article 980120 |
| Transitional States and Psychic Change:
Thoughts on Reading D. H. Lawrence |
by Barbara Schapiro |
This paper looks at D. H. Lawrence's fiction in light of Winnicott's notion of transitional experience in which inner and outer reality interpenetrate and paradox is tolerated. The transitional or potential space is a safe area, much like the analytic space, for playing out multiple, often conflicting identifications and self-states. Lawrence's art thrives on such play as it enacts contradictory fantasies and competing voices and positions within the writer's self. The paper considers specific scenes from The Rainbow and Sons and Loversin which opposing identifications and paradoxical states are negotiated. Lawrence involves the reader in various tensions of psychic and relational life, tensions between inner and outer, self and other, narcissistic fantasy and the acceptance of limits. As we enter into the text's play of shifting psychic positions, we experience the inherent fluidity of psychic life and the potential for change.
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keywords: D. H. Lawrence; The Rainbow ; Sons and Lovers; D. W. Winnicott; transitional experience; identifications; self-states |
url: http://www.clas.ufl.edu/ipsa/journal/1998_schapiro01.shtml
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To cite this article, use this bibliographical entry: Schapiro, Barbara. "Transitional States and Psychic Change:
Thoughts on Reading D. H. Lawrence." PSYART: A Hyperlink Journal for the Psychological Study of the Arts, article 980120. Date published.Available http://www.clas.ufl.edu/ipsa/journal/articles/psyart/1998_schapiro01.shtml. Dec. 31, 1998 [or whatever date you accessed the article].
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| Received: January 20, 1998 || Published: March 5, 1998 || Copyright © 1998 Barbara Schapiro |
author info: |
| Barbara Schapiro |
Basric@aol.com |
Department of English
Rhode Island College |
Providence, RI 02908
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article 970929 |
| Freud and the Poet's Eye: His Ambivalence Toward the Artist |
by Frances Vargas Gibbons |
This essay approaches Sir Gawain and the Green Knight from the perspective of Adult Development Psychology and finds that the Green Knight and his wife are virtually perfect prototypes of what a good mentor should be. They function as Gawain's mentors during his Early Adult Transition period. Through purposeful confinement and a reenactment of the oedipal situation the Green Knight and his wife refine and expand Gawain's hermeneutic skills, thus increasing the young man's capacity for self-protective interpretation. As they turn Gawain into a more adroit handler of his innate qualities, the Green Knight and his wife also help him mature into acceptance of human limitation, sinfulness, and perishability. Through their complicitous behavior on his behalf, they offer a model of marital contentment and loyalty, as well as an example of adult generativity.
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keywords: Gawain; Sir Gawain and the Green Knight; Medieval Literature; Psychology; Adult Development Psychology; Mentor. |
url: http://www.clas.ufl.edu/ipsa/journal/1998_vargas_gibbons01.shtml
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Citations of earlier presentation: 14th Annual International Conference in Literature and Psychology, Las Navas del Marques (Spain), July 2-6, 1997.
To cite this article, use this bibliographical entry: Vargas Gibbons, Frances. "Sir Gawain's Mentors." PSYART: A Hyperlink Journal for the Psychological Study of the Arts, article 970929. 980421. Available http://www.clas.ufl.edu/ipsa/journal/articles/psyart/1998_vargas_gibbons01.shtml. Dec. 31, 1998 [or whatever date you accessed the article].
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| Received: September 29, 1997 || Published: April 21, 1998 || Copyright © 1998 Frances Vargas Gibbons |
author info: |
article 101298 |
Self-Analysis Enhances Other-Analysis
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by Daniel Rancour-Laferriere |
This essay argues that self-analysis benefits other-analysis. Be the "other" patient, author, character, historical personality, or cultural object generally, analysts will improve psychoanalytic understanding of that "other" by scrutinizing themselves for any related psychical material. Just as Freud came up with some of his most interesting and intellectually productive concepts while in self-analysis, today's psychoanalyst of literature should engage in self-analysis (not to be confused with autobiographical criticism) for its intellectual potential. Just as clinical psychoanalysts have to be constantly aware of their countertransference with respect to the patient, literary psychoanalysts should learn how to become aware of the transference which comes into existence when they seriously take up the study of any literary object. At the very least, self-analysis helps the scholar to dispose of his or her own mental garbage which might conceivably interfere with objective psychoanalytic understanding.
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keywords: self-analysis; other-analysis; autobiographical criticism; Freud; free-associations; transference; countertransference; mental garbage; diary; self-disclosure |
url: http://www.clas.ufl.edu/ipsa/journal/1999_rancour_laferriere01.shtml
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Citations of print publication: None
To cite this article, use this bibliographical entry: Rancour-Laferriere, Daniel. "Self-Analysis Enhances Other-Analysis." PSYART: A Hyperlink Journal for the Psychological Study of the Arts, article 101298. Available http://www.clas.ufl.edu/ipsa/journal/articles/psyart/1999_rancour_laferriere01.shtml. Dec. 31, 1999 [or whatever date you accessed the article].
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| Received: October 12, 1998 || Published: January 8, 1999 || Copyright © 1999
Daniel Rancour-Laferriere |
author info: |
article 971017 |
| Madness Silenced:
A Foucauldian Reading of Paul Sayer's The Comforts of Madness |
by Bruce Sarbit |
Michel Foucault's history of madness is the lens through which this essay views Paul Sayer's fictional monologue of a completely immobile, mute mental hospital patient. The patient's reflections and experiences in an intensive treatment institution bring into vivid relief the dialectic of subjectivity and objectivity. His condition is figure to the ground of reason embodied in the novel's institution and its treatment efforts. Distinct parallels between the institution's treatment regime and the psychiatric practices of the late eighteenth century are consistent with Foucault's ideas on the pairing of knowledge and power. Rules of discourse governing treatment of madness, including emphasis on objectivity at the expense of subjectivity, have not altered much in the intervening years.
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keywords: subjectivity; objectivity; reason; psychiatry; madness; Paul Sayer; Michel Foucault; York Retreat; Tuke |
url: http://www.clas.ufl.edu/ipsa/journal/1998_sarbit03.shtml
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Citations of print publication:
To cite this article, use this bibliographical entry: Sarbit, Bruce. "Madness Silenced: A Foucauldian Reading of Paul Sayer's The Comforts of Madness." PSYART: A Hyperlink Journal for the Psychological Study of the Arts, article 971017. June 11, 1998. Available http://www.clas.ufl.edu/ipsa/journal/articles/psyart/1998_sarbit03.shtml. Dec. 31, 1998 [or whatever date you accessed the article].
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| Received: October 10, 1997 || Published: June 11, 1998 || Copyright © 1998 Bruce Sarbit |
author info: |
| Bruce Sarbit |
Sarbitb@mb.sympatico.ca |
Counselor, Faculty of Human Services
Brandon University
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526-16th Street
Brandon, MB
R7A 4Y3 CANADA |
article 980223 |
| Dead End Kids: Projective Identification and Sacrifice in Orphans |
by Donald L. Carveth |
After decades of what theologian Hans Kung argues amounts to the repression of religiousness by psychoanalysts and of psychoanalysis by the religious, in recent years an increasingly interesting and sophisticated dialogue between psychoanalysis and theology has been developing. Since Lyle Kessler's (1987) play Orphans (and the film version directed by Alan J. Pakula for which Kessler wrote the screenplay) lends itself to both psychoanalytic and theological interpretation, the present essay is intended both as an exercise in applied psychoanalysis in the field of literary and cinematic studies and, at the same time, as a demonstration of the complementarity that may sometimes exist between hermeneutic perspectives often considered to be antithetical. It is my thesis that the contrasting psychoanalytic concepts of projective identification on the one hand and empathic identification on the other not only illuminate the central action and meaning of the play, but also provide psychoanalytic insight into the nature of sacrifice, in both its destructive and creative forms-- phenomena that are of fundamental significance in various religious traditions.
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keywords: Lyle Kessler; Orphans; Christian allegory; projective identification; empathic identification; scapegoat; transitional phenomena; hermeneutics |
url: http://www.clas.ufl.edu/ipsa/journal/1998_carveth02.shtml
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Citations of print publication: International Review of Psycho-Analysis 19.2 (Summer 1992): 217- 228.
To cite this article, use this bibliographical entry: Carveth, Donald L. "Dead End Kids: Projective Identification and Sacrifice in Orphans."PSYART: A Hyperlink Journal for the Psychological Study of the Arts, article 980223. June 26, 1998. Available http://www.clas.ufl.edu/ipsa/journal/articles/psyart/1998_carveth02.shtml. Dec. 31, 1998 [or whatever date you accessed the article].
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| Received: February 23, 1998 || Published: June 20, 1998 || Copyright © 1998 Donald L. Carveth |
author info: |
| Donald Carveth |
dcarveth@yorku.ca |
Glendon College
York University
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Toronto, Ontario
M4N 3M6 CANADA |
article 980619 |
| Dysthymic Dicks: On the Melancholic Shamus, from Dupin to Cracker |
by Harvey Roy Greenberg |
The psychoanalytic study of detective fiction by clinicians has been sparse. My previous investigation of the Maltese Falcon (1941) chiefly addressed Sam Spade's paranoia, misogyny, and oedipal conflict. The profound despair concealed by his engaging tough facade was but briefly touched upon. This paper analyzes at length the depressive tendencies of literary, cinematic, and televisual detectives throughout the genre's history, focusing particularly upon dysthymic private/public gumshoes of the American "hard-boiled" school and their progeny.
Having interrogated the articulating cultural, psychodynamic, and biological origins of the melancholy shamus' inveterate despair, I overview an especially intriguing recent example of the breed: Dr. Eddie "Fitz" Fitzgerald, forensic psychologist-hero of the BBC/Arts & Entertainment Network's Cracker series, who melds the personae of wounded healer and dysthymic dick in one gargantuan frame.
I conclude by speculating that more members of the dysthymic dick's durable fellowship are likely to succeed the irksome, charismatic Fitz, consonant with an ever expanding readership seeking to be pleasured by a hero more in tune with, and touched by the harsh realities of existence; more vital in appetite; more profound in doubt and failure; ultimately more catalytic to generic narrative potential than the ever imperturbable Poirot, elegant Wimsey, and disdainful Miss Marple, with their eternal locked rooms, poisonous vicarages, and predictable assemblies of the usual suspects.
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keywords: detective fiction; depression; dysthymia; cyclothymia |
url: http://www.clas.ufl.edu/ipsa/journal/1998_greenberg01.shtml
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To cite this article, use this bibliographical entry: Greenberg, Harvey Roy. "Dysthymic Dicks: On the Melancholic Shamus, from Dupin toCracker." PSYART: A Hyperlink Journal for the Psychological Study of the Arts, article 980619. April 30, 1998. Available http://www.clas.ufl.edu/ipsa/journal/articles/psyart/1998_greenberg01.shtml. Dec. 31, 1998 [or whatever date you accessed the article].
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| Received: June 19, 1998 || Published: June 29, 1998 || Copyright © 1998 Harvey Roy Greenberg |
author info: |
| Harvey Roy Greenberg |
hrgsmes@aol.com |
Department of Psychiatry
Yeshiva University, New York 10033 NY |
Albert Einstein College of Medicine
320 West 86th St.
New York, NY 10024
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article 980715 |
| Light, Fire, Prison: A Cognitive Analysis of Religious Imagery in Poetry |
by Reuven Tsur |
This paper explores the cognitive foundations and literary applications of spatial imagery. Cognitively, concrete visual images constitute a bundle of features and allow efficient coding of information for creativity. One image encoding many meaning units (an instance of "unity-in-variety") saves mental energy--a possible source of pleasure. Fast-changing or lowly-differentiated information may be recoded into a more stable and differentiated spatial template. Conceptually presented information may become less differentiated when recoded in Gestalt-free imagery. The paper explores how figurative language turns religious ideas into verbal imitations of religious experience, in two stylistic modes: "Metaphysical" and "Mystic-Romantic". It also investigates the problem of fusing the Biblical conception of a personal Creator with the Neo-Platonic conception of creation as light emanation. Four English poets and two medieval poets, Hebrew an d Armenian, use images of light, fire and prison in this cognitive mode and in literary modes, allegory, symbol and archetypal patterning.
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keywords: cognitive poetics; metaphor; spatial imagery; efficient coding; gestalt-free; mystic poetry; Sidney; Donne; Wordsworth; T. S. Eliot; Shlomo Ibn Gabirol; Kostandin of Erznka. |
url: http://www.clas.ufl.edu/ipsa/journal/1998_tsur02.shtml
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Citations of print publication: none.
To cite this article, use this bibliographical entry: Tsur, Reuven. "Light, Fire, Prison: A Cognitive Analysis of Religious Imagery in Poetry." PSYART: A Hyperlink Journal for the Psychological Study of the Arts, article 980715. Available http://www.clas.ufl.edu/ipsa/journal/articles/psyart/1998_tsur02.shtml. Dec. 31, 1998 [or whatever date you accessed the article].
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| Received: July 15, 1998 || Published: August 31, 1998 || Copyright © 1998 Reuven Tsur |
author info: |
| Reuven Tsur |
tsurxx@post.tau.ac.il |
Hebrew Literature
Tel Aviv University |
Ramat Aviv 69978
Tel Aviv P.O.B. 39040 ISRAEL |
article 980715 |
| When Sherlock Holmes and Freud Meet: Psychoanalysis and the Mystery Story |
by Wenjia You |
Many scholars mention the use of Freudian psychology in literary works, but very few scrutinize the interplay between the literary and the psychological texts involved. This paper explores how the mystery story can incorporate psychoanalysis into its essential components, such as the crime, the clues, and the detective. I set up a theoretical framework in which the key elements of the mystery story may appropriate psychoanalysis, and I generalize how psychoanalysis may influence the mystery story as a subgenre. Then I offer two case studies of Marnie and The Seven-Per-Cent Solution, which both use a large amount of psychoanalysis. I examine how these two works incorporate psychoanalysis and measure their formal qualities against my theoretical conjectures.
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keywords: influence study; detective fiction; Marnie; The Seven-Per-Cent Solution |
url: http://www.clas.ufl.edu/ipsa/journal/1998_you01.shtml
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Citations of print publication: none.
To cite this article, use this bibliographical entry: You, Wenjia. "When Sherlock Holmes and Freud Meet: Psychoanalysis and the Mystery Story." PSYART: A Hyperlink Journal for the Psychological Study of the Arts, article 980715. September 7, 1998. Available http://www.clas.ufl.edu/ipsa/journal/articles/psyart/1998_you01.shtml. Dec. 31, 1998 [or whatever date you accessed the article].
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| Received: July 15, 1998 || Published: September 7, 1998 || Copyright © 1998 Wenjia You |
author info: |
| Wenjia You |
wenjia@smart.net |
Department of Foreign Languages and Literature |
Minhsiung, Chiayi
Taiwan, Republic of China
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article 980817 |
| Matthew Arnold's Literary Suicide: Reparation, Reclamation and Resignation on Etna |
by Katherine E. Agar |
In Empedocles on Etna, Matthew Arnold's repeated metaphorical use of "breast," "bosom," and "thirst" suggest a possible latent concern with part-objects. The need to repair the damaged, or empty, breast is one unconscious motive for Arnold's literary suicide. Melanie Klein's work on intrapsychic relationships among love, hate, and reparation and D. W. Winnicott's theory of the depressive position provide the foundation for an object-relations analysis of Arnold's motivations in dramatizing Empedocles's leap into Mt. Etna. In addition, Winnicott's theory of the True and False Selves brings out the latent conflicts associated with Empedocles's--and Arnold's--intellectual defenses. "When suicide is the only defense left against betrayal of the True Self, then it becomes the lot of the False Self to organize the suicide," writes Winnicott. In Arnold's dramatic poem, a literary (symbolic) suicide is organized, and Empedocles makes a spontaneous gesture toward "mother earth."
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keywords: suicide; Matthew Arnold; part-object; Melanie Klein; D. W. Winnicott; intellectual defense; True Self; False Self; pre-oedipal; Empedocles |
url: http://www.clas.ufl.edu/ipsa/journal/1998_agar01.shtml
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To cite this article, use this bibliographical entry: Agar, Katherine E. "Matthew Arnold's Literary Suicide: Reparation, Reclamation and Resignation on Etna." PSYART: A Hyperlink Journal for the Psychological Study of the Arts, article 980716. Available http://www.clas.ufl.edu/ipsa/journal/articles/psyart/1998_agar01.shtml. Dec. 31, 1998 [or whatever date you accessed the article].
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| Received: July 15, 1998 || Published: September 29, 1998 || Copyright © 1998 Katherine E. Agar |
author info: |
| Katherine E. Agar |
kagar@csc1.csc.edu |
Department of English |
Chadron State College
Chadron NE 69337
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