Psychoanalysis and Dramatic Art

This essay reviews the application of psychoanalysis to dramatic art. Four major areas are covered; studies of playwrights, studies of individual plays, studies of audience response, and studies of acting. Based on his studies of acting in live theatrical productions, the author offers three theorems to underscore the central role of unconscious enactment in the evolution of theatrical performance.     

表层表演和深层表演的关系:来自元分析的证据

采用元分析的方法探讨两种主要情绪劳动策略(表层表演、深层表演)之间的相关.经筛选,共有150篇文献的162个独立样本(N = 63629)符合标准.元分析结果发现,表层表演与深层表演呈显著正相关(r = 0.17).量表的作答方式、测量工具、职业类型对表层表演与深层表演的相关具有显著影响.具体表现为,量表的作答方式为频...     

The containing object—a prerequisite for developing the symbolic function

The paper aims at investigating the prerequisites for the process of symbolisation to develop and to be used by the personality. The starting point for this exploration is the psychoanalysis with a little boy of four and a half who started analysis because of an encopresis that was an expression of an overwhelming and concrete annihilation anxiety. It is argued that the sym- bolisation process has its basis in the relation to a real, reliable object and that this relation is a prerequisite for the child to start trying to transmit his experiences. The clinical material shows the boy's efforts to find an object capable of containing his anxiety and giving words to his unbearable affects, and the way this is worked through in the transference. This process contributed to his growing capacity to use symbols as an expression of his emotional experiences and it offered him a way of thinking about them instead of acting them out concretely.     

Main and moderating effects of self-control,organizational justice,and emotional labour on counterproductive behaviour at work

Abstract

Considerable attention has been devoted recently to changes in the psychological contract and the implications for HRM. However, much of our understanding of both the socio-cognitive processes involved in the contracting process and the ability of national HRM systems to accommodate the new demands of psychological contracting is accultural or unicultural. This article reviews the content, process, and context of changes in the contract within Europe. A model of the relationship between national culture and other cross-national factors and the process of contracting is developed.     

No reason for identity: on the relation between motivating and normative reasons

This essay is concerned with the relation between motivating and normative reasons. According to a common and influential thesis, a normative reason is identical with a motivating reason when an agent acts for that normative reason. I will call this thesis the ‘Identity Thesis’. Many philosophers treat the Identity Thesis as a commonplace or a truism. Accordingly, the Identity Thesis has been used to rule out certain ontological views about reasons. I distinguish a deliberative and an explanatory version of the Identity Thesis and argue that there are no convincing arguments to accept either version. Furthermore, I point out an alternative to the Identity Thesis. The relation between motivating and normative reasons can be thought of as one of representation, not identity.     

Tattoo and taboo: on the meaning of tattoos in the analytic process

Tattooing projects a visual image in transference to form a backdrop for the most salient unconscious inner conflicts arising during an ongoing analytic process. Like a snapshot, the tattoo is a dialectic record of the mother-father relationship, of desires for closeness and distance, commonality and difference, identification and individuation. As Walter Benjamin famously stated about the nature of visual images in his Arcades Project, the tattoo represents "dialectics at a standstill." What seems paramount to the patient who participates in the act of tattooing is the need for stasis and immutability, as if bringing unconscious conflicts to "standstill" were to deliver a sense of stability. Unconsciously, the need is triggered by a threat to the inner stability resulting from fear of violating a taboo escalating to the point that fears of abandonment and fusion become unbearable. On the one hand, the tattoo is a visual symbolization of a taboo transgression; on the other hand, it activates the same through an act of self-injury that resembles the magical ritual acts of indigenous peoples' use of tattoos. The taboo thus serves as an ersatz for the actual violation of the taboo in real life, so that the tattoo may be ascribed a magical significance or totemic function. And yet the tattoo's success as a vehicle for constructing a transitional object is always contingent on the tangible manipulation of the skin conjoined with the creation of a symbolizing visual image. The image then acts like a "patch" to repair holes blown into Winnicott's "potential space" and to reconstruct it.     

Performance as annihilation or integration?1

What happens when the analyst has the impression of being annihilated by the patient? Analysts have a tendency to use more general, i.e. simplifying, constructions such as destructiveness, psychosis or death instinct as explanatory models. In the authors' view, these constructions in the end evade rather than mirror clinical reality. More recent research points to promising possibilities of differentiation, e.g. psychotic mechanisms which are‐as yet undiscussed‐based on Freud's notion of the partial ‘rent in the relation between ego and external world’. These findings emphasize the restitutive function of a symptom or disturbance, i.e. destruction of a relationship which hinders the therapeutic process and which is not understood initially, instead of solely stressing the destructive meaning in a tabooing gesture. The concept of performance attempts to replace simplifying models with a discriminant process, and will be preliminarily defined and explained in delineation to terms already in use such as acting out, enactment, and role responsiveness. The authors explore the question of how the perception of unthought certainty in the performance can either be recognized as a blueprint, i.e. organizing activity, or as the destruction of the relationship so that a new one can emerge. The evidence from a detailed clinical example shows that many treatments can fail at this point and demonstrates how an understanding of performance in this sense offers a chance for integrating processes that otherwise impede treatment.     

Who's calling the shots? Intentional content and feelings of control

Based on Pacherie’s dynamic theory of intentions, this study investigated how the way an intention is formed and sustained affects action performance and the experience of control during acting. In Experiment 1, task-irrelevant verbal commands were given while participants responded to stimuli in a two-choice reaction time (RT) task. The commands referred to an action goal congruent or incongruent with the actor’s current intention, or ordered the initiation or abortion of the action. In Experiment 2, the same commands were given as participants freely chose between two actions. The distractors affected performance in the reactive task only. In both experiments, feelings of control were based on movement parameters as well as perceived (mis)matches between distractors and intended actions. These findings suggest that the way an intention is implemented affects how well it can be shielded against external perturbations and how much one feels in control.     

Overcoming Arlie Hochschild's concepts of the ‘real’ and ‘false’ self by drawing on Pierre Bourdieu's concept of habitus

This article theoretically discusses Arlie Hochschild's (1983, 1998) concept of the ‘real’ and ‘false’ self (1983: 194) and how this holds together her model about how it is we manage our emotions. Hochschild draws on ideas about surface acting, deep acting and authenticity to support her theory of emotion management. In this discussion I argue that these ideas undermine the clarity of the theoretical model Hochschild tries to develop to explain emotion management. The first aim here is to demonstrate that this concept of the real and false self acts as an unnecessary conceptual linchpin making Hochschild's ideas about emotion management opaque. The second aim in this article is to theoretically engage with Pierre Bourdieu's (1984, 1990) concept of habitus as a way of overcoming Hochschild's idea of the real and false self.