A finalidade deste ensaio é discutir a qualidade do método clínico na psicanálise com crianças, a partir das contribuiçoes de D. W. Winnicott sobre o brincar e o conceito elasticidade da técnica de ...S. Ferenczi. Uma vinheta ilustra como novas estratégias clínicas de escuta e enquadramento interrogam os valores metodológicos e éticos, problematizando o campo da técnica. Concluimos que a qualidade da açao terapeutica passa pelo esforço do analista em salvaguardar a capacidade criativa e livre em sua arte de psicanalisar
The aim of this paper is to present the close link between Ferenczi's and Winnicott's theoretical, clinical and therapeutic thought, indicating how this link has become something of a "missing link" ...in the history of psychoanalytic ideas, an implication which we retain, in part, to this day. In the first part entitled "Who's speaking to whom?", I aim to explore the contents of the most essential parts of their messages, stressing the similarities and differences between them, and citing the most important authors whom they address (Freud for Ferenczi, Klein for Winnicott). In the second part, I aim to tackle the general direction underlying both their work and their lives, concentrating specifically on "the maternal", and examining the repercussions of this aspect on psychoanalytic technique and practice. In the third part, as a kind of "Parting", I will present further brief conclusions on the relevance and significance of their thoughts in modern day psychoanalysis, defining Ferenczi and Winnicott as "founders of future discursiveness".
"Dressing Up a Ken Doll" Yarbrough, Eric; McIntosh, Christopher A.
Journal of gay & lesbian mental health,
10/2012, Letnik:
16, Številka:
4
Journal Article
Recenzirano
The authors present and discuss the case of a young gay man presenting for psychotherapy with anxiety and difficulty sustaining intimate relationships. Issues of identity, particularly gay identity ...and internalized homophobia, the subjectivity of the patient and psychotherapist, and the concept of "false self" are discussed.
For Winnicott, at the root of psychic life is primary creativity from which meaningfulness emerges spontaneously. One non-psychoanalytic source of Winnicott's view can be found in the work of the ...English romantic poets Wordsworth and Coleridge. Winnicott discovered in these poets kindred spirits who deepened his appreciation of the delicate area between what is perceived and what conceived. The author suggests one way to read Winnicott's theory of primary creativity is as a re-imagining of what it means to have contact with reality. For Winnicott, the emphasis is less on conflict between pleasure and reality and more on contrast between two different kinds of relationship with reality as it becomes increasingly external.
O propósito do trabalho é o de esboçar uma leitura heideggeriana de Winnicott. Partindo do fato de que o convite para tratar filosoficamente certos problemas fundamentais da psicanálise vem do ...próprio Freud, o autor tenta mostrar que seu pensamento pode ser proveitosamente aproximado do pensamento de Winnicott. Enquanto o filósofo postula a diferença entre os múltiplos sentidos de ser das coisas do mundo e o sentido de ser do homem, o psicanalista propõe que o processo de constituição do sentido de ser, ignorado pela psicanálise tradicional, é uma tarefa que faz parte dos problemas intrínsecos ao existir humano desde o início e que essa questão não pode mais ser acomodada no interior da metafísica da representação. O texto não se propõe a estabelecer uma unidade sistemática entre os dois pensadores, senão, antes uma afinidade conceitual que se situa não apenas na área da epistemologia, mas sobretudo na da ontologia.
Dominant and common-sense contemporary conceptions of practice tend to frame the emotional volatility of the classroom - most commonly explored in discussions about student behaviour - as a ...fundamental obstacle to teaching and learning. The 'outstanding' classroom is both orderly and, paradoxically perhaps, characterised by its passionate, and vocal, student engagement. In this piece I draw on D.W. Winnicott's writing about play and aggression, exploring his ideas in the context of my work with two classes as a secondary English teacher at an inner-city comprehensive; doing so, I attempt to reframe both my own and my students' affectively charged experience of the classroom as valuable rather than problematic. I posit certain moments of playfulness as a kind of pedagogical patience: less an evasion of, or a disruption to, the business of the curriculum, and more a route to meaningful engagement with it.
Nietzsche's philosophy has been adopted by and had an influence on some of the most disparate and opposing thinkers as well as non-academic movements in the west. I shall here attempt a ...psychoanalytic investigation of this cultural phenomenon. I am going to argue that part of the variation in our understanding and use of Nietzsche's ideas might be accounted for by a specific feature of Nietzsche's writing: contradictions. I shall begin by exploring this concurrence of seemingly opposing ideas in Nietzsche's works and advance the hypothesis that this is a deliberate aspect of his writing style - a performative application of what he calls incomplete thoughts. I suggest that we can gain an understanding of why Nietzsche might use this particular strategy by paralleling his works with those of Winnicott. I shall follow Ogden in saying that Winnicott's way of presenting his ideas can be understood as informed by his theoretical thoughts on playing and creativity. Like Winnicott, as I am going to argue further, Nietzsche might well have chosen to write in an incomplete way in order to provoke creative involvement among his readers. I want to say that, although the scopes of their respective projects are very different, both Winnicott and Nietzsche install the life affirming force of creative experiences at the core of their own thinking. I argue further that both of their writing styles can be understood as making a sacrifice in thematic clarity in order to gain the aesthetic means to provoke experiential evidence for this central claim in the reader. A Winnicottian lens shall therefore allow us to see how conflicting but original interpretations of his own work might be very much in line with Nietzsche's project as a philosopher and as a writer.
Donald Winnicott’s work is rather well-known to most clinicians, and many of his concepts––e.g., facilitating environment, spontaneous gesture, going-on-being, impingement, annihilation, True and ...False Self––are utilized clinically and theoretically. Silvan Tomkins and his colleagues provide a profound understanding of the psychology of affect, and their work furnishes a lens through which Winnicott’s ideas can be further appreciated. The author suggests such an integration is crucial not only to deepening our understanding of Winnicott’s concepts, but also to enhancing the clinical dimension of affect theory. This discussion also has important implications for social work with respect to both treatment issues as well as prevention and early intervention programs.
While the work of Donald Winnicott is well-known to clinical social workers, most are unaware of his rich professional collaboration with his second wife, Clare, a pioneering social worker analyzed ...by Melanie Klein who worked in child welfare, academia, government service, and psychoanalysis. This paper will review their work and lives together, outlining how their relationship expanded Donald's horizons in exploring the interface between psyche and environment.
This article analyses Stendhal's various representations of work, idleness, and play in Lucien Leuwen, showing how these serve to structure the novel's analysis of power. The article begins by ...exploring the utilitarian discourses of (over)work and aristocratic discourses of idleness foregrounded in the novel. It goes on to explore the novel's beyliste discourse of playfulness articulated by François Leuwen, Lucien's manipulative banker father. It will be argued that Stendhal, far from endorsing M. Leuwen's ludism, works to undermine it by distinguishing between types of play and, in particular, by placing the difference between play and play-acting at the centre of his narrative: Lucien plays like an absorbed child, whereas his father play-acts like an adult, determined to control how he is perceived by others.
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