Reader and story,viewer and film: On transference and interpretation2

Two sides in Freud's attitude towards literature and art are presented: Freud the sensitive listener, whose interest in art is a potential springboard for a rich interdisciplinary dialogue; and Freud the conquistador, whose wish for power in ‘invaded’ territories is related to troublesome aspects of ‘pathography’ and ‘applied analysis’. The unique contribution of psychoanalysis may not be discovering objectively the true unconscious content of works of art, but rather enriching the exploration of the potential transitional space evolving between artist, work of art and readers or viewers, enhancing our sensitivity to multiple meanings and complex emotional influences of art. This requires exploring our own subjective experiences of art, which may be described as transferences (when art is mostly perceived as a source of insight) or countertransferences (when artists and their work are basically experienced as troubled patients). Transference (broadly defined) and interpretation tend to intermingle, both in the clinical analytic encounter, and in any reading/viewing of art, be it by laymen, analysts or other scholars. Several examples from the psychoanalytic study of literature and film are given, and three pairs of contrasting interpretations are studied, concerning Kafka's The metamorphosis, Minghella's The English Patient and Polanski's Chinatown.     

Creation and the Symbiosis of Science and Judaism

It seems to me that the critical questions that science and natural philosophy raise for Jewish theology are the following: Does God evolve? Does the universe have or even need an interpretation, specifically with reference to the fact that most of the universe most of the time is uninhabitable, and there may be many more than one universe? Does the universe need a beginning? What is distinctive about human consciousness, intelligence, and ethics in the light of evidence for evolution from all of the life sciences? Finally, will both life and the universe end? These questions are not only modern. They contain all the primary issues that have dominated rabbinic thought. That agenda can be summarized in six topics: How should we model what we believe about (1) God, (2) the world, and (3) the human being; and how should we understand the relations between them, that is, between (4) God and the world (or, creation), (5) God and the human (or, revelation), and (6) the human and the world (or, redemption)? In this paper I focus on the fourth issue, creation. My answer is presented in detail in my Judaism and the Doctrine of Creation(Samuelson 1994). Here I shall summarize my conclusions there concerning science, Jewish texts, and the correlation between them.     

A kantian reading of aesthetic freedom and complete human nature nourished through art in a classical Chinese artistic context

In this paper, I will show that classical Chinese artists adopted either Daoist or Chan Buddhist meditation to cultivate their mind to be in accord with the Dao, and that their view of the detached mental state as an ideal mental state for art appears to fit in with Kant’s notion of aesthetic freedom. Even though it might be claimed that sensibilities are stressed over rationality in the classical Chinese artistic tradition, I suggest that the detached mental state cultivated through Daoist or Chan Buddhist meditation and experienced in artistic practice helps artists restore a balanced human nature. By projecting Schiller’s account of the play drive, and the account of aesthetic freedom he developed from Kant’s ideas, into the classical Chinese artistic context, I attempt to explain the balanced nature realised through artistic play by classical Chinese artists and point out the differences behind the parallels between these two approaches.     

How are counselling and therapeutic services experienced by orthodox Jewish primary schools in North-West London? What are the cultural sensitivities,attitudes and beliefs of senior staff members in these schools?

This study investigates how Jewish senior staff at orthodox Jewish primary schools in North-West London experience therapeutic services such as counselling for their students and community. A qualitative approach using semi-structured interviews with seven female orthodox Jewish participants was employed. Thematic analysis was used to analyse data. Results highlighted six broad themes covering the school’s view of counselling and other therapeutic services. Uptake of counselling was often low. Negative parental attitudes, stigma, fear of local authorities and lack of culturally appropriate signposting were some of the factors determining whether counselling services were accessed or not, and why. The importance of the therapist’s own religion and the language used to describe therapy was also significant. Further research into increasing awareness of mental health needs for orthodox Jewish schools and to increase uptake of therapeutic services should be undertaken and has implications cross culturally.     

“If I could burn the space”: on homelessness and the collapse of subjectivity in S.Y. Agnon’s A Guest for the Night*

A Guest for the Night, one of Agnon’s greatest novels, has long been considered to have dealt with the demise of Jewish Eastern Europe, Zionism and the art of the novel. This article offers a different reading, showing Agnon’s novel as a radical work that may have greatly exceeded its author’s intentions. Focusing on the irony directed at the novel’s narrator, I claim that A Guest for the Night calls on its readers to reconsider common premises regarding the history and politics of Eretz Israel/Palestine.     

The wrong side of history

Psychoanalysis (including analytical psychology), once a pioneering and forward‐looking movement of the early 20^th century has now become a conservative backward‐looking ‘tradition’. After considering some of the internal problems associated with this historical change such as idealization and tribalism, some ways forward are suggested – a focus on clinical excellence as practical craft, openness to the unknown and engagement with others beyond the confines of private practice.     

Good education,the good teacher,and a practical art of living a good life: a Catholic perspective

What is good education? We value education for reasons connected to the good provided by education in society. This good is connected to be the pedagogical aim of education. This article distinguishes five criteria for good education based on the concept of ‘Bildung’.

Next, these five criteria are used to develop the idea of the good teacher. The rationale behind the analysis is that the good teacher should be able to realise what we consider to be good education. There are different traditions of religiously affiliated schools in the world. This article gives insight into the idea of the good teacher in two documents of the Catholic Congregation of Education on the lay teacher. Finally, the article focuses on the formation of a practical art of living a good life. Again, the five characteristics of good education structure the analysis of this type of educational formation.     

D. W. Winnicott,transitional objects and the creation of the divine

Religious expressions and religious behaviours are often considered to be mainly mental or spiritual phenomena, to a large degree divorced from or threatened by physical or material forms that may accompany their expression. This paper asks whether the diminution of the material or the condemnation of idols, icons and religious art loses sight of possible benefits that involvement with these forms of material divinity has for believers. Using the concept of transitional objects and transitional phenomena developed by D. W. Winnicott, a mid-twentieth-century psychoanalyst, I argue that idols, icons and religious art often represent transitional objects that form psychological bridges, intermediaries or anticipated “transitions” from humans to unseen divinities who require materialisation in some form to be maintained actively in the believer’s mind. In the process of creating or designing these material forms, the forms themselves often come to be considered “divine”. Illustrations are provided.