HANSEL AND GRETEL: A TALE OF TERROR

In the analysis of a woman with multiple childhood traumas, the fairy tale “Hansel and Gretel” figured prominently. The author discusses the use of the fairy tale in this case at various levels. He suggests an interplay between a national myth, the fairy tale, and a personal myth—the patient's psychodynamics. The fairy tale can be used to illuminate personal meanings derived from it. In the experience of childhood trauma, the repeated reading of a fairy tale can help organize and defend against terrifying anxiety.     

Jung, the trickster writer, or what literary research can do for the clinician

This paper aims to show how literary scholarship can contribute to clinical debates by offering different methods of reading and interpreting works by Jung. Firstly, as texts form much of the means by which Jungian ideas are transmitted and worked upon, literary research offers methods of examining the way we read for authority and orthodoxy. Secondly, it is invaluable to look at the way in which Jung actually wrote. Jung portrays a dynamic psyche in action in his writings. His works are not only about a creative archetypal psyche, they enact and perform this creativity in the way in which he uses words. The rich playfulness demonstrated in The Collected Works is an example of a writer as a mythmaker of the psyche, one who absorbs unconscious creative energies into his writing in ways that dissolve modernity's cultural boundaries of science and art. In addition, the aesthetic component in Jung's writing is not a decoration of his ideas. Rather, his 'literary' qualities are themselves forms of argument about the fragile state of modern subjectivity. Using his essays on 'Synchronicity', and the 'Trickster', the paper will show these works to be responses to three related crises that still face clinicians and scholars today: the problematic role of the hero myth as an individuation narrative, the nature of 'science', and the crisis of western modernity itself in desperate need of psychic healing. The paper will show that where writing on synchronicity aims to individuate science by adding a 'feminine' Eros to its Logos biases, the Trickster essay is designed to ameliorate modernity by providing frameworks to make visible marginal or excluded material. In these works Jung tries to rejuvenate the modern world by re-connecting traditional symbolic systems with the psyche through myth as a language of psychic relating.     

Using Twitter to Teach Reader‐Oriented Biblical Interpretation: “Tweading” the Gospel of Mark

Twitter offers an engaging way to introduce students to reader‐oriented interpretation of the Bible. The exercise described here introduces students to the idea that the reader has a role in the production of a text's meaning, which thus varies from reader to reader. Twitter enables us to capture the real‐time thoughts of a variety of respondents to the text of Mark as it is read aloud. Students can concretely observe the effects of particular textual moments on individual respondents as well as analyze their general interpretive stances with regard to the text as a whole. Students come to grasp that the meaning of the text varies depending on the reader, setting the stage for more complex theoretical discussion of reader‐response theory, the reader's role in the production of meaning, the adjudication of “allowed” and “disallowed” interpretations, and the appropriateness of “reader‐response” criticisms for texts that were composed to be encountered orally.     

On psychoanalytic writing

Analytic writing constitutes a literary genre of its own. It involves the linking of an analytic idea (developed in a scholarly manner) with an analytic experience created in the medium of language. What makes this literary genre so demanding is that experience-including analytic experience-does not come to us in words. This fact generates a paradox that lies at the core of analytic writing: analytic experience (which cannot be said or written) must be transformed into 'fi ction' (an imaginative rendering of experience in words) in order to convey to the reader something of what is true to the emotional experience that the analyst had with the patient. The author discusses a clinical passage from one of his recently published papers in an effort to demonstrate some of the conscious and unconscious thinking that goes into his writing. He then looks closely at the way the language works in a successful piece of theoretical analytic writing. The paper concludes with a discussion of a number of facets of the author's experience with analytic writing including the psychological 'state of writing', which is at once a meditation and a wrestling match with language; experimenting with the form (structure) of an analytic essay; and the question of originality in analytic writing.     

The Sin of Ian McEwan's Fictive Atonement:Reading his Later Novels

Ian McEwan is arguably the best living British novelist. His most successful novel, Atonement , was recently made into an internationally successful film. And indeed, through analysis of his novels, it is clear that Ian McEwan believes literature—precisely as fictive—might very well bear the task of atonement for postmodernity. His novels, though, are patently hopeless, (even as they are truly well-written). Because McEwan doesn't accept or see the causes of sin as such—formally understood as rebellion against the Creator—his diagnostic aesthetic of our postmodern malaise is incomplete and ineffectual. The literary or fictive atonement that he would achieve through his novels does not satisfy. This article aims to lay bare the philosophico-literary characteristics of Ian McEwan's later novels. The ultimate goal of this critical reading, though—tending toward an "evangelical lection"—is to transfigure McEwan's imaginative and creative virtuosity for otherwise disappointed Christian readers, precisely by envisioning his novels in the dark light of their redemptive deficit. Thus, the literary or fictive atonement that Ian McEwan's atheism cannot achieve might be saved apropos the Judeo-Christian revelation of divine atonement.     

Reasoning to what is true in fiction

The paper discusses the principle by which we reason to what is true in fiction. The focus is David Lewis's article Truth in Fiction (1978) which proposes an analysis in terms of counterfactuals and possible worlds. It is argued thatLewis's account is inadequate in detail and also in principle in that it conflicts radically with basic and familiar tenets of literary criticism. Literary critical reasoning about fiction concerns not the discovery of facts in possible worlds but the recovery of meanings in interpretative frameworks. The model theoretic approach fails to account for common literary or rhetorical devices like unreliable narration, connotation and point of view. And in explaining indeterminacy of content in terms of truth-value gaps it gives too simplistic an account of critical reasoning about character motivation and thematic development. A more adequate account of content-indeterminacy can be provided through a comparison of the interpretation of fiction with the interpretation of human action. A broader motif in the paper is the underlying tension between what is required for the logic of fiction and what is required for the aesthetics of fiction.     

Oneness Experience: Looking Through Multiple Lenses

This article defines healthy oneness experience and establishes the progressive, life enhancing components of the experience. The author clarifies the paradox that a cohesive, well-integrated self allows unitive, non-self-definitional experiences. The author attempts to work the cultural/clinical border by exploring oneness phenomena as they occur in art, religion, literature and the clinical consulting room. The author uses psychoanalytic tools to understand non-clinical experiences of oneness. Through compelling accounts of such experiences as described by artists, writers and meditators, psychoanalytic theorizing about oneness is illumined further.     

Romancing the Family: Umberto Eco’s <Emphasis Type="Italic">Baudolino</Emphasis>

Referencing Umberto Eco’s novel Baudolino, the author discusses issues concerning the authenticity of the narrative, specifically the distortions in the story presented to the audience and doubts surrounding the veracity of the tale. The act of narration is associated with the shame caused by the abuse and neglect that is an integral part of this story. The ambivalence of the protagonist—to tell his story and to keep it (and his true identity) concealed—associates narration, a creative act, with lying. Trauma generates the lies and hiddenness as a means of coping with abuse and indifference. In order to deal with the feelings of inadequacy caused by his humble birth, the traumatized protagonist lies: he romanticizes his family origins, the illusion of being the offspring of distinguished parents. His attempt to win the love of the parents, by being both good and all-knowing, is one of the motivating forces of his family romance. Telling lies makes the protagonist omniscient: he is the only one who knows if and when he is telling the truth. Paradoxically, the narrator creates and undermines that image of omniscience by revealing the thought processes of one character while leaving opaque those of the protagonist, and by denying the trueness of the tale affirmed when he presents as objective his own subjective sentiments by indirectly attributing them to the protagonist. The uncertainty that underpins the narration is indicative of the storyteller’s absence. This vacancy structures the work because it allows kindred spirits, nonjudgmental readers (listeners) who willingly suspend disbelief, to enter the world of the narrator. This uncritical participation counters the chaos of the storyteller’s reality, as they create their own new world where the split parental images are united.