By Danielle Knafo
In writing and lecturing over the last 20 years at the courting among psychoanalysis and artwork, Danielle Knafo has validated the numerous ways that those disciplines tell and light up one another. This booklet keeps that dialogue, emphasizing how the inventive technique in psychoanalysis and paintings makes use of the subconscious in a quest for transformation and therapeutic. half one of many booklet provides case reports to teach how loose organization, transference, dream paintings, regression, altered states of recognition, trauma, and solitude functionality as inventive instruments for analyst, sufferer, and artist. Knafo makes use of the metaphor of dance to explain healing motion, the back-and-forth circulate among therapist and sufferer, earlier and current, containment and free up, and wakeful and subconscious inspiration. The analytic couple is either artist and medium, and the dance they do jointly is a dynamic illustration of the boundless creativity of the subconscious brain. half of the publication bargains in-depth reviews of a number of artists to demonstrate how they hire a variety of media for self-expression and self-creation. Knafo indicates how artists, even though usually growing in solitude, are often engaged in major relational proceses that attempt rapprochement with internalized items and service of psychic damage. Dancing with the Unconscious expands the theoretical measurement of psychoanalysis whereas delivering the clinician how you can observe higher creativity in paintings with patients.
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Extra info for Dancing with the unconscious : the art of psychoanalysis and the psychoanalysis of art
A clinical case is presented to describe the treatment of a woman who could not bear being alone until she began writing her memoir in solitude. Part II: The Psychoanalysis of Art Chapter 6, “Dreams of Genius: Sigmund Freud and C. G. Jung,” illustrates the manner in which two dreams—one of Freud's and one of Jung's— inform the minds of these two giants, as well as their respective constructions of psychoanalytic theory. From the viewpoint of the unconscious, each man dreamed his theory before he wrote it.
DREAMS Dreams are perhaps the most direct communications of the unconscious mind. Freud (1900/1953b) used the dream as the model for all unconscious mental experience. Like graphic artworks, dreams employ an economy of visual expression to articulate our inner lives. Dreams occur prior to the intervention of conscious thought and frequently present themselves as riddles to consciousness. Often the more incoherent dreams appear, the greater their revelatory value, for the condensation of their symbolism contains a world of meaning.
For this reason, creativity is at the heart of self-transformation. The bridge between psychoanalysis and art does not need to be built; it has existed all along. Following is a synopsis of the individual chapters. Part I: the art of Psychoanalysis Chapter 1, “Dancing with the Unconscious: The Art of Psychoanalysis,” looks at psychoanalytic work as an art form and uses the metaphor of dance to describe the rich creativity of mental life and analytic work. ” A compelling session with a transsexual patient that used dream analysis is presented verbatim, supplemented by transient reflections and subsequent analysis.