Moving from Within The Maternal

2017 ◽  
Vol 65 (1) ◽  
pp. 33-60 ◽  
Author(s):  
Dianne Elise
Keyword(s):  
Clinical Benefit ◽  
Clinical Work ◽  
Narrative Form ◽  
Erotic Transference ◽  
Starting Point ◽  
Transference And Countertransference ◽  
Creative Vitality

With Kristeva’s concept of maternal eroticism (2014) as starting point, the “multiverse” of mother/child erotic sensibilities—the dance of the semiotic chora—is explored and a parallel engagement proposed within the analytic dyad. The dance of psychoanalysis is not the creative product of the patient’s mind alone. Clinical work invites, requires, a choreographic engagement by the clinician in interplay with the patient. The clinician’s analytic activity is thus akin to choreography: the structuring of a dance, or of a session, expresses an inner impulse brought into narrative form. The embodied art of dance parallels the clinician’s creative vitality in contributing to the shaping of the movement of a session. Through formulation of an analytic eroticism, the terrain of what traditionally has been viewed as erotic transference and countertransference can be expanded to clinical benefit.

The phenomenon of medically unexplained chronic pain

2017 ◽  
Vol 5 (2) ◽  
pp. 253
Author(s):  
Lars-Petter Granan
Keyword(s):  
Chronic Pain ◽  
Clinical Benefit ◽  
Treatment Options ◽  
Clinical Aspect ◽  
Treatment Modalities ◽  
Next Of Kin ◽  
Theory Of Evolution ◽  
Unexplained Pain ◽  
Starting Point ◽  
Medically Unexplained

This article begins by defining what medically unexplained pain is and if the content of this terminology is dependent on the prevailing medical framework. It will then proceed to discuss various treatment options and what sort of clinical benefit has been documented from them. In addition, the paper will focus on how we might reconsider the premises and consequences of an altered framework to develop individualized and targeted treatment modalities. This shift in conceptualization of medically unexplained pain is founded on the basics of psychology (i.e., the study of behaviour and mind, not the clinical aspect of it), neuroscience and the theory of evolution. The paper is advanced as a starting point for a fruitful discussion on how to encounter with persons with a longstanding pain condition and what the next steps for clinicians, the afflicted, the next of kin, Society and researchers ought to be.

scholarly journals On the politics of discordant, estranging and bonding reliability: Contextualist narratology at work

2018 ◽  
Vol 4 (s1) ◽  
pp. s190-s212
Author(s):  
Marta Puxan-Oliva
Keyword(s):  
Political Ideology ◽  
Albert Camus ◽  
Narrative Form ◽  
Historical Discourse ◽  
Politics Of Form ◽  
Political Discourses ◽  
Starting Point ◽  
Good Starting Point ◽  
Narrative Forms ◽  
The Stranger

AbstractAs proposed by Olson and Copland (2016), “the politics of form” should help us examine both the ways in which politics condition narrative form and the ways in which narrative forms, in turn, participate in their political contexts. Contextualist approaches in narratology have gained attention since the beginning of the 21st century, but theorists still struggle to determine how political discourses are relevant to narrative form. This article proposes that the modulations of narrative reliability known as “estranging narration” (Phelan 2007) and “discordant narration” (Cohn 2002) are especially dependent on the political discourses that make them possible. Both categories describe forms of narrative reliability based on biased judgment rather than misreported facts, but the use of political ideology in these approaches has not been sufficiently examined. This is evident in Albert Camus’ L’étranger (1942) [The Stranger], which actively uses the École d’Alger colonial discourse of the Méditerranée from contemporaneous French Algeria, to produce an ambivalent version of estranging and discordant narration. The politics of form, therefore, provides an opportunity to delve into and revise the concepts of estranging and discordant narration, which constitute a good starting point for narratologists’ efforts to elucidate both the uses of historical discourse in narrative poetics and the uses of narrative poetics for shaping political ideology.

Enhancing our Understanding of the Potential Violation of Sexual Boundaries in Sport Psychology Consultancy

2010 ◽  
Vol 4 (4) ◽  
pp. 302-311 ◽  
Author(s):  
Guy Little ◽  
Chris Harwood
Keyword(s):  
Sport Psychology ◽  
Counseling Psychology ◽  
Role Playing ◽  
Boundary Violations ◽  
Therapeutic Tool ◽  
Erotic Transference ◽  
Sexual Boundaries ◽  
Current State ◽  
Transference And Countertransference ◽  
Sexual Boundary Violations

This article discusses issues surrounding the potential violation of sexual boundaries in sport psychology consultancy and critically evaluates the current state of knowledge in the field. Limited discussion and research relating to this ethical issue exists within sport psychology; the discussion that has occurred has mainly focused on erotic transference and countertransference (Andersen, 2005). Research and knowledge from clinical psychology, counseling psychology, and psychotherapy proffers ideas for discussion and research into the factors that precipitate sexual boundary violations. The relevance of the controversial practice of touch as a therapeutic tool and a stimulus for sexual boundary violations is considered, alongside implications for the training of neophyte practitioners through role-playing, peer support, and supervision.

Fugitive Testimony

2016 ◽  
Author(s):  
Janet Neary
Keyword(s):  
Slave Narratives ◽  
Narrative Form ◽  
Slave Narrative ◽  
Visual Artists ◽  
Elizabeth Keckley ◽  
Starting Point ◽  
And Performance ◽  
Narrative Performance ◽  
Kara Walker ◽  
Glenn Ligon

Fugitive Testimony traces the African American slave narrative across the 18th, 19th, and 20th centuries in order to rethink the epistemological limits of the form and to theorize the complicated interplay between the visual and the literary throughout its history. Gathering an archive of ante- and post-bellum literary slave narratives and visual art, the book redraws the genealogy of the slave narrative in light of its emergence in contemporary art and brings visual and performance theory to bear on the genre’s central problematic: that the ex-slave narrator must be both object and subject of the narrative to provide an eyewitness account of his or her own enslavement. The book takes as its starting point the evocation of the slave narrative in works by a number of current-day visual artists, including Glenn Ligon, Kara Walker, and Ellen Driscoll, and uses the representational strategies of these artists to decode the visual work performed in 19th-century literary narratives by Elizabeth Keckley, Solomon Northup, William Craft, and Henry Box Brown. Focusing on slave narratives’ textual visuality and aspects of narrative performance, rather than the intermedial, semiotic traffic between images and text, the book argues that ex-slave narrators and the contemporary artists under consideration use the logic of the slave narrative form against itself to undermine the evidentiary epistemology of the genre and offer a model of visuality as intersubjective recognition rather than objective division.

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