Bullets don't just travel through skin and bone. They travel through time." These words were tattooed onto the shoulder of a young woman whose father was shot during "The Troubles" in Northern Ireland. This wrenching, volatile but also binding truth is the subject of this book. It's a truth about traumatic experiences that happen to a family, but also to a society, and to the organizations that link these intimate units with the larger context of history and culture. It's also a truth about the way trauma plays out over time, including between generations. Grounded in Erik Erikson's "way of looking at things", the book is a journal of encounters between clinical psychoanalysis and other disciplines, and an inquiry into what might be learned there for both. Sometimes that learning has to do with trauma: the way in which what can't be emotionally contained, thought about or spoken in one part of a system is passed along, with disorganizing, sometimes heartbreaking consequences, to another. After a reflection on dignity, the book examines intergenerational trauma in families, including Erikson's. It then illustrates how trauma to organizations slips below the threshold of awareness and yet continues to wear down its members. The final section examines aspects of the larger society, including radicalization, war trauma, the pandemic and cultural healing. What emerges is the sober yet hopeful truth that what people discover by taking their own emotional experiences seriously, though that might markedly differ from what is accepted in the everyday world, is a primary path toward recovery from trauma.
This book is about how traumatic psychological injury is passed down to the children and grandchildren of those who originally experienced it and about finding the shared humanity in families, in psychotherapy, in society, and in memories of the past that repairs the damage people do to one another.
This book reports on clinical work in, and at the boundaries of, the intermediate space between patient and therapist, perhaps the space between reaching toward dreams and taking the transference. Though the clinical work to be described here was influenced quite deeply by the writing of Winnicott primarily and then of Lacan, it is meant to stand for itself as the record of - and a set of stories about - one therapist's experiences and learning. The chapters that follow take up a range of clinical conditions (hopelessness, self-destructiveness, psychosis), clinical phenomena (regression, impasse, trauma), technical issues (interpretation, transference, free association) and related topics (dreams, creativity, the analytic setting). Most of this work took place at the Austen Riggs Center, a small psychiatric hospital in Stockbridge, Massachusetts, in which quite troubled patients are offered intensive psychoanalytic psychotherapy in a completely open and voluntary therapeutic community setting.
This volume brings together some of the papers presented by leading scholars, artists and psychoanalysts at an annual Creativity Seminar organised by the Erikson Institute of the Austen Riggs Center. Looking at creativity through a psychoanalytic lens - and very importantly, vice versa - the authors examine great works, such as Nathaniel Hawthorne's The Scarlet Letter, Mahler's Eighth Symphony, and William Gibson's The Miracle Worker; as well as great artists, such as Van Gogh and Lennon and McCartney, for what we might learn about the creative process itself. Deepening this conversation are a number of clinical studies and other reflections on the creative process - in sickness and in health, so to speak. A central theme is that of "deep play", the level at which the artist may be unconsciously playing out, on behalf of all of us, the deepest dynamics of human emotion in order that we may leave the encounter not only emotionally spent, but profoundly informed as well.
The relationship between psyche and some is extremely important from a psychoanalytic theoretical and clinical perspective. This book reflects the cutting edge intersection of analytic theory, semiotics, biology, and psycholinguistics.
This volume brings together some of the papers presented by leading scholars, artists and psychoanalysts at an annual Creativity Seminar organised by the Erikson Institute of the Austen Riggs Center. Looking at creativity through a psychoanalytic lens - and very importantly, vice versa - the authors examine great works, such as Nathaniel Hawthorne's The Scarlet Letter, Mahler's Eighth Symphony, and William Gibson's The Miracle Worker; as well as great artists, such as Van Gogh and Lennon and McCartney, for what we might learn about the creative process itself. Deepening this conversation are a number of clinical studies and other reflections on the creative process - in sickness and in health, so to speak. A central theme is that of "deep play", the level at which the artist may be unconsciously playing out, on behalf of all of us, the deepest dynamics of human emotion in order that we may leave the encounter not only emotionally spent, but profoundly informed as well.
This book is about how traumatic psychological injury is passed down to the children and grandchildren of those who originally experienced it and about finding the shared humanity in families, in psychotherapy, in society, and in memories of the past that repairs the damage people do to one another.
Bullets don't just travel through skin and bone. They travel through time." These words were tattooed onto the shoulder of a young woman whose father was shot during "The Troubles" in Northern Ireland. This wrenching, volatile but also binding truth is the subject of this book. It's a truth about traumatic experiences that happen to a family, but also to a society, and to the organizations that link these intimate units with the larger context of history and culture. It's also a truth about the way trauma plays out over time, including between generations. Grounded in Erik Erikson's "way of looking at things", the book is a journal of encounters between clinical psychoanalysis and other disciplines, and an inquiry into what might be learned there for both. Sometimes that learning has to do with trauma: the way in which what can't be emotionally contained, thought about or spoken in one part of a system is passed along, with disorganizing, sometimes heartbreaking consequences, to another. After a reflection on dignity, the book examines intergenerational trauma in families, including Erikson's. It then illustrates how trauma to organizations slips below the threshold of awareness and yet continues to wear down its members. The final section examines aspects of the larger society, including radicalization, war trauma, the pandemic and cultural healing. What emerges is the sober yet hopeful truth that what people discover by taking their own emotional experiences seriously, though that might markedly differ from what is accepted in the everyday world, is a primary path toward recovery from trauma.
This book reports on clinical work in, and at the boundaries of, the intermediate space between patient and therapist, perhaps the space between reaching toward dreams and taking the transference. Though the clinical work to be described here was influenced quite deeply by the writing of Winnicott primarily and then of Lacan, it is meant to stand for itself as the record of - and a set of stories about - one therapist's experiences and learning. The chapters that follow take up a range of clinical conditions (hopelessness, self-destructiveness, psychosis), clinical phenomena (regression, impasse, trauma), technical issues (interpretation, transference, free association) and related topics (dreams, creativity, the analytic setting). Most of this work took place at the Austen Riggs Center, a small psychiatric hospital in Stockbridge, Massachusetts, in which quite troubled patients are offered intensive psychoanalytic psychotherapy in a completely open and voluntary therapeutic community setting.
Are children and adolescents being silenced and their growth stunted in the age of quick diagnoses and overmedication? In The Silenced Child, Dr. Claudia Gold shows the tremendous power of listening in parent/child and doctor/patient relationships. Through vivid stories, perceptive insights, and new research, she shows the way children grow from these relationships and how being heard actually changes their brains. She helps both parents and caregivers make the time and space for listening. Praise for Keeping Your Child in Mind: "A very useful, thoughtful book. It lays out the best thinking of our time to help parents make decisions about nurturing their child's development." -- T. Berry Brazelton, MD, professor of Pediatrics, Emeritus Harvard Medical School
Being understood by someone you love is one of the most powerful feelings, at all ages. For a young child, it is the most important of all experiences because it allows the child's mind and sense of self to grow. In the midst of the perennial concerns parents bring to Dr. Claudia Gold, she shows the magical effect of seeing a problem from their child's point of view. Most parenting books teach parents what to do to solve behavior problems, but Dr. Gold shows parents how to be with a child. Crises are defused when children feel truly heard and validated; this is how they learn to understand, and, eventually, control themselves. Dr. Gold's insightful guide uses new research in developmental psychology and vivid stories from her practice to show parents how to keep a child in mind and deepen this central relationship in their lives.
Birth Passages offers a provocative and eloquent challenge to the nostalgia for the maternal, sometimes influenced by classic Freudian theory, which pervades many discourses. Theresa M. Krier suggests an alternative to the common characterizations of "the maternal" as a force inspiring both desire and dread, a force that must be repressed if subjectivity and culture are to be established. Instead, drawing on the work of Melanie Klein, D. W. Winnicott, and Luce Irigaray, Krier seeks to establish a new model of the relationship between mother and infant, one in which birth is seen not as the tragic ending to the prenatal union but rather as the child's claiming both distance from and proximity to this parent. Krier's insightful readings of poetic works from antiquity, the Middle Ages, and the Renaissance show these texts in opposition to their cultures' insistent nostalgia for the maternal. Their authors, she maintains, recognize such longing as a symptom of a glamorous but false and disabling fantasy. In her analysis of the Song of Songs, Lucretius's De rerum natura, Chaucer's Parlement of Foules, Spenser's Amoretti and Faerie Queene, and Shakespeare's Love's Labor's Lost and The Winter's Tale, Krier details how the writings represent the intersubjective nature of birth.
Appropriate for introductory psychology courses, this text is very "newsy." The author never resorts to "John & Mary in the dorm" hypotheticals to make a point. Rather he illustrates the principles of psychology with vivid events from the worlds of entertainment, sports, literature, medicine, law, politics, and current events.
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