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The links between speech, language and thinking are considered. A classification of speech types and kinds is presented. The polyphonic, written and monological speech which have their own opportunities in teaching written retelling are characterized.
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Hysteria offers a particularly appropriate discourse for bringing out the unconscious, since its symptoms show how, through conversion, mental suffering manifests itself as bodily. Analytical work creates a transfer clinic and relies on a specific use of the word, which leads to unexpected findings.The development of the psychoanalytic approach today makes it clear that in order to understand hysteria, it must not be equated with femininity. The main issue of the hysterical subject is actually the issue of gender difference. Lacanian psychoanalysis introduces the idea of giving up the body in hysteria and associates the hysterical symptom with a lack of identification.
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In the article I ask the question about the place of an emancipatory task within various forms of psychotherapy and psychoanalysis, where conversations with the patient play an important role. This task arises on discovering that an important source of the patient’s problems are views inherited from cultural traditions, ones which inhibit a proper assessment of various traumatic situations from the past and the forms of dependence on others. Then psychotherapists and psychoanalysts are inevitably faced with the task of making the patient aware of these limitations and forms of dependence, for only then is therapeutic progress possible. I provide three characteristic examples of similar cases from Polish psychiatric tradition, in which we can speak of a similarly binding role of cultural tradition in the process of therapy. I point out that the difficult situation the therapist then finds themselves in lies in the fact that, on the one hand, they have to depart from the postulate of maintaining world-view neutrality in their approach to the patient while, on the other hand, they cannot directly impose their own position on the patient. The therapist has to find a third, middle way between these two attitudes, one which requires great sensitivity in any approaches to the patient.
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When illness occurs in a child’s life there are at least six means of expressing it: behavioural, narrative, through writing- the so called narrative medicine or beyond narration, the artistic form of expression whether it is through painting, music or any other artistic self-expression feature, body language-theatrical, that could be assimilated with behavioural changes or means of self-expression and last but not least somatic, physical or the so called body-mind related changes. The article analyses the mother-child relationship when the child is confronted with the disease, as well as how the child reacts when confronted with external stimuli.
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A group of “Viennese Actionists” was formed in Austria around 1961, ceasing to be active in 1970. One decade of their collaboration comprised creation of a series of multimedia artistic works, often in the form of provocative actions using the so-called Schweinvocabular (“nasty vocabulary”): fake violence, vulgarity, explicit sexuality, profaning state and church symbols, etc. The aim of such aesthetics was not a dull provocation; it was rather an artistic means by which the first generation of post-war artists, who personally experienced the horrors of World War II and the reverberations of the first, responded to the lack of denazification and the internal conflicts in the Austrian society. The paper will present the thesis that the designation of the group as “Viennese Actionism” is probably not derived from the noun “action”, but it is a reference to the current in behavioral psychology called sensomotoric actionism, which originated in the early 20th century and emphasized physical and performative coping with the trauma the Actionists experienced in young age (pain, suffering, loss of loved ones, mass scale of murders, etc.); sensomotoric actionism as a metaphor of artistic response to social trauma. One of the main impulses for the Actionists was thus the war trauma, both on an individual and socio-cultural level. The aesthetic means they employed were based on the actual contemporary methods of treating trauma. Using repulsive “images” that presented the horrors of war, the Actionists “forced” their audience to confront them and, if possible, go through social catharsis, giving back to the theater its ritual function it had in the society of the Classical Athenian polis.
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In Women Who Run with Wolves, Clarissa Pinkola Estes goes after the ‘creative, talented, and immersed woman symbol’ which has been ignored by psychoanalysis for a long time, where she chases the pure reality of women whose internal nature has been damaged, whose souls have been tossed to the most pathetic lands, and who have taken on unnatural rhythms over their natural cycles just to please others. While women continue to instinctively share archetypes, Betül Tarıman, who displays an internal womanhood stance in the Anatolian geography, raises the mythical era narrative voices for us women, from her work Hadde, that is sensitive to her emotions, conscious, and tactile pleasures, and creatively transforms them into modern poetry. As Estes breaks the silence regarding issues surrounding her style, knowledge, and creative fire for women’s different eras, which can be defined as archetypical, intuitive, sexual, and cyclic. With this analysis, which follows in the footsteps of the wild woman archetype, added to the literature by Estes, I added poetry to the existing myths and fairy tales. I emphasize that poetry can too be just as long lasting as they are while being an enunciation leading to wisdom. This archetypical perspective, like mythical stories, poetry sets forth the sharp realization that can help conceptualize our visual power to see nature’s naiveté. Betül Tarıman, a woman who found her voice in nature, is a wild spirit. She moves forward in an alchemical cycle of loss, disjunction, and enlightenment during her journey that ends with wisdom. She awakens in a sacred location in eternity, independent of time and place, created by poetic language and word. This way, she creates the myth of the modern woman hero. By connecting with the wild woman archetype, she transforms into an eternal inner voice, calling out to women in search of themselves during their journey of initiation.
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Specific phobia is defined as a notable and continuous fear of a certain object or a situation that particularly impairs daily life and functioning. It is also one of the most common psychological disorders. Exposure-based interventions are commonly used in the treatment of specific phobias. However, some limitations of the standard methods require the need for alternative approaches. In light of this, the use of virtual reality technology in psychotherapy has become increasingly widespread in recent years and is now integrated with exposure therapy. Virtual reality provides real-time interaction using the computer-generated three-dimensional environment via variety oftechnological tools. Applications of virtual reality in exposure therapy have proven to be an important intervention method, especially in the psychopathologies such as specific phobias. In this study, virtual reality exposure therapy for the treatment of specific phobias is systematically reviewed. Inclusion criteria were taken into account in the scanning performed in APA (PsycINFO), EBSCO, PubMed, Scopus, Web of Science, Science Direct, Ulakbim ve TRDizin databses following the PRISMA method. Following that, ten randomized controlled trials, which included adult participants meeting the diagnostic criteria for specific phobia, examined the efficacy of virtual reality and exposure therapy compared to the control group, and the ones with full text could be accessed, were included in this systematic review. The included studies were evaluated in terms of sample attributes, primary measurement tools, research design, characteristics of the intervention and its efficacy. In general, the findings indicate the efficacy of virtual reality exposure therapy in reducing specific phobia symptoms. Follow-up studies support the long-term maintenance of the results.
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The text is an introduction to the journal issue devoted to the changes and metamorphoses of doctrines formed in the field of psychoanalytic thought. The authors point out the polyphonic nature of psychoanalysis and emphasize the special value of its susceptibility to transformation. In this introductory essay, emphasis is placed on both psychoanalytic theory and practice. The authors try to prove that the methods of interpreting literary works emerging from psychoanalysis today should take into account perspectives derived directly from analytical practices. The authors aim to prove that among the most important of these is a relational understanding of humanistic work (based on reading and writing practices), as well as a pluralistic account of the constantly renewed acts of interpretation.
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In her work, the author problematizes, but also tries to shed light on, the phenomenon of female sexuality and the place and role of women in the symbolic space, by entering into a dialogue with representatives of l’écriture féminine (“women’s writing”), as a French branch of feminist philosophical-literary theory from the beginning of the 70s. those years of the 20th century. The first findings resulting from this polemical discussion reveal that the subject of interest of the theory of “women’s writing” is the inscription of the female body and female diversity in structural language and text, by means of deconstruction as a post-structuralist method. It will be shown that the search for a “hidden signifier” in language, which tends to express the unspeakable, implies a critical review of philosophical, psychoanalytic, and literary-theoretical positions on the development of female sexual identity, as well as on the role of women in the symbolic order. Thus, Foucault’s texts question the archeology of sexuality in the narrative, under the strong influence of psychoanalysis. French psychoanalysts, led by Freud, through the phenomenon of hysteria, which Foucault reinterprets as a phenomenon of self-misunderstanding, open the way to consider the misunderstanding of one’s own desire and one’s own sexuality, while literary theorists in parallel introduce the discursive production of knowledge about sexuality, emphasizing the ubiquitous misunderstanding and exclusion of female sexuality. from the standard male language code. In the end, the author concludes that in the androcentric language, women are defined as “other”, and that they must enter into a dialogue with their otherness in order to reaffirm such an understanding of themselves and their sexuality.
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In her work, the author problematizes, but also tries to shed light on, the phenomenon of female sexuality and the place and role of women in the symbolic space, by entering into a dialogue with representatives of l’écriture féminine (“women’s writing”), as a French branch of feminist philosophical-literary theory from the beginning of the 70s. those years of the 20th century. The first findings resulting from this polemical discussion reveal that the subject of interest of the theory of “women’s writing” is the inscription of the female body and female diversity in structural language and text, by means of deconstruction as a post-structuralist method. It will be shown that the search for a “hidden signifier” in language, which tends to express the unspeakable, implies a critical review of philosophical, psychoanalytic, and literary-theoretical positions on the development of female sexual identity, as well as on the role of women in the symbolic order. Thus, Foucault’s texts question the archeology of sexuality in the narrative, under the strong influence of psychoanalysis. French psychoanalysts, led by Freud, through the phenomenon of hysteria, which Foucault reinterprets as a phenomenon of self-misunderstanding, open the way to consider the misunderstanding of one’s own desire and one’s own sexuality, while literary theorists in parallel introduce the discursive production of knowledge about sexuality, emphasizing the ubiquitous misunderstanding and exclusion of female sexuality. from the standard male language code. In the end, the author concludes that in the androcentric language, women are defined as “other”, and that they must enter into a dialogue with their otherness in order to reaffirm such an understanding of themselves and their sexuality.
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This article will be devoted to one of Jerzy Grotowski’s most important discoveries, the total act, a specific kind of action and experience. It was created as part of theatrical practice, but apart from the function related to the dramaturgy of performances, it had a higher purpose, associated with the search for the essence of humanity and sources of the experience of reality. Jerzy Grotowski sought to transform actors and observers, open them to what is authentic, alive and present. This achievement was a kind of experience in which the sacrum and the profanum are overcome. The total act allowed a person “to become watched” and, paradoxically, allowed them to participate in the duality of passive action, in which a person becomes an observer and agent at the same time. My goal is to describe the role of the principle of coexistence of opposites in the work of J. Grotowski. I am describing the total act as an opportunity to reach an experience of reality in which the mind and the body merge with each other. Humankind as a psychophysical unity precedes all differences in this experience, he or she is able to reach the very center of their own self, that which Jung called Selbst. According to J. Grotowski, this state is possible when the influence of myths and collective ideas is overcome.
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Some of the main questions concerning the human mind repeatedly throughout life are the following: Who are you? What do you want? What is your purpose on earth? Explicit or unique answers to those queries do not exist, but there are many literary works that challenge such topics. One of these is the modernist short story The second tree from the corner written by Elwyn Brooks White. The story offers a very realistic perspective on those questions and it can be considered a source of further meditation for all its readers. The conventional, expected behaviour considered or present in the human consciousness under the concept of ‘normal’ is revealed as being as uncertain as that understood as ‘sick’. The aim of the analysis is to refer to those elements in relation to the main literary devices used by the author: characterization, plot, setting, foreshadowing, conflict. The dimensions of personality are explored in an unexpected, new light. Additionally, towards the end of the study, a possible reader-response perspective yields significant details, considering the theory associated with the work of Louise Rosenblatt.
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The paper expands upon a parallel interdisciplinary approach to Martin Amis’ Time’s Arrow and Rodica Ojog-Brașoveanu’s Devilish Plan via George Kelly’s Personal Construct Theory with a view to showing how, through the innovative postmodern techniques of fast rewind, on the one hand, and irony, stream of consciousness, inner monologue, reverse chronology, on the other, the two novelists have imaginatively recreated and refreshed the old topic related to the atrocities from the concentration camps in order to teach their contemporary readers a moral lesson.
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Consonant words (homonyms) and ambiguity (polysemy) are subjective and intersubjective events of language slippage and speech acts in the analytic session. The ambiguity of speech reflects mental development, the sediments of first significant experiences and pre-symbolic communication. Homonyms are an opportunity to listen in a non-common way to what is excluded from the analytical process and from life. They expand the analytical space by a dimension not lived before. They open the mind for play and imagination, testify of the ambiguity, of the „informative unfixedness“ of symbols. They remove speech from consciously controlled discourse and established linguistic frameworks. They introduce a new movement into analytical work and encourage self-analysis. The unconscious meaning of the homonyms and their transmission message often become apparent with distance, sometimes only after the analysis is complete (apr s- -coup). Homonyms can both reveal and conceal – they are creative in nature, can bridge unbereable feelings or be used in a protective way.
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In Riga at the beginning of 2022, two very different exhibitions took place: “Resolution Strike” by Kristīne Krauze-Slucka (ISSP), and “Mellow Apocalypse” by Alnis Stakle (Latvian Museum of Photography). In this article, a post-humanist approach is employed to actualize the role of photography and the digitalized image in preserving and forming of both personal and collective memory and identity. The theoretical approach is assisted by the concept of prosthesis which describes the hybridity of human and technology as used by theoreticians such as Sigmund Freud, Slavoj Žižek, Donna Haraway, Celia Lury and Alison Landsberg.In considering photography, its objectivity and reliability is an important aspect. To resolve the tension between the apparent objectivity of photographic capture and the subjectivity brought in by the framing and context of the image, it is proposed to think of multiple situated objectivities, which describe the situation where the perception and images of technological tools offer a distinct, non-human but not neutral or uninvolved view.Discussing the exhibition by Kristīne Krauze-Slucka, centred around destroyed, fragmented, and altered photographs from a family album, the distinction drawn by Jens Ruchatz is employed, distinguishing between photography as the externalization or trace of a memory. The photographs that were selected to be destroyed suggest that the personal photography is seen as a trace that aids memory, instead of storing memories. At the same time, the importance of photography in construction of personal identity is emphasized, which is seen as technologically mediated and socially involved. In this aspect, the photography is a prosthesis of identity instead of memory.Following Aline Cordonier et al. and researching the passing of photography as a memory carrier from micro level (personal photographs) to meso level (family album) with a perspective to enter the macro level (collective memory), it is demonstrated that in this process the importance lies not within a sequential narrative but in the construction of a new identity through selection of social and affective moments, thus forming a prosthetic identity that does not conform to linear time.The “Mellow Apocalypse” series by Alnis Stakle is created from the digital image collections of various institutions, for example, museums, that became widely available during the pandemic. The decontextualized fragments of images form expansive collages with the visible artefacts of digital image rendering increasing the effect of fragmentation. Even though a common theme and narrative can be determined, the interpretation is called to question due to insecurity about the original sources and contexts of the images. The article analyses the source of this insecurity as linked to the creation and preservation of collective identity in a digital age.The notion of collective memory, based on the definition by Tota and Hagen, is seen as the representation of past events created and institutionalized by social groups. This definition fits the sources of images used by Stakle. However, the exhibition questions this concept, accentuating the contemporary issues of collective memory preservation. The advent of mass media and globalization problematises the concept of discrete social groups, as each individual belongs to several communities that can be transnational and transcultural. Following Hoskins, the notion of “multitudes” can be employed to describe the individually selected and interpreted range of collective memories determined by digital and social hyperconnectivity, communication, technological mediation and information globalization. In this view, the collective memory can be seen as a hyperobject, to borrow the term from Timothy Morton, thus explaining the fact that each individual or institution can access the collective memory only indirectly, through its aspects that can be also photographs or digitalized images. The fragmentation of an archive, decontextualizing the image, leads to real or illusory disappearance of memory, which is seen in micro level through fragmenting of personal archive images by Krauze-Slucka, and emphasized in macro level by Stakle who fragments and repositions the representations of collective memory.In the case of Stakle, the images can be interpreted in two additional ways that do not stop at the notion of apocalypse. Firstly, the concept of multitude allows for the personal memory of an individual created through the vast repository of collective memories, seeking for new meanings as it is done in Stakle’s collages. This interpretation is also applicable for a video piece in Krauze-Slucka’s exhibition, where a young woman uses the transnational and translocal images to create selfies that inscribe her identity in a globalized virtual space of social media. This searching for personal identity through socially available imagery simultaneously enables the self-reproduction and self-preservation of collective memory.Secondly, in Stakle’s case a cyborg gaze can be conceptualized: a gaze determined by the hybridity of human and technology that is characterized by a radically different understanding of time and selfhood. This gaze, created through digital manipulation and repositioning of images, is two-dimensional, fragmented and combined; it does not discriminate human and non-human, creating unexpected, often playful combinations. In this regard, the works by Stakle visualize the transformation of the collective memory as it has already happened due to digitalization and technological mediation.The fact that both very different exhibitions took place at the same time and reflect on a similar theme suggests that this range of ideas – photography and the digital image as carriers of memory, and their role in the creation, interpretation, and preservation of personal and collective memory – is important at the current time and requires additional artistic and theoretical research, which can be fruitful also when a post-humanist approach is employed.
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The paper starts with the psychoanalytic Lacanian difference between Real and reality, to redefine the relations between reality itself, as a real image, and the Imaginary. It insists on the inversion of the relations between Knowledge and the Subject, which Lacan analyzes in Crucial Problems for Psychoanalysis, and clarifies the role of Cartesian doubt as a symptom in the constitution of the modern subject. The division of knowledge between the signifier and the signified thus explains the function of the dream, but also the limits of this function in the particular case of the nightmare, as the return of the Symbolic in the Real.
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This document is an analysis of a play made by the author himself.Therefore, we are dealing with self-analytical research, a way in which the playwright does not necessarily try to explain the potential stage failure of his text,but rather the relationship of the Demiurge with his creative “demons”. The reasonsfor the choice of plot are subjective, and the struggle, the real struggle, that theplaywright faced was to achieve objectivity, a goal that proved to be difficult, if notimpossible, to obtain. If our study lacks “scientific rigor”, it compensates in termsof sincerity, the methodological tool without which the mysteries of the unconsciousremain forever hidden from the lucid mind. In the following pages, we will retrace,writing via words, a “nightmare of repeated transformations” to which the Subjecthas been exposed to, by a dramatist who, even though he is a stranger to himself, hewishes to offer the public the necessary, the essential, the truth. For this reason, we believe that the absence of bibliographical references does not make our research poorer in content, but rather recommends it as an original study.
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The paper approaches the theme of nightmare in two classical short films by Akira Kurosawa and Masaki Kobayashi, by way of Lacanian psychoanalysis. Ianalyze Freud’s theory of dreams together with Lacan’s reinterpretation of it,considering an indescribable memory of the nightmare that belongs to the Other asa radical lack. Relating to the navel of the dream and to the mystery surrounding itand blurring the already thin borders between sleep and awakening, all these key dimensions of the nightmare stand for its impossibility to be defined, thus intertwining life and death by way of the rigorously portrayed uncanny from theJapanese cinema.
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This article attempts to debate the possibility of choice based on the relationship that is established between the concepts of avoidance and defence (or adaptation) from a psychoanalytic and an experiential perspective in a context where the filmic fairy tale proposed for analysis has this capacity to deliver a double dimensionality in relation to the realities to which Ofelia has access. The experienceof the nightmare in this noir fairy tale seems like a choice that is bound up with thelack of morality of the objective real and an ethic of salvation that defines thefantastic. My interpretative approach will be based on the principle of suspension of disbelief supported by the general atmosphere of a clinical picture of thecharacters with which Ofelia comes into contact throughout the film and accordingto whose actions she will understand the relationship between the two probabilities that contribute substantially to defining the limits of the nightmare experience.
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