Mourning and psychosis: a psychoanalytic perspective

The author attempts to develop some of the basic models and concepts relating to mourning processes in psychotic patients on the assumption that situations of loss and mourning are key moments for psychoanalysis, psychotherapy, and therapeutic approaches in general. Secondly, he reminds us that 'mourning processes in psychotics' are not always 'psychotic mourning processes', that is to say, that they do not necessarily occur within, or give rise to, a psychotic clinical picture. These ideas are illustrated by a number of sessions and vignettes concerning two psychotic patients in psychotherapeutic and psychoanalytic treatment. In theoretical terms, it seems vitally important in this context to combine a relationship-based approach within a framework of special psychoanalytic psychopathology with an updated view of processes of mourning and affective loss. A fundamental requirement at clinical level is to determine the role to be played by psychoanalytically based treatments in combined, integrated or global therapies when working with psychotic patients. For this purpose, the paper ends by outlining a set of principles and objectives for such treatments.     

Interpreting psychoanalytic interpretation: a fourfold perspective

Following an overview of psychoanalytic interpretation in theory, practice, and historical context, as well as the question of whether interpretations have scientific validity, the author holds that hermeneutics, the philosophical and psychological study of interpretation, provides a rich understanding of recent developments in self psychology, inter-subjective and relational perspectives, attachment theory, and psycho-spiritual views on psychoanalytic process. He then offers four distinct hermeneutical vantage points regarding interpretation in the psychoanalytic context, including (1) Freud's adaptation of the Aristotelian view of interpretation as the uncovering of a set of predetermined meanings and structures; (2) the phenomenological view of interpretation as the laying bare of "the things themselves," that is, removing the coverings of objectification and concretization imposed by social norms and the conscious ego; (3) the dialogical existential view of interpretation as an ongoing relational process; and (4) the transformational understanding in which interpretation evokes a "presence" that transforms both patient and analyst. He concludes by contending that these perspectives are not mutually exclusive ways of conducting an analysis, but rather that all occur within the analyst's suspended attention, the caregiving and holding essential to good therapeutic outcomes, and the mutuality of the psychoanalytic dialogue.     

Beauty treatment: the aesthetics of the psychoanalytic process

Psychoanalysts enjoy doing analysis above and beyond its usefulness to patients; one reason for this lies in the aesthetic pleasure the analyst may derive from the analytic process. The author discusses this aesthetic pleasure from the standpoint of meaning making, communication, love, and professional craft. Patients may themselves seek in analysis a certain kind of beauty that is normally a byproduct of good enough empathy and communication. Using Kleinian theory, the author examines the ways in which destructiveness and aggression may be understood in relationship to an aesthetic of psychoanalysis. It is further proposed that the aesthetic and ethical principles of psychoanalysis are indissolubly linked.     

Towards a sensorimotor aesthetics of performing art

The field of neuroaesthetics attempts to identify the brain processes underlying aesthetic experience, including but not limited to beauty. Previous neuroaesthetic studies have focussed largely on paintings and music, while performing arts such as dance have been less studied. Nevertheless, increasing knowledge of the neural mechanisms that represent the bodies and actions of others, and which contribute to empathy, make a neuroaesthetics of dance timely. Here, we present the first neuroscientific study of aesthetic perception in the context of the performing arts. We investigated brain areas whose activity during passive viewing of dance stimuli was related to later, independent aesthetic evaluation of the same stimuli. Brain activity of six na?ve male subjects was measured using fMRI, while they watched 24 dance movements, and performed an irrelevant task. In a later session, participants rated each movement along a set of established aesthetic dimensions. The ratings were used to identify brain regions that were more active when viewing moves that received high average ratings than moves that received low average ratings. This contrast revealed bilateral activity in the occipital cortices and in right premotor cortex. Our results suggest a possible role of visual and sensorimotor brain areas in an automatic aesthetic response to dance. This sensorimotor response may explain why dance is widely appreciated in so many human cultures.     

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.     

Becoming a father: a psychoanalytic perspective on the forgotten parent

This article has presented a psychoanalytic perspective on the process of becoming a father. It began with a discussion of the neglect of the father during pregnancy and briefly considered evidence as to the unique contributions made by fathers of the newborn. Nine psychodynamically based wishes emerging throughout the developmental process were next proposed to embody the male's motivation to become a father. The final section examined seven specific phases of expectant fatherhood, from getting ready through parturition.     

A psychoanalytic perspective on depression

A correct understanding of the role of depressive affect in triggering psychic conflict leads to a reformulation of the origins and the psychodynamics of depression as a feature of mental illness. It also raises serious question about the validity of the diagnosis of depressive illness.     

Contemporary art and Hanna Segal's thinking on aesthetics

From the point of view of the history of ideas in psychoanalysis, a major shift may be described from Freud's starting point considering art as sublimation of sexual desires on a largely objectal level to later developments emphasizing the presence in art of destructiveness and narcissistic conflicts. Segal's contribution represents a watershed in this evolution. Following Klein, Hanna Segal suggests considering art in relation to depressive anxieties and reparation in such a way that artistic activity may be seen as an attempt 'to restore and re-create the loved object outside and inside the ego' which implies a successful work of mourning accompanied by symbol formation. For Segal, these reparative processes are conveyed through formal beauty which represents the victory of reparation over destruction. Nevertheless, contemporary art demands that we consider the intervention, in art, of more raw and less symbolized/sublimated processes, including acting-out in often primitive, psychotic or perverse ways. Thus this paper unfolds in two directions: on the one hand, it examines the differences and continuities between Freud's and Segal's thinking whilst, on the other, the author presents some alternative ideas which stress the search for truth and new thinking in contemporary art.     

Neurobiological foundations of aesthetics and art

A theory of the neurobiological foundations of aesthetics and art is described. This has its roots in emotion, in which what is pleasant or unpleasant, a reward or punisher, is the result of an evolutionary process in which genes define the (pleasant or unpleasant) goals for action. To this is added the operation of the reasoning, syntactic, brain system which evolved to help solve difficult, multistep, problems, and the use of which is encouraged by pleasant feelings when elegant, simple, and hence aesthetic solutions are found that are advantageous because they are parsimonious, and follow Occam's Razor. The combination of these two systems, and the interactions between them, provide an approach to understanding aesthetics that is rooted in evolution and its effects on brain design and function.     

The psychoanalytic perspective of adolescent homosexuality: a review

Psychoanalytic theory asserts that adolescent homosexuality is the result of unresolved infantile conflict experienced during the Oedipal and pre-Oedipal periods, in which inadequate object relations and identifications with parents predispose the individual to homosexuality in adolescence. Classical psychoanalytic thought emphasizes the importance of drives and defenses in the formation of homosexuality, while more contemporary approaches understand adolescent homosexuality from a psychosocial and early developmental perspective. In addition to childhood predispositions, the various developmental tasks of adolescence influence the degree and course of homosexuality. This article notes the different types of homosexuality that emerge in adolescence which are influenced by different psychodynamic conditions in each stage of adolescence. Changing developmental roles in relation to individuation, object relations, identification, and identity formation are a few of the factors that contribute to adolescent homosexuality.