Cet article se propose de penser l’invisible du et dans le travail thérapeutique en Maison d’enfants à caractère social ( mecs ). C’est à partir d’une double posture psychothérapeutique qu’un ...dispositif a été trouvé-créé pour répondre de manière adaptée aux problématiques psychiques, internes, des enfants et des adolescents hébergés dans la mecs . Autrement dit, c’est grâce à des temps d’échanges invisibles par l’institution qu’il a été possible pour les psychistes de saisir la compulsion de répétition et de penser les passages à l’acte des jeunes accueillis. Ainsi, une mise en mots, un étayage et une transformation ont été possibles pour les enfants, les adolescents et l’équipe éducative.
People often engage in self-repetition-repeating the same story, joke, or presentation across different audiences. While behaving consistently has generally been found to enhance perceptions of ...authenticity, 10 studies demonstrate that performers who are revealed to be self-repeating are perceived as less authentic. We find convergent evidence that this effect is driven by observers' implicit assumption that social interactions are unique. Self-repetitions violate this assumption, leading observers to judge performers as inauthentic because they are thought to be falsely presenting their performance as unique when it is not. We demonstrate this effect across multiple contexts (politics, entrepreneurship, tour guiding, and comedy), finding that observer awareness of self-repetition decreases perceived authenticity even in situations in which it is normative to repeat a performance and in which repetition is required. The decrease in authenticity is eliminated only when performers overtly acknowledge self-repetition, as performers are no longer viewed as falsely presenting themselves. Moreover, performers who fail to acknowledge their self-repetition are penalized similarly to those who explicitly lie that the performance is unique-an unacknowledged self-repetition is thus seen as a lie by omission. Finally, we recorded repeated job interview responses and found that observers who were unaware of the self-repetition could not discern tangible differences between unrepeated and repeated responses. However, when observers believed that they were viewing a self-repetition, they judged the interviewees as less authentic. Together, our findings provide insight into how people assess the authenticity of self-presentational behaviors and the implicit assumptions that influence social judgments.
Fin 1923, début 1924, deux membres du « Comité secret », Ferenczi et Rank, publient Perspectives de la psychanalyse, essai qui cherchait à répondre à la question posée par Freud en 1922 concernant ...l’influence de la technique sur la théorie et réciproquement. Rank, de son côté, fait paraître au même moment Le traumatisme de la naissance. Ces deux publications soulèvent de vives critiques et un conflit interne de la part des autres membres du Comité. Les principales raisons de l’hostilité soulevée étaient liées au fait que certaines méthodes théorico-techniques proposées semblaient revenir à l’idée d’abréger la longueur des cures et parmi elles, la « technique active » avancée par Ferenczi. Il pourrait cependant apparaître à la lecture de Perspectives que certaines propositions relevaient d’un désir de pallier l’absence de concepts théoriques concernant la place de l’objet primaire et de ses incidences transférentielles, dont le contre-transfert, dans la pratique analytique.
We investigated similarities in language and motor action plans by comparing errors in parallel speech and manual tasks. For the language domain, we adopted the "tongue twister" paradigm, while for ...the action domain, we developed an analogous key-pressing task, "finger fumblers." Our results show that both language and action plans benefit from reusing segments of prior plans: when onsets were repeated between adjacent units in a sequence, the error rates decreased. Our results also suggest that this facilitation is most effective when the planning scope is limited, that is, when participants plan ahead only to the next immediate units in the sequence. Alternatively, when the planning scope covers a wider range of the sequence, we observe more interference from the global structure of the sequence that requires changing the order of repeated units. We point to several factors that might affect this balance between facilitation and interference in plan reuse, for both language and action planning. Our findings support similar domain-general planning principles guiding both language production and motor action.
Public Significance Statement
This study suggests that there are cognitive similarities in the way people prepare language productions (e.g., words, sentences) and motor actions (e.g., movements, key presses). In particular, it highlights the benefit of repetitions in both speech and action-it is easier to produce a component that has been produced before, even if it appears within a new sequence of words or actions.
The Freudian notion of repetition compulsion is marked, in its inaugural conception, by a negative connotation, that of a return of the same, which does not give the measure of the multiple facets of ...this register. Raising repetition to the rank of one of the four fundamental concepts of psychoanalysis, Lacan uses Kierkegaard's text entitled “La reprise” to point out the renewal, of fecundity that the movement towards repetition can induce. This article aims at underlining how much the creative dimension of repetition finds a particularly vivid illustration in the field of music, a domain that makes regular and varied use of the term “reprise”.
This article takes up themes deployed in a series of conferences during the academic year 2021/2022 at the École Pratique des Hautes Études en Psychopathologie, associating musicians – Vincent Ségal – psychoanalysts -Marc Morali, Corinne Tyszler, Olivier Douville- and music lovers, Mario Choueiry, and leaving a large place to musical listening. This study, beyond a reading of the repetition as an expression of the death pulsion, studies the way in which we can hear and put to work this Freudian notion through its manifestation in the musical register. It is a question here of exploring the question of repetition in the sphere of popular music but also in jazz and classical music in order to apprehend its articulation with the very movement of creation.
In so-called popular music, and mainly in rock music, the cover consists, not in imitating but in proposing a version, more or less faithful or distant, of an original piece. Listening to this cover causes a particular satisfaction in the listener who can identify it. Usually considered as a tribute to the pioneers or the mark of a debt towards the elders, the cover version is however above all an attempt, impregnated with hostility, to erase the origin. This is how covers come to not only supplant the original pieces but also to repress them, to make them totally forgotten. Jazz is also attached to covering standards, not only as a necessary learning exercise, but as a way for those who try to impose their own style and thus gain recognition. The cover of standards can be the occasion to make hear the blind spot of a piece of origin or to make resurface a trait of identity unknown to itself. Within the context of classical music, the progression of a work is also regularly done through the repetition of a theme that always knows how to renew itself through slight displacements. Finally, the contemporary repetitive music pushes, perhaps to its height, this creativity inherent to the effects of the repetition.
Pleasure, repression, origin, hostility, imitation and identification: these terms are closely linked to psychoanalysis, which only uses the concept of “repetition”. It is however usual to hear oneself on the divan taking up the story of a dream that of a memory, or even to take up a new slice of analysis. This opens up the opportunity to question the creative function of repetition within analytic practice.
Introducing the musical dimension of repetition into the analytic treatment leads us to question the specific talent it implies in the practitioner. Repetition only becomes creative through a shift in interpretation that can be found in the poetry of language, where the practitioner gains by approaching musical interpretation.
The concept of Trauma in psychoanalysis has suffered from overuse and inconsistent use. A review of Freud's writings beginning with the Project indicates that from the perspective of the impact upon ...psychic processes, Freud held a more consistent view of the concept that, if recognized, can help avoid the often fruitless etiological debates of internal vs. external cause, intrinsic (drive) vs. extrinsic (reality) factors, etc. What is more helpful from a clinical perspective, is to view the various challenges that a given set of potentially trauma-inducing circumstances might pose for an individual, consider each individual's highly subjective mode of experiencing and responding to those challenges and take into account the supports offered in any instance by the specific familial, social or cultural surround. Each set of experiences that will be qualified as 'trauma' that any of us undergoes will to some extent be understood and integrated into our particular subjectivities according to our unique, subjective organizations of self, understandings of and position in the world.
Compulsion de répétition et temps Mitrossilis, Spiros
Revue française de psychanalyse,
1/2024, Letnik:
88, Številka:
1
Journal Article
Recenzirano
L’auteur décrit le moment d’un processus analytique dans lequel, partant principalement de son contre-transfert, il est amené à formuler des constructions concernant le passé non historicisé, et ...perdu, de son patient. Après avoir revisité la notion de temporalité à travers deux versions de la répétition, il se concentre sur la répétition compulsive qui semble appartenir au présent et renvoyer à la non-constitution d’un passé. Il fait l’hypothèse que des traumatismes primaires avaient empêché l’inscription de véritables représentations inconscientes, aboutissant à une confusion temporelle et à une répétition dans une actualité sans fin. Les constructions plus que les interprétations introduisent l’historisation dans la psyché. Lors du travail de construction, le contre-transfert passe au premier plan, et l’analyste participe plus directement à la survenue même de l’après-coup dans le psychisme de l’analysant.
Revision of Drive Theory Solms, Mark
Journal of the American Psychoanalytic Association,
12/2021, Letnik:
69, Številka:
6
Journal Article
Recenzirano
Several deep revisions of Freud’s theory of the drives are proposed: (1) Drives are conscious and are in fact the source of all consciousness. (2) Drive energy is equated with variational free energy ...and is therefore quantifiable in principle. (3) There are not two drives but many, seven of which may be described as “emotional” as opposed to “bodily” drives. (4) All drives are self-preservative or preservative of the species; there is no death drive at work in the mind. This means, at the mechanistic level, that all drives are homeostatic and anti-entropic. (5) The great task of mental development is to supplement instinctual predictions about how our multiple drive demands may be met and reconciled with each other. This work is done by learning from experience, mainly through voluntary behavior, which is governed by conscious feelings.
Drawing a connection between the “repetition compulsion” and reparations movements' demand for a “guarantee of non‐repeat,” this essay examines some of the psychological workings of implication in ...systemic racism by highlighting individual, familial, and collective histories, and by looking at some of what is currently taking place in psychoanalytic institutions.
