Utilizing Jung's idea of theory as a ‘personal confession’, the author charts his own development as a theorist, establishing links between his personal history and his ideas. Such links include his ...relationship with both parents, his sexuality, his cultural heritage, and his fascination with Tricksters and with Hermes. There follows a substantial critical interrogation of what the author discerns as the two main lines of clinical theorizing in contemporary analytical psychotherapy: interpretation of transference‐countertransference, and the relational approach. His conclusion is that neither is superior to the other and neither is in fact adequate as a basis for clinical work. The focus then shifts to explore a range of political and social aspects of the clinical project of analytical psychology: economic inequality, diversity within the professional field, and Jung's controversial ideas about Jews and Africans. The author calls for an apology from the ‘Jungian community’ for remarks about Africans analogous to the apology already issued for remarks about Jews. The paper is dedicated to the author's friend Fred Plaut (1913‐2009).
Translations of
En se servant de l'idée de la théorie de Jung comme d'une ‘confession personnelle’, l'auteur retrace son propre parcours en tant que théoricien, faisant des liens entre son histoire personnelle et ses idées. De tels liens comprennent sa relation à ses deux parents, sa sexualité, son héritage culturel, et sa fascination pour les Tricksters et pour Hermès. Suivra une interrogation critique conséquente sur ce que l'auteur comprend comme les deux courants principaux de la théorisation clinique en psychothérapie analytique aujourd'hui: l'interprétation du transfert‐contretransfert, et l'approche relationnelle. Sa conclusion est qu'aucune des deux n'est supérieure à l'autre, et qu'aucune ne convient en fait comme base de travail clinique. L'accent est ensuite mis sur l'exploration d'un ensemble d'aspects politiques et sociaux du projet clinique de la Psychologie Analytique: l'inégalité économique, la diversité dans le champ professionnel, ainsi que les idées controversées de Jung sur les Juifs et les africains. L'auteur demande des excuses de la part de la ‘communauté jungienne’ à propos des remarques sur les africains, semblables à celles déjà faites pour les remarques à propos des Juifs. L'article est dédié à l'ami de l'auteur, Fred Plaut (1913‐2009).
Unter Hinzuziehung der Jungschen Idee der Theorie als ‘persönlichem Bekenntnis’ zeichnet der Autor seine eigene Entwicklung als Theoretiker nach, wobei er zwischen seiner persönlichen Entwicklung und seinen Vorstellungen Verbindungslinien zieht. Diese schließen seine Beziehung zu beiden Eltern, seine Sexualität, sein kulturelles Erbe und sein Fasziniertsein von Trickstern und Hermes ein. Dem folgt eine substantielle kritische Befragung dessen, was der Verfasser als die beiden Hauptlinien der klinischen Theoriebildung innerhalb der gegenwärtigen Analytischen Psychotherapie wahrnimmt: Interpretation von Übertragung‐Gegenübertragung und den relationalen Ansatz. Er folgert, daß keine davon der anderen überlegen ist und daß keine tatsächlich eine adäquate Basis für klinische Arbeit darstellt. Der Fokus wechselt zur Untersuchung einer Reihe von politischen und sozialen Aspekten des klinischen Projektes der Analytischen Psychologie: ökonomische Ungleichheit, Vielfalt innerhalb des Berufsfeldes sowie Jungs kontroverse Ansichten über Juden und Afrikaner. Der Autor verlangt eine Entschuldigung von der ‘Jungianischen Gemeinschaft’ für Bemerkungen über Afrikaner analog zu der bereits ergangenen Entschuldigung für Anmerkungen über Juden. Der Beitrag ist dem Freund des Autors gewidmet, Fred Plaut (1913 – 2009).
L'autore, servendosi dell'idea di Jung della teoria come una ‘confessione personale’, espone il suo proprio sviluppo in quanto teorico, stabilendo collegamenti tra la sua storia personale e le sue idee. In tali collegamenti vengono inclusi la propria relazione con entrambi i genitori, la propria sessualità , la sua eredità culturale il suo essere stato affascinato dai Tricksters e da Hermes. Segue poi un essenziale interrogarsi criticamente su ciò che l'autore distingue come le due linee principali della teoria clinica nella psicoterapia analitica contemporanea: l'interpretazione del transfert‐controtransfert e l'approccio relazionale. La sua conclusione è che nessuno è superiore all'altro e nessuno è di fatto adeguato come base per il lavoro clinico. L'attenzione poi si sposta nell'esplorazione di un ambito di aspetti politici e sociali del progetto clinico della psicologia analitica: l'ineguaglianza economica, la diversità nel campo professionale e le controverse idee di Jung riguardanti gli Ebrei e gli Africani. L'autore chiede che la ‘comunità Junghiana’ porga le sue scuse per le osservazioni sugli Africani, analoghe alle scuse già rivolte per le osservazioni sugli Ebrei. Questo lavoro è dedicato a Fred Plaut (1993‐2009) amico dell'autore.
Используя идеи Юнга о теории как ‘авторскую исповедь’, автор данной статьи прослеживает свое собственное развитие как теоретика, связывая свои идеи с личной историей. Такие связки включают в себя отношения с обоими родителями, сексуальность, культурное наследие и увлеченность Трикстерами и Гермесом. За этим следует внушительное критическое вопрошание–исследование того, в чем автор видит два главных направления клинического теоретизирования в современной аналитической психотерапии: интерпретации переноса‐контрпереноса и подхода сточки зрения отношений. Он делает заключение о том, что ни тот, ни другой подход не являются по отношению к другому превосходящими, и что ни один из них не адекватен, в действительности, в качестве основы для клинической работы. Затем фокус внимания смещается к исследованию спектра политических и социальных аспектов клинической программы аналитической психологии: здесь и экономическое неравенство, и разнородность внутри профессионального поля, и противоречивые идеи Юнга о евреях и африканцах. Автор призывает к извинениям от лица ‘юнгианского сообщества’ за ремарки об африканцах, извинениям, аналогичным уже сделанным за ремарки о евреях. Статья посвящена другу автора Фреду Плауту (1913‐2009).
Utilizando la idea de Jung respecto de la teoría como una ‘confesión personal’, el autor delinea su propio desarrollo como teórico, estableciendo lazos entre su historia personal y sus ideas. Dichos lazos incluyen la relación con su madre y su padre, su sexualidad, su herencia cultural, y su fascinación con Tricksters y con Hermes. Luego continúa una interrogación crítica y sustancial respecto de lo que el autor discierne como las dos líneas principales de la teorización clínica en la psicoterapia analítica contemporánea: la interpretación de la transferencia – contratransferencia y el abordaje relacional. Su conclusión es que ninguna es superior a la otra y que ninguna es de hecho adecuada como base para el trabajo analítico. El foco luego cambia hacia la exploración de una serie de aspectos políticos y sociales del proyecto clínico de la psicología analítica: desigualdad económica, diversidad dentro del campo profesional y las controversiales ideas de Jung con respecto a los judíos y a los africanos. El autor llama a la ‘comunidad Junguiana’ a un pedido de perdón por los comentarios sobre africanos análogo al perdón ya emitido en respuesta a las observaciones sobre judíos. El presente ensayo es dedicado a Fred Plaut (1913 – 2009), amigo del autor.
This book is part of a three-volume book-set published under the general title of Performative Inter-Actions in African Theatre. Each of the three books in the set has a unique subtitle that works to ...better focus its content, and differentiates it from the other two volumes. The contributors' backgrounds and global spread adequately reflect the international focus of the three books that make up the collection. The contributions, in their various ways, demonstrate the many advances and ingenious solutions adopted by African theatre practitioners in tackling some of the challenges arising from the adverse colonial experience, as well as the "one-sided" advance of globalisation. The contributions attest to the thriving nature of African theatre and performance, which in the face of these challenges, has managed to retain its distinctiveness, while at the same time acknowledging, contesting, and appropriating influences from elsewhere into an aesthetic that is identifiably African. Consequently, the three books are presented as a comprehensive exploration of the current state of African theatre and performance, both on the continent and diaspora.Performative Inter-Actions in African Theatre 3: Making Space, Rethinking Drama and Theatre in Africa offers essays that seek to re-conceptualise notions of drama and theatre in Africa, and therefore redefine our understanding of the practice, role, and place they occupy in a constantly evolving African socio-cultural contexts. Contributions in Making Space, Rethinking Drama and Theatre in Africa range from essays that explore notions of space in performance, to those that challenge the perceived orthodoxy of conventional forms and approaches to theatre.
This book profiles four generations of women from one Afro-Cuban religious family. From a plantation in Havana Province in the 1890s to a religious center in Spanish Harlem in the 1960s, these women ...were connected by their prominent roles as leaders in the religions they practiced and the dramatic ritual artwork they created. Each woman was a medium in Espiritismo-communicating with dead ancestors for guidance or insight-and also a santera, or priest of Santería, who could intervene with the oricha pantheon.
Kristine Juncker argues that, by creating art for more than one religion, these women shatter the popular assumption that Afro-Caribbean religions are exclusive organizations. Most remarkably, the portraiture, sculptures, and photographs in Afro-Cuban Religious Arts offer rare glimpses into the rituals and iconography of these religions. Santería altars are closely guarded, limited to initiates, and typically destroyed upon the death of the santera, while Espiritismo artifacts are rarely considered valuable enough to pass on. The unique and protean cultural legacy detailed here reveals insights into how ritual art became popular imagery, sparked a wider dialogue about culture inheritance, attracted new practitioners, and enabled the movement to explode internationally.
Le tecniche di microinnesti del cuoio capelluto sono essenzialmente legate al metodo di prelievo. Il prelievo di una striscia di cuoio capelluto senza preventiva rasatura consente, dopo ritaglio al ...microscopio, l’ottenimento di unità follicolari a capelli lunghi (FUL) o dopo rasatura preliminare (FUT). La foratura di un cuoio capelluto rasato con un punch di circa 0,8 mm consente l’escissione di unità follicolari (FUE). Le indicazioni sono principalmente le alopecie androgenetiche maschili e femminili, ma anche le alopecie cicatriziali, le alopecie da trazione degli afroamericani e i diradamenti della barba e delle sopracciglia.
Le terme « baroque », qui désignait à l'origine une perle irrégulière, s'emploie maintenant couramment comme synonyme de « bizarre, fantaisiste, déplacé ». En ce sens, les œuvres littéraires ...francophones, produites hors de France, qui font l'objet des études de cet ouvrage, paraissent souvent baroques, et leurs auteurs se perçoivent volontiers comme des « irréguliers », par comparaison avec les écrivains de l'Hexagone dont l'identité semble mieux établie. Le terme « baroque » sert aussi à caractériser une époque de transition — et les styles foisonnants qui l'ont illustrée —, où les certitudes du moyen âge chrétien ne tenaient plus, mais sans qu'elles aient été remplacées encore par les valeurs des temps modernes. En cet autre sens, les nouvelles écritures francophones peuvent aussi être dites baroques. Elles témoignent en effet d'une époque qui a perdu ses repères, entre chaos et catastrophes — la postmodernité, diraient certains —, et d'une esthétique expressionniste, qui ne craint pas l'expérimentation sauvage et qui mêle allègrement les formes héritées du passé et les procédés d'avant-garde, le réel et l'imaginaire. Cet ouvrage permet de découvrir ces écritures « nouvelles, mais possédant déjà une histoire, avec des étapes reconnaissables, des courants successifs ; voire, une préhistoire, si l'on tient compte des importantes traditions orales » qui les ont engendrées.
Civil War officer, Reconstruction "carpetbagger," best-selling novelist, and relentless champion of equal rights, Albion Tourgée battled his entire life for racial justice. Now, in this engaging ...biography, Mark Elliott offers an insightful portrait of a fearless lawyer, jurist, and writer, who fought for equality long after most Americans had abandoned the ideals of Reconstruction. Elliott provides a fascinating account of Tourgée's life, from his childhood in the Western Reserve region of Ohio (then a hotbed of abolitionism), to his years as a North Carolina judge during Reconstruction, to his memorable role as lead plaintiff's counsel in the landmark Supreme Court case Plessy v. Ferguson. Tourgée's brief coined the phrase that justice should be "color-blind," and his career was one long campaign to made good on that belief. A redoubtable lawyer and an accomplished jurist, Tourgée wrote fifteen political novels, eight books of historical and social criticism, and several hundred newspaper and magazine articles that all told represent a mountain of dissent against the prevailing tide of racial oppression. Through the lens of Tourgée's life, Elliott illuminates the war of ideas about race that raged through the United States in the nineteenth century, from the heated debate over slavery before the Civil War, through the conflict over aid to freedmen during Reconstruction, to the backlash toward the end of the century, when Tourgée saw his country retreat from the goals of equality and freedom and utterly repudiate the work of Reconstruction. A poignant and inspiring study in courage and conviction, Color Blind Justice offers us an unforgettable portrayal of Albion Tourgée and the principles to which he dedicated his life.
This study contextualizes magical realism within current debates and theories of postcoloniality and examines the fiction of three of its West African pioneers: Syl Cheney-Coker of Sierra Leone, Ben ...Okri of Nigeria and Kojo Laing of Ghana. Brenda Cooper explores the distinct elements of the genre in a West African context, and in relation to: * a range of global expressions of magical realism, from the work of Gabriel Garcia Marquez to that of Salman Rushdie * wider contemporary trends in African writing, with particular attention to how the realism of authors such as Chinua Achebe and Wole Soyinka has been connected with nationalist agendas. This is a fascinating and important work for all those working on African literature, magical realism, or postcoloniality.
The first major comparative study of African writing in western languages, European-language Writing in Sub-Saharan Africa, edited by Albert S. Gérard, falls into four wide-ranging sections: an ...overview of early contacts and colonial developments "Under Western Eyes"; chapters on "Black Consciousness" manifest in the debates over Panafricanism and Negritude; a group of essays on mental decolonization expressed in "Black Power" texts at the time of independence struggles; and finally "Comparative Vistas," sketching directions that future comparative study might explore. An introductory essay stresses the millennia of writing in Africa, side by side with a richly eloquent and artistic set of vernacular oral traditions; written and oral traditions have become interwoven in adaptations of imported forms and linguistic innovations that challenge traditional "high" literary norms. Gérard uses the mathematical concept of "fuzzy sets" to explain why the focus on "Black Africa" has led him to set aside for future analysis the literatures produced in North Africa, which fall under the influence of Muslim civilization, as well as the diasporic literatures of the New World. Over sixty scholars from twenty-two countries contribute specialized studies of creative writing by leading authors in the nineteenth and twentieth centuries such as Achebe, Mphahlele, Ngugi, Senghor, Soyinka, and Tutuola. Critical analyses are organized primarily around regions, reflecting different colonial languages imposed through schools and other social institutions. Some authors trace the adaptation of western genres, others identify syncretism with folktales or myths. The volumes are attentive to the heterogeneity of national literatures addressed to polyethnic and multilingual populations, and they note the instrumental politics of language in newly independent states. A closing
chapter, "Tasks Ahead," identifies areas for future scholars to explore.
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