By Jean-Georges Schimek
Memory, fable, and Seduction unearths the advance and evolution of Jean-Georges Schimek's pondering on subconscious fable and the interpretive method derived from a detailed examining of Freud in addition to modern psychoanalysis. Contributing richly to North American psychoanalytic notion, Schimek demanding situations neighborhood perspectives from the point of view of continental discourse. A working towards psychoanalyst, instructor, and consummate Freud pupil, Schimek sought to explain Freud's ideas and theories and to disentangle complexities borne of inconsistencies in Freud's assumptions and expositions.
This booklet is split thematically into 3 sections. the 1st issues delusion and interpretation as they play out within the analytic state of affairs, and the way within which analyst and sufferer coconstruct which means and reconstruct and get better reminiscence. the second one includes seminal papers which offer the series of steps within the 5 revisions in Freud's seduction concept. Schimek's cautious scholarship lays out the information of Freud's writing, which permits one to attract one's personal conclusions in regards to the implications of the adjustments within the conception that he made. within the 3rd, extra theoretical part, he presents a starting place for realizing a lot of cutting-edge discussions approximately subconscious fable, dreaming, remembering, recognition, impact, self-reflection, mentalization, and implicit relational understanding. He clarifies and illustrates Freud's unique formulations (and their inherent difficulties) via a cautious studying of sections of The Interpretation of Dreams, and a learn of Freud's recognized Signorelli parapraxis.
Skillfully prepared and thoroughly edited by means of Deborah Browning and together with a foreword through Alan Bass, this selection of Schimek's released and unpublished papers could be of curiosity to working towards psychoanalysts, psychoanalytically-oriented psychotherapists, and scholars of the heritage of principles and philosophy who've a selected curiosity in fable, interpretation, and Freud.
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Extra resources for Memory, Myth, and Seduction: Unconscious Fantasy and the Interpretive Process
Sample text
Defining transference, interpreting it, and trying to resolve it through interpretations are inseparable parts of the same process. Thus, the very definition of transference is part of a changing, ongoing process—both within the clinical reality of the psychoanalytic situation and within the evolution of psychoanalytic theory. It is obvious that all the material of the analysis is experienced in the here and now, in the context of the analytic situation. The analyst does not have and does not want independent access to data about the patient’s past or current life; these are not independent variables whose influence and causal relationship to the here and now can be proven and demonstrated.
He is particularly critical of the analyst in the role of the arbiter of reality who makes occasional Olympian pronouncements in the context of a lofty silence. Gill (1982) seems to be aiming toward the ideal of “a consensually validated concept of the actual situation arrived at by discussion and ‘negotiation’ between the two participants in the analytic situation” (p. 96). But does not such an ideal require moving outside the transference and resolving or denying the inequality of the role of the participants created both by the transference and by the reality of the analytic situation (however benign and egalitarian a particular analyst’s style may be)?
Whether the expressions of the transference are sublimated or crude, they may involve the same infantile wishes and conflicts; the unobjectionable, sublimated transference may well express itself by subtle and insidious forms of resistance, particularly in seemingly ideal patients, which, if left untouched, can lead to interminable analyses and unresolvable transferences. The last classical dimension is the degree to which the transference involves a repetition of the past, how much it is an identical repetition, and what kind of past is being repeated.