In this in-depth and unique collaboration between a patient and his psychoanalyst, Psychoanalysis, Intersubjective Writing, and a Postmaterialist Model of Mind: I Woke Up Dead examines the unconscious mind by analysing the patient’s novel written during his treatment as the focus. Using the patient’s creative writing and their intersubjective relationship as evidence, Dan Gilhooley and Frank Toich show how psychoanalysis fits within a postmaterialist model of mind. In this ground-breaking exploration, Gilhooley and Toich together demonstrate how a nonlocal unconscious can reshape the psychoanalytic conception of the mind. Split into four parts, Intersubjective, Quantum, History and Collaboration, Dan introduces three themes in the first: recovery from death, the intersubjective nature of therapeutic work and the role of creative imagination, combining these themes with analysis of Frank’s work and short, related stories from his own life. Part II, Quantum, introduces the concept of nonlocality to describe the mind and draws on the appearance of quantum physics in Frank’s science fiction, before moving onto Part III, History, which examines the emergence of psychoanalysis out of animal magnetism, looking at rapport, telepathy and love in psychotherapy. Finally, Collaboration discusses their ongoing psychotherapeutic experiment, the role of imagination, dissociation and the cosmic mind in psychological growth. Interweaving creative writing, psychoanalytic theory and real-life stories, the book re-contextualizes the history and future of psychoanalysis. Due to its multidisciplinary nature, this book will appeal to psychotherapists and psychologists in practice and in training. It would also be a vital resource for academics and students of counseling, consciousness studies, psychoanalysis, psychotherapy and psychology.

This book describes the personal journey of a collection of contributors, detailing their pathways to becoming psychoanalysts and psychotherapists, with insights from many of the most interesting analysts in the field. The history of psychoanalysis and psychotherapy indicates that the pioneers were individuals who came from different pathways, such as medicine, law, education, and art. The integration of men and women with different educational and career backgrounds enhance the intellectual and clinical evolution of the field. Here, Arnold Rachman and Harold Kooden have invited a diverse group of practicing clinicians to demonstrate that psychoanalysis and psychotherapy continues to welcome and integrate individuals with a wide variety of intellectual interests and atypical career pathways. In showing how varied and personalized the route into analysis can be, this book will be of great interest to clinicians of all levels and experience, and will offer inspiration to those just entering the profession.

Scansion in Psychoanalysis and Art examines a strain of artists spanning more than a century, beginning at the dawn of photography and culminating in the discussion of contemporary artists, to illustrate various psychoanalytic concepts by examining artists working in a multitude of media. Drawing on the theories of Sigmund Freud, who applied psychoanalytic methods to art and literature to decipher the meaning and intention of the creator, as well as Jacques Lacan’s dissemination of scansion as a powerful disruption of narrative, the book explores examples of the long and rich relationship between psychoanalysis and the fine arts. Whilst guiding readers through the different artists and their artforms – from painting and music to poetry, collage, photography, film, performance art, technology and body modification – Sinclair interrogates scansion as a generative process often inherent of the act of creation itself. This is an intriguing book for psychoanalysts, psychologists and creative arts therapists who wish to explore the generative potential of scansion and the relationship between psychoanalysis and the arts, as well as for artists and art historians interested in a psychoanalytic view of these processes.

Why do painters paint? Obviously, there are numerous possible reasons. They paint to create images for others’ enjoyment, to solve visual problems, to convey ideas, and to contribute to a rich artistic tradition. This book argues that there is yet another, crucially important but often overlooked reason. Painters paint to feel. They paint because it enables them to experience special feelings, such as being absorbed in creative play and connected to something vitally significant. Painting may even transform the painter’s whole sense of being. Thus, painting is not only about producing art, communicating content, and so on, but also about setting up and inhabiting an experiential space wherein highly valued feelings are interactively enabled and supported. This book investigates how and why this happens by combining psychoanalytical theorization on creativity with philosophical thinking on affectivity. It focuses on creative experience itself, and illuminates the psychological mechanisms and dynamics that underlie the affects at stake. Painters’ own descriptions of how they feel at work are used throughout to give an accurate, true-to-life portrayal of the experience of painting. The strength of the book lies in its open-minded yet critical integration of contemporary psychoanalytic and philosophical thinking, and in its truthfulness to painters’ experiential descriptions of the painterly process. On the whole, it enriches our understanding of artistic creativity and sheds more light on how and why we come to feel the things we do. As such, the book will appeal to philosophers, psychoanalysts, and art researchers alike.

In this volume, the authors complete the circle begun with Faces in a Cloud (1979) and continued with Structures of Subjectivity (1984) and Psychoanalytic Treatment: An Intersubjective Approach (1987- with Brandchaft). They now extend intersubjectivity theory to a rethinking of the foundational pillars of psychoanalytic theory since they have already demonstrated the degree to which psychological theory is influenced by the subjective world of the psychological theorist, explored the various "structures of subjectivity" that organize the subjective world, and applied the intersubjective perspective to a broad array of clinical issues. Beginning with an in-depth critique of the concept of the isolated individual mind, Stolorow and Atwood argue that this myth has long obstructed recognition of the intersubjective foundations of psychological life. The authors then proceed to a series of chapters that reframe, from the standpoint of intersubjectivity theory, basic assumptions of the psychoanalytic theory of mental life. Concluding chapters on "varieties of therapeutic alliance" and "varieties of therapeutic impasse" further exemplify the ability of intersubjectivity theory to reorient the psychoanalytic therapist, thus providing fresh strategies for understanding and addressing the most challenging clinical contingencies. Contexts of Being is the conceptual culmination of Stolorow and Atwood's earlier studies, giving them a forum to explain why the perspective of intersubjectivity cannot be reduced to a clinical sensibility that can be grafted onto existing psychoanalytic theory. Rather, the authors argue, the intersubjective perspective has methodological and epistemological implications that mandate a radical revision of all aspects of psychoanalytic thought. Not only a cogent elaboration of these implications, the volume is also an important first step in effecting the sweeping revision that follows from them.

From an overview of the basic principles of intersubjectivity theory, Orange, Atwood, and Stolorow proceed to contextualist critiques of the concept of psychoanalytic technique and of the myth of analytic neutrality. They then examine the intersubjective contexts of extreme states of psychological disintegration, and conclude with an examination of what it means, philosophically and clinically, to think and work contextually. This lucidly written and cogently argued work is the next step in the development of intersubjectivity theory. In particular, it is a clinically grounded continuation of Stolorow and Atwood's Contexts of Being (TAP, 1992), which reconceptualized four foundational pillars of psychoanalytic theory -- the unconscious, mind-body relations, trauma, and fantasy -- from an intersubjective perspective. Working Intersubjectively expounds and illustrates the contextualist sensibility that grows out of this reconceptualization. Like preceding volumes in the Psychoanalytic Inquiry Book Series by Robert Stolorow and his colleagues, it will be theoretically challenging and clinically useful to a wide readership of psychoanalysts and psychoanalytically informed psychotherapists.

Winner of the American Board & Academy of Psychoanalysis Prize for best Edited book published in 2016 Psychoanalysis in Italy is a particularly diverse and vibrant profession, embracing a number of influences and schools of thought, connecting together new thinking, and producing theorists and clinicians of global renown. Reading Italian Psychoanalysis provides a comprehensive guide to the most important Italian psychoanalytic thinking of recent years, including work by major names such as Weiss, E.Gaddini, Matte Blanco, Nissim Momigliano, Canestri, Amati Mehler, and Ferro. It covers the most important theoretical developments and clinical advances, with special emphasis on contemporary topics such as transference, trauma and primitive states of mind where Italian work has been particular influential. In this volume, Franco Borgogno, Alberto Luchetti and Luisa Marino Coe of the Italian Psychoanalytical Society provide an overview of how Italian psychoanalysis has developed from the 1920’s to the present day, tracing its early influences and highlighting contemporary developments. Forty-six seminal and representative papers of psychoanalysts belonging to the two Italian psychoanalytical societies (the Italian Psychoanalytical Society and the Italian Association of Psychoanalysis) have been chosen to illuminate what is special about Italian theoretical and clinical thinking, and what is demonstrative of the specificity of its psychoanalytic discourse. The selected papers are preceded by a first introductory section about the history of psychoanalysis in Italy and followed by a "swift glance at Italian psychoanalysis from abroad". They are grouped into sections which represent the areas particularly explored by Italian psychoanalysis. Each section is accompanied by introductory comments which summarize the main ideas and concepts and also their historical and cultural background, so as to offer to the reader either an orientation and stimulus for the debate and to indicate their connections to other papers included in the present volume and to the international psychoanalytic world. The book is divided into six parts including: History of psychoanalysis in Italy Metapsychology Clinical practice, theory of technique, therapeutic factors The person of the analyst, countertransference and the analytic relationship/field Trauma, psychic pain, mourning and working-through Preverbal, precocious, fusional, primitive states of the mind This volume offers an excellent and detailed "fresco" of Italian psychoanalytic debate, shining a light on thinking that has evolved differently in France, England, North and Latin America. It is an ideal book for beginners and advanced students of clinical theory as well as experienced psychoanalysts wanting to know more about Italian psychoanalytic theory and technique, and how they have developed.