A Steppenwolf called Brian: Reflections on childhood suffering and creativity

Through the life of the writer Brian Aldiss, this paper explores the idea that if parents are unable to give a child a solid sense of self, the child may grow up with a burning need to find that self through artistic creation. One not uncommon reason for this failure is if the child is a replacement for another child who has died and the parents have not been able to do the grief work required in mourning. This task is often more problematic in the case of a stillbirth. Examples are given of other creative people, such as Freud and Dali, where a previous death in the family may have been the spur to their finding a special identity through their creativity.     

King Tiger and the roaring tummies: a novel way of helping young children and their families change*

Therapy with young children and their families poses special challenges for the therapist. In particular, it is important for the therapist to meet the child at his or her ‘view’ of the world. King Tiger is a special helper who can assist the therapist in this task. Once the idea or existence of King Tiger has been introduced to the child and family in therapy, the therapist can commence writing letters and stories to the child on King Tiger's behalf. These written interventions can affect the entire family. The paper will examine some of the useful and creative techniques that can be incorporated into King Tiger therapy. A case example will illustrate how King Tiger can work as a co-therapist.     

On work environments and social roles

Whether instructions to be creative will act as goals or constraints was examined by comparing creative, practical, and analytical performance ratings under special instructions to be creative, practical, analytical, or under no special instructions at all, for 110 students with 2 different thinking styles. Consistent with goal-setting theory, specific-related instructions resulted in higher performance for each of the 3 performance ratings over no special instructions. In line with a person-situation fit model, people who prefer to play with their own ideas (i.e., those with a legislative thinking style) showed higher creative performance, whereas people who prefer to analyze and evaluate ideas (i.e., those with a judicial thinking style) showed lower creative performance when not given any special instructions.     

The epistemological objection to modal primitivism

Modal primitivists hold that some modal truths are primitively true. They thus seem to face a special epistemological problem: how can primitive modal truths be known? The epistemological objection has not been adequately developed in the literature. I undertake to develop the objection, and then to argue that the best formulation of the epistemological objection targets all realists about modality, rather than the primitivist alone. Furthermore, the moves available to reductionists in response to the objection are also available to primitivists. I conclude by suggesting that extant theories of the epistemology of modality are not sensitive to the question of primitivism versus reductionism.

     

From one room to the other: a story of contamination. The relationship between child and adult analysis

Does the analyst who works with both children and adults using ostensibly the same theoretical model perform similar mental operations in these two fields? The author suggests that child analysis is rooted in a different creative process from that of adults. Comparing the analysis of children to painting and that of adults to writing, and making use of the debate between Virginia Woolf and her sister Vanessa Bell on the relative merits of words and images, the author explores the psychoanalytic debate on the role of child analysis in the development of psychoanalytic theory and practice. Child analysis, initially regarded as an application of psychoanalysis, ended up acting as a catalyst for a true epistemological revolution in the 20th century through the work of Klein and Bion. Playing is not only an alternative medium to words for representing the unconscious but a different method for giving shape to representations through a specific creative process. The reverie which is born in the child analyst’s consulting room reproduces itself through the body’s actions during play, whereas in the adults’ consulting room the analyst’s capacity to dream presupposes the suspension of action. Child analysis, deploying a distinctive creative process that makes use of the body and serves itself of action in its development, may be said to rest on a similar creative process to that of figurative art. For this reason, the child analyst’s mind relates to objects in a different way, being in a more prolonged state of fusion with these as a result of ‘concentration of the body’. The significance of the unspeakable things that take place can often only be conceptualized in après‐coup. Although this difference in the development of the process suggests a significant distinction between the two ‘arts’ of child and adult analysis, the aesthetic sensitivity acquired through child analysis can be profitably used with adults, as will be demonstrated with the help of several clinical examples.     

Trauma Child on The Couch: Transference,Introjection, Identification

This paper attempts to explore some of the psychic processes at work with patients whom I identify as the “trauma child”. The term is a metaphor rather than a diagnosis of “traumatisation”, to indicate patients particularly resistant to maturational processes. They feel blocked and thereby find it difficult to evolve as creative adults. As opposed to the “traumatised” child no particular distressing event can be identified as a cause for emotional suffering. The malaise is often “low key” or silent but functions as a saboteur, undermining satisfactory existence. The trauma child is constantly seduced by regressive functioning and bound by numerous strategies of resistance of reality and often incapable of relinquishing the boundless pleasure of omnipotence. On the basis of my clinical work with the “trauma child”, I will explore the different processes of introjection in transference and counter transference, paying particular attention to the dynamics of identification between analyst and patient and its implications for object relations. Instead of “healthy” identification with the other, taking account of difference and reality, the mode of object relations can be that of “pathological imitation” based on fantasies of oral incorporation. A kind of regressive defense against “mature” relationships; it is an attempt to acquire a substitute identity through magical imitation. Analytical listening, associative work and interpretation stimulate maturational processes within the patient and help him/her to let go of immature relational modes fixated in childhood.     

‘Un-certainty’: working therapeutically with a transgender young person and learning to bear the unknown

Abstract

The rate of referrals to mental health services for children and young people for whom gender dysphoria is the identified clinical issue has increased significantly over the last ten years. Debates around the classifications of gender identity disorder, gender dysphoria or gender incongruence, as well as the involvement of child and adolescent mental health services with this group of children and young people seem to be re-enacting the societal gender binary world view where we see acceptance versus rejection, open-mindedness versus conservative, trans-phobic thinking. In this paper the author will attempt to shed some light on the work with these young people in a clinical setting by reflecting on a year of therapeutic work with a female to male young person. Through the therapist’s reflections upon these binary preconceptions, along with the use of developmental and object relations theory, an in-depth account of the work is given. It is suggested that in some cases the therapist’s capacity to bear the unknown, while gradually observing and mirroring the un-integrated inner self of the patient, can gradually bring the fragments together, even if not in a perfect fit, and that this in turn provides a sense of relief.     

Criminal Justice and Community Psychology: Our Values and Our Work—The Introduction to the Special Issue

This special issue of The American Journal of Community Psychology originated from the Society for Community Research and Action Criminal Justice interest group, with a goal of exploring the work of community psychologists intersecting with criminal justice research, practice, and policy and shaped by our shared values—equity, collaboration, creative maladjustment, social justice, and social science in the service of social justice. In this introduction, we discuss the socio‐historical context of the special issue, followed by an outline of the special issue organization, and brief summary of the included papers. Across 13 papers and an invited commentary, we see the ways in which community psychologists are: (1) delivering and evaluating services, programming, or other supports to address the needs of system‐involved people; and (2) working to improve the systems, structures, and interactions with units of criminal justice systems. Across these two sections, authors highlight the guiding role of our values to influence change within and outside of criminal‐legal systems.     

Pedagogy as a Framework for a Proper Dialogue between Science and Literature

An aim of science is to find truths about reality. These truths are collected together to form systematic knowledge structures called theories. Theories are intended to create a truthful picture of the reality behind the study. Together with all the other fields of science we get a (complete) scientific picture or a world view. This scientific world view is open in the sense that not all truths are known by scientists and not all present day theories are true. So, there is no reason to assume that any field of science has been or will be completed; science is essentially progressive, or an open ended approach. Science is not the only method of picturing, but the view that science is the best human method for knowledge acquisition is well justified. Knowledge is not all we humans are looking for; we need to make our lives meaningful. The meaningfulness may be achieved through science, art, or practical activity. It is interesting to compare literature and science. Both are expressed linguistically, but the aims of literature and science seem to be very different. We are looking for the theoretical interconnection between science and literature, but the proper dialogue can be found not through science, literature or philosophy, but through pedagogy.     

Negotiating time: the significance of timing in ending inpatient work

This paper discusses work with young people during their stay on an NHS psychiatric inpatient unit, especially focusing on the end of treatment and the appropriate timing of discharge into the community. When approaching the end of an admission, various factors are considered that seem particularly relevant to the decision of when a young person may be ready to leave and cope with the transition back to life outside the unit. Indications of medical stability, in patients where this has been an issue, is a factor of prime importance. Other important factors include family functioning; the availability of adequate ongoing local CAMHS support for the child and family; suitable school provision; and the identity of the child within a peer group. The reality of NHS resources and the demand for inpatient beds is another pressing consideration. The young person's own motivation emerges as crucial at this stage – towards the end of treatment – not only in terms of what is said, and therefore evident verbally, but also through signs of internal shifts in the child that indicate a capacity to re-engage with life outside in a lasting way. Decisions about when to stop are taken with all this in mind and when the decision does not seem straightforward, it can provoke considerable anxiety in the multi-disciplinary team. Clinical material from psychotherapy with a young adolescent boy with anorexia nervosa is used to illustrate some of the dilemmas.     

Creativity,Loss, and Character. Balakirev: The Man Who Had at One Time All of Music in His Hands,But…

For many centuries, the professional literature has discussed the complicated relationship between creativity and psychopathology. Creative people reproduce their feelings using their creative skills, and it is only natural that one's mental state may influence art. This article describes a special type of creativity that is associated with early loss and bereavement. In this form, creative work plays an important role in coping with loss, especially traumatic loss, in early development. Those who are bereaved, especially when young, may use creative work as a transitional object linking them to a deceased loved one, usually a parent or sibling. This article also describes the life, creativity, character, and illness of one of the most famous Russian musicians of the late 19th century: Miliy Balakirev. Balakirev's use of musical creativity as a method of coping with the loss and the consequent effects on his psychological state during his lifetime is apparent in his letters, friend's memories, and biographies.     

Creative value

Free agents can create and destroy value, for how much value is realized may well depend on what such agents choose to do. Not only may such agents create and destroy value, but such creation and destruction seem to involve a dimension of value: I call it creative value. An explication of the twin concepts of creating value and creative value is given, motivated by two desiderata. It is then shown that creative value turns out to be equivalent to what Nozick has dubbed originative value, when his suggestive remarks are given a rigorous, although very natural, interpretation. Thus two highly plausible, but quite different, ways of characterizing creative value converge on a single concept. Furthermore, the account throws considerable light on two further areas of moral theory (namely, moral satisficing and the comparison principle) which turn out, rather unexpectedly, to be linked.     

HAROLD SEARLES: LIFELONG WORK OF A MASTER CLINICIAN

Harold F. Searles was one of the most gifted and innovative clinicians of psychoanalysis. His clinical work arouses interest on its own merit, as well as for the ways in which it shaped his highly innovative thinking. We can only imagine what special processes were developing in Searles’s inner world under the everlasting impact of his experience with psychotic patients and from his life in general. Searles focused extensively on how the psychotic individuals’ mental distortions impacted their capacity to form personal relationships in general, and the role of the analyst and countertransference in treatment. This unique viewpoint helped him sustain a creative commitment to psychotic patients, regarded by many as unsuitable for psychoanalysis.     

The artist speaks. Sigmund Koch on aesthetics and creative work

Sigmund Koch is widely recognized as a prime mover of the radical transformation of psychology from a discipline dominated by behaviorism and related views to a multivalenced set of inquiries into human mentality and functioning. It is less widely remarked that Koch saw aesthetic endeavors as standing at the center of human life and thus warranting psychologists' closest attention. Koch's interest in aesthetics and art making is evident in his writings from the mid-1950s to the mid-1970s on different states of mind, the notion of value properties, and the theory of definition. Koch's study of creative work in the latter decades of his life with artists of high accomplishment was guided by a set of methodological signposts for the study of creative work, contains formulations relevant to contemporary psychoaesthetics, and generates significant questions for further inquiry.     

Why There Were Relatively Few Eminent Women Creators

Researchers who have studied the characteristics of genius generally agree that the most salient characteristic of eminently creative people is persistent single-minded dedication to work. It has also been found that eminently creative people tend to develop a particular type of skill at an early age, and to place high value on achievement in that area. Also typical of eminent creators is their need for solitude and lack of interruption. In the past, intellectual achievement in women was little valued or encouraged, and women were given relatively little opportunity to develop skills upon which creative productivity seems to depend. They also enjoyed little uninterrupted solitude. Today, however, women are better able to develop intellectual skills-but they are still more prey to interruption than men are, not only because their relatively strong need for social contact and intimacy leads them to seek out company.     

Workplace creativity: Psychological,environmental, and organizational strategies

This study used an experimental approach to investigate the conditions under which creative outcomes should be expected from the interplay of individual creativity, the innovation orientation of the organizational culture, and the rewards distribution rules. The results of this study suggest that the individual creativity of technically educated people working in group settings constitutes a predominant factor in the creative performance of its members and in the overall group creative performance. Moreover, consistent with predictions derived from previous person-environment fit studies, the innovation orientation of the organizational culture enhanced the creative behavior of groups formed by more creative individuals, but it did not significantly increase the creative behavior of groups formed by low-creativity individuals. Finally, rewards distribution rules that generate intra-group competition seem not to directly improve or impair individual creative behavior or the final group creative outcome.     

On the limits of divine power

This paper considers the question of whether there are truths independent of God's power. It defends a traditional conception of divine power, according to which God's power does not extend to logically necessary truths, such as those of logic and mathematics, against Cartesian voluntarism, here taken as the doctrine that every truth falls within the compass of God's creative will. The paper argues that the voluntarist position is internally inconsistent. It concludes that if God is an absolute, unconditioned reality, then there must be truths that are independent of God's power.     

Thought Patterns for Organizing Experience: Some Creative Possibilities

The confusion into which so many lives have fallen today gives special importance to patterns by which human experience has been or can be organized. These patterns often produce significant forms of creative behavior.     

The Epistemic Challenge of Hearing Child’s Voice

Classical conceptual distinctions in philosophy of education assume an individualistic subjectivity and hide the learning that can take place in the space between child (as educator) and adult (as learner). Grounded in two examples from experience I develop the argument that adults often put metaphorical sticks in their ears in their educational encounters with children. Hearers’ prejudices cause them to miss out on knowledge offered by the child, but not heard by the adult. This has to do with how adults view education, knowledge, as much as child, and is even more extreme when child is also black. The idea is what Miranda Fricker calls ‘epistemic injustice’ which occurs when someone is wronged specifically in their capacity as a knower. Although her work concerns gender and race, I extrapolate her radical ideas to (black) child. Awareness of the epistemic injustice that is done to children and my proposal for increased epistemic modesty and epistemic equality could help transform pedagogical spaces to include child subjects as educators. A way forward is suggested that involves ‘cracking’ the concept of child and a different non-individualised conception of education.     

Effects of Creative and Non-Creative Work on the Tendency To Drink Alcohol During the Restitution Phase of the Creative Process

An experimental study explored how type of task (hard or light creative task or hard non-creative task) would affect the propensity to drink either alcoholic or nonalcoholic beverages. Subjects worked for forty minutes and a following taste test indicated that subjects working on the hard creative task drank more totally and more of both the alcohol and the placebo drinks than subjects working on the hard non-creative task. Also subjects with light creative work drank more alcohol than did the control subjects. The results were discussed in terms of a need to calm down during a phase of restitution after creative work. The results are in keeping with how creative artists seem to use alcohol.