies predict different patterns of affective and analytic cognition with product involvement and other relevant variables controlled. Two hundred forty advertisements are analyzed both in terms of their strategy attributes and the reactions they evoke. Advertising strategy variables are demonstrated to account substantially for the variance in affective and analytic cognition.     

ROY SCHAFER: A BEGINNING

The author provides a biographical overview of Schafer's life, culled from his published work and focused primarily on his professional development. This biography is used to demonstrate some of Schafer's central theoretical insights on narrativity and language, and reveals the consistency of his thinking over his long career. A brief discussion of his writing on King Lear provides a bridge between theoretical and biographical material.     

This art of psychoanalysis

It is the art of psychoanalysis in the making, a process inventing itself as it goes, that is the subject of this paper. The author articulates succinctly how he conceives of psychoanalysis, and offers a detailed clinical illustration. He suggests that each analysand unconsciously (and ambivalently) is seeking help in dreaming his 'night terrors' (his undreamt and undreamable dreams) and his 'nightmares' (his dreams that are interrupted when the pain of the emotional experience being dreamt exceeds his capacity for dreaming). Undreamable dreams are understood as manifestations of psychotic and psychically foreclosed aspects of the personality; interrupted dreams are viewed as reflections of neurotic and other non-psychotic parts of the personality. The analyst's task is to generate conditions that may allow the analysand-with the analyst's participation-to dream the patient's previously undreamable and interrupted dreams. A significant part of the analyst's participation in the patient's dreaming takes the form of the analyst's reverie experience. In the course of this conjoint work of dreaming in the analytic setting, the analyst may get to know the analysand sufficiently well for the analyst to be able to say something that is true to what is occurring at an unconscious level in the analytic relationship. The analyst's use of language contributes significantly to the possibility that the patient will be able to make use of what the analyst has said for purposes of dreaming his own experience, thereby dreaming himself more fully into existence.     

Age Is Unnecessary

The postmodern process that acknowledges ambiguity and established bias requires the critical perspectives of Disability and Age Studies. When exploring portrayals of age in canonical literature, few characters figure as prominently as Shakespeare's King Lear. The image of the aged monarch in this renowned drama has reinforced stereotypical associations of old age, decline, and senility that reflect critical prejudice more than conclusive textual interpretation. This article argues that King Lear challenges ageist conceptions both by obfuscating boundaries of natural and social constructions of reality and by representing an unstable life trajectory that incorporates a breadth of behaviors that do not correspond to a particular age.     

Thoughts on Rigoletto

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.     

Bion's Notes on memory and desire – its initial clinical reception in the United States: A note on archival material

While Bion's 1967 memory and desire paper reflected a crucial episode in his clinical thinking during his epistemological period, it was also central to his evolution as a Kleinian psychoanalyst who worked with seriously disturbed adult patients. The author explicates and contextualizes these claims with a new archival document, the Los Angeles Seminars delivered by Bion in April 1967, and the full‐length version of Notes on memory and desire. Bion here instigated a radical departure from years of theory‐laden work when he made his clinical work and ideas accessible to a new audience of American Freudian analysts. While this new group was keenly interested to hear about Bion's clinical technique with both borderline and psychotic patients, there were varied reactions to Bion's ideas on the technical implications of the analyst's abandonment of memory and desire. Both the Los Angeles Seminars and Notes elicited responses ranging from bewilderment, admiration to skepticism amongst his audience of listeners and readers. These materials also however allow for a more complete and systematic presentation of important ideas about analytic technique – and while his ideas in this domain have been long valued and known by many psychoanalysts, this contribution stresses the crucial aspect of the reception of his ideas about technique in a particular American context. American analysts gained a much more explicit idea of how Bion worked analytically, how he listened, formulated interpretations and factored in the analyst's listening receptivity in the here‐and‐now. The author concludes with a consideration of the importance of Bion's American reception in 1967.     

On men crying: Lear's agony

King Lear vowed that because he was a man he would rather go mad or die than weep. Many adult male patients in psychoanalysis have just such an internal prohibition against crying, learned individually and often culturally encouraged, a prohibition that affects their ability to process loss, maintain intimacy, and accept vulnerability. It is suggested that the appropriate psychoanalytic role with these patients is to recognize and actively address this culturally supported prohibition. In addition, it is proposed that the prohibition against men crying may be a consequence of male envy of maternal traits and other feminine characteristics. Further, it is suggested that the developmental theory that the male child must "disidentify" with the mother memorializes a phallicism that often invokes the prohibition against crying in men and is itself mistaken.     

The King and his Fool*

The Fool in Shakespeare's King Lear is portrayed as an unsuccessful medieval psychotherapist. Parallels are drawn with modern psychotherapeutic practices, especially the potentially dangerous misuse of humour, metaphor, paradox and absurdity by inexperienced therapists.     

End notes: two unpublished presentations by Michael Fordham

Following the publication in this journal of two of Fordham's unpublished papers selected by James Astor (2010, 55, 5), the editors have asked me to select a further two. I have chosen two clinical pieces, one clinical notes and the other notes that refine his previous thinking, which Fordham wrote at the end of his life. Both are examples of the way Fordham continued throughout his analytic work to turn to patients as his primary source of learning. Fordham presented the first piece, ‘A case study’, to Parkside Clinic in 1988. Its subject is his last child patient, a nine‐year‐old boy with behaviour problems that destroyed the analytic frame. The second is clearly for an SAP (Society of Analytical Psychology) audience and written probably around 1992–93. It is titled ‘Some comments on transference and countertransference’ and contains material from the patient who has become known through papers in this journal as ‘K’. The two pieces are presented together within a commentary rather than separately with footnotes, in order to provide some context for Fordham's thinking in his late years.     

Further thoughts about "nothing"

Some meanings of "nothing" are delineated according to their acquisition, confluence, and transformation in the course of the child's development of drives, the ego, and object relations. This sketch is illustrated mainly from King Lear.     

'The healing power of love': The literary/analytic bond of marriage in Freud's essay on Gradiva

Freud 's declared position regarding the management of 'transference love' advocated 'abstinence', objectivity and even 'emotional coldness in the analyst'. However, his essay on Jensen's Gradiva reveals an identification with an involved and responsive 'maternal' analytic position associated with theorists such as Ferenczi, Balint and Winnicott. These theorists attribute the origins of transference love to the pre-oedipal stage, shaping their analytic model on the basis of the early relationship with the mother. Freud generally had difficulty identifying with such a position, since it entailed addressing his own inner feminine aspects. Yet a literary analysis of his 'Gradiva' reveals this stance in his textual performance, i.e. in the ways in which he reads and retells Jensen's story. Freud 's narration not only expresses identification with Zoe, the female protagonist, but also idealizes her 'therapeutic' conduct, which is closer in spirit to that of object-relations theorists. His subtext even implies, however unintended, that an ideal treatment of transference love culminates in a psychical 'marriage' bond between the analytic couple, a metaphor used by Winnicott to describe the essence of the mother–baby (analyst/patient) bond. Freud 's reading process is itself analogous to Zoe's 'therapeutic' conduct, in that both perform a creative and involved interaction with the text/patient.     

Beyond transference,countertransference, the silences and the opinion1

The author examines several works of an intersubjectivist trend, as well as writings by Hanly, Cavell and Bion, defending many of the named psychoanalysts' viewpoints. These viewpoints are expressed in the search and the struggle for truth, recognizing, like Popper, that truth exists but that we cannot know with certainty whether and when we touch upon it, only that this endless effort merits a lifetime's work because it is the attempt at an encounter with ourselves‐the true encounter. The author explains the criticisms by Green of Jacobs, and defends the maintenance of ‘a certain possible neutrality’ (Eizirik). He poses some questions with regard to Ogden's ‘third subject’, considering it, among other aspects, from the supervisory point of view, which may demonstrate the existence of ‘a certain possible objectivity’ of the emotional confl ict. He develops some criticisms concerning silence as an interpretative action by Ogden, and summarizes two case histories. Both were unconsciously attempting to manipulate the analyst intensely‐one of them to get the analyst to intervene in his love life, and the other to interrupt acting out.     

Oedipus goes to the opera: Psychoanalytic inquiry in Enescu’s Œdipe and Stravinsky’s Oedipus Rex

Abstract

Psychoanalytic inquiry into operas based on the life of Oedipus may provide further knowledge on the Oedipus complex. Therefore, we chose to analyze Enescu’s ?dipe and Stravinsky’s Oedipus Rex. Two distinct methodologies were used in our study. The first explored the concept of free association through musical themes in the operas. The second involved the comparative study of the Oedipus myth in order to provide a deeper understanding of Oedipus’s character. We observed that Oedipus displayed symptoms of his complex through the traits of aggressiveness and arrogance. Moreover, we noticed that Oedipus was compelled by the necessity of finding out who his real parents were and by unconsciously accomplishing the prophecy. Oedipus assumed the responsibility to free the Thebans from plague. Yet, it was too late, for the feared part of the prophecy was already accomplished. He provided a wrong answer to the Sphinx and then received the most severe punishment, one that would have ostracism as its outcome. It was, however, not too late for Oedipus to finally discover who his real parents were. Nevertheless, afraid of losing his place as King of Thebes, he investigated the plague’s causes. This resulted in his aggression as he resisted discovering “where babies come from.”     

Regression and new beginnings: Michael, Alice and Enid Balint and the circulation of ideas

This article offers a new evaluation of Michael Balint's history. It starts with his growing up in Hungary and examines the central concepts of his writing: the analytic pair, regression and the basic fault and creativity, up to and including his renowned work on the eponymous Balint groups (which forged a unique link between psychoanalysis and medicine). While his name is, of course, well known, this article aims to bring his ideas to the attention of a modern analytic audience. Having trained in the 1920s with Ferenczi, Balint brought Ferenczi's literary inheritance to England where he lived until his death in 1970. His connections to Klein, Winnicott and Lacan, all of whom respected his analytic stance, are also examined. Furthermore, this article argues that his ideas were filtered through the theoretical lens of his first wife Alice Balint and later through Enid Balint, both of whom played a key - and rarely recognised - role in the development of his thought. It ends with a brief discussion of his ideas on analytic training and his quest, successful only after his death, to publish the complete Freud-Ferenczi correspondence, together with Ferenczi's diary.     

Comments on Jonathan Lear’s<Emphasis Type="Italic"> Radical Hope</Emphasis> (Harvard: 2006)

Cultural devastation, and the proper response to it, is the central concern of Radical Hope. I address an uncertainty in Lear’s book, reflected in a wavering over the difference between a culture’s way of life becoming impossible and its way of life becoming unintelligible. At his best, Lear asks the radical ontological question: when the cultural collapse is such that the old way of life has become not only impossible but retroactively unimaginable,––when nothing one can do (or did) makes sense anymore,––how can one go on? In raising this question, Lear’s book is a remarkable breakthrough; it comes close to raising the crucial ontological question of how to deal with the total collapse of a culture, and it may well become a classic by starting a conversation on the question: How should we live when our own culture is in the process of actually collapsing?

Lear suggests that

[w]hat would be required … would be a new Crow poet: one who could take up the Crow past and—rather than use it for nostalgia or ersatz mimesis—project it into vibrant new ways for the Crow to live and to be. (p. 51)

Later Heidegger had a similar suggestion for us and I try to spell it out briefly.