On defining words, some scenarios and vectors in the 'autobiography' of C. G. Jung

Having first considered recent research into the circumstances surrounding the production and publication of the 'autobiography' of Jung, the author concludes that in spite of its being the work of several authors, it nevertheless constitutes a whole. Taken from whichever angle, they all point to Jung's particular inquiry into the unconscious, as it emerges through Jung's own words. The author goes on to suggest both a lateral and a structural reading of MDR (Memories, Dreams, Reflections) which in turn reveals, on the basis of the several dreams reported, the central 'fantasy' which inspired Jung's research and his oeuvre. Finally, he discusses the idea of the collective or impersonal unconscious and highlights the emphasis Jung places on processes which unfold according to rhythms which are associated with distinct scales, depending on whether they are those of the individual, the clan or the culture.     

The Deep Structure of Group Life: Unconscious Dimensions

There is a reconsideration and renaissance of interest in expanded conceptions of unconscious processes as they affect individuals and groups (Grotstein, 1999). Recent focus on social unconscious (Hopper, 1996) and cultural unconscious processes (Henderson, 1988) and the nature of intersubjectivity (Harwood and Pines, 1998) raise questions about the location of group analysis. This paper considers the deep structure of group life by examining four functions of the unconscious: repressive, conservative, creative, and mythopoetic (Ellenberger, 1970). On an individual level of analysis, these functions are equated respectively with formative ideas about the: personal–subjective, social–political, intersubjective–cultural and collective–objective unconscious. Group level analogs, as they develop and affect groups and their members, are explored as synthetic, shared, symbolicy and synchronous unconscious processes.     

Detection of a change in photorealism1

The perceived degree of photorealism is interpreted as reflecting the artificialness or naturalness of images. Natural images (real‐scene photographs) are images with high degrees of naturalness, while artificial images (e.g., paintings) are images with low degrees of naturalness. Alternatively, natural images are images with low degrees of artificialness, while artificial images are images with high degrees of artificialness. We attempted to disambiguate these two interpretations of the perception of photorealism by using a change‐blindness paradigm. Participants observed an image sequence showing a gradual transformation from a natural image to an artificial image or vice versa, and reported changes they noticed. More participants reported noticing changes in photorealism for the natural‐to‐artificial transformations than for the opposite transformations. This asymmetry indicates that disappearing naturalness was detected more readily than emerging naturalness, or alternatively, emerging artificialness was detected more readily than disappearing artificialness. The results for the control conditions showed that the emergence of visual information was detected more readily than the disappearance. These results suggest that the perception of photorealism should be considered as the perception of artificialness.     

现实场景典型空间位置关系客体的解码效应

通过探讨典型空间关系客体对中单个客体的视觉工作记忆,考察空间位置关系的解码特征和主动客体记忆优势。结果发现：（1）当客体以符合空间位置关系方式呈现时,记忆更准确;（2）符合空间位置关系条件下单个客体提取反应时更长,上方客体反应时更短,记忆更准确;（3）兼具空间位置关系与动作关系客体对中的主动客体记忆正确率更高。结果表明,现实场景客体空间分组中单个客体提取时存在解码现象和顺序效应,对现实中的上方与主动客体存在加工偏好。     

SOME REFLECTIONS ON IAN MCEWAN'S ATONEMENT: ENACTMENT,GUILT, AND REPARATION

Recognizing that enactments have been discussed in psychoanalysis primarily as occurrences in the treatment setting, the author proposes a new application of the term enactments: that it may pertain to the actions of some individuals in their efforts to cope with bad things that they have done to others. That is, enactment can be a substitute‐for‐atonement mechanism. The author illustrates this view of enactment through a discussion of Ian McEwan's novel Atonement (2001), and in particular by examining the behavior and motivations of one of its central characters, Briony Tallis. Included are explorations of the relationships between enactment and guilt and between enactment and reparation.     

ANALYTIC MIND USE AND INTERPSYCHIC COMMUNICATION: DRIVING FORCE IN ANALYTIC TECHNIQUE,PATHWAY TO UNCONSCIOUS MENTAL LIFE

Developed from established psychoanalytic knowledge among different psychoanalytic cultures concerning unconscious interpsychic communication, analysts' use of their receptive mental experience—their analytic mind use, including the somatic, unconscious, and less accessible derivatives—represents a significant investigative road to patients' unconscious mental life, particularly with poorly symbolized mental states. The author expands upon this tradition, exploring what happens when patients unconsciously experience and identify with the analyst's psychic functioning. The technical implications of the analyst's “instrument” are described, including the analyst's ego regression, creation of inner space, taking mind as object, bearing uncertainty and intense affect, and self‐analysis. Brief case vignettes illustrate the structure and obstacles to this work.     

ATTACKS ON LINKING OR A DRIVE TO COMMUNICATE? TOLERATING THE PARADOX

The notion of attacks on linking, as described by Bion, may depict a patient's drive to communicate the internalization of a destructive relationship between a primary object and an infant. This may be enacted between patient and analyst in the here and now of the analysis, whereby fragmentation and numbing of thinking may point to a primitive catastrophe relived in the psychoanalytic setting. The patient's material may seem incoherent, but incoherence might be the communication the patient is unconsciously trying to convey. Thus, the notion of attacks on linking depicts a paradoxical, caesural experience in which the attack on linking is itself a link.