Contemporary psychoanalytic thinking about the interdependence of subjectivity and intersubjectivity has reenvisioned the analytic process, and with it the very nature of creative and engaged psychoanalytic listening. Yet few systematic writings on psychoanalytic listening or technique provide comprehensive instruction that would prepare the analyst for the kind of analytic listening needed to participate imaginatively in this sort of intersubjective experience.Offering a short course in analytic listening, Creative Listening and the Psychoanalytic Process provides a guide for the clinical uses of imaginative literature. Outside the psychoanalytic literature, extraordinary pieces of imaginative literature exist that provide the kind of experience in analytic listening that can guide clinicians in their work with patients. Certain works of fiction create textured, sensory worlds in which complex characters possessing shifting states of consciousness live within fluid emotional atmospheres. In this book, Fred Griffin demonstrates that by entering the worlds that original writers create in their texts, the psychoanalytic therapist will learn to attend more closely to varying emotional states that generate nuanced, multidimensional views of the analysand’s internal and relational worlds. He illustrates how these works capture more fully the sensory experience encountered by psychoanalysts when taking in what the patient communicates within the analytic space. Creative Listening and the Psychoanalytic Process presents case material alongside selected passages from works of fiction written by a range of creative writers, each of which stimulates analytic sensibility about this clinical experience. A conceptual framework is provided that makes these and other original works of fiction more accessible for these purposes. This book will be essential reading for psychoanalysts and psychoanalytic psychotherapists, as well as professors and graduate students studying psychoanalysis and literature. It will also appeal to literary scholars and those teaching and practicing in the field of narrative medicine.

Through a series of radical and innovative chapters, Beyond Psychoanalytic Literary Criticism: Between Literature and Mind challenges the tradition of applied psychoanalysis that has long dominated psychoanalytic literary criticism. Benjamin H. Ogden, a literary scholar, proposes that a new form of analytic literary criticism take its place, one that begins from a place of respect for the mystery of literature and the complexity of its inner workings. In this book, through readings of authors such as J.M. Coetzee, Flannery O’Connor, and Vladimir Nabokov, the mysteries upon which literary works rely for their enduring power are enumerated and studied. Such mysteries are thereafter interwoven into a series of pioneering studies of how the conceptions of thinking, dreaming, and losing become meaningful within the unique aesthetic conditions of individual novels and poems. Each chapter is a provisional solution to the difficult "bridging problems" that arise when literary figures work in the psychoanalytic space, and when psychoanalysts attempt to make use of literature for analytic purposes. At every turn, Beyond Psychoanalytic Literary Criticism: Between Literature and Mind acts as a living example of the territory it explores: the space between two disciplines, wherein the writer brings into being a form of psychoanalytic literary criticism of his own making. Forgoing traditional applied psychoanalysis and technical jargon, this highly accessible, interdisciplinary work will appeal to psychoanalysts and psychoanalytic psychotherapists, as well as literary critics and scholars.

In this compact and pithy book, the distinguished and prolific psychoanalyst Salman Akhtar steps out of his consulting room to address certain matters of urgent global concern. These include migration across national borders, the current refugee crisis, ethno-racial prejudice, subjective distress of minorities, and, above all, the forever-present ominous shadow of terrorism. Akhtar evolves and advocates a uniquely 'anthropological psychoanalysis' which is a blend of depth psychology and humanities, including sociology, economics, political science, history, and , of course, anthropology. He deconstructs what seems self-evident and confronts his readers with some socio-politically unpleasant realities, both within psychoanalysis and in the prevalent perspectives on the on-going turmoil and bloodshed in today's world. His book is not all doom and gloom, however. It also delineates ameliorative strategies for dealing with the pain of the disenfranchised and the misguided violence of the radicalized. This is applied psychoanalysis at its best.

Acoustic Justice engages issues of recognition and misrecognition by mobilizing an acoustic framework. From the vibrational intensities of common life to the rhythm of bodies in movement, and drawing from his ongoing work on sound and agency, Brandon LaBelle positions acoustics, and the broader experience of listening, as a dynamic means for fostering responsiveness, understanding, dispute, and the work of reorientation. As such, acoustic justice emerges as a compelling platform for engaging struggles over the right to speak and to be heard that extends toward a broader materialist and planetary view. This entails critically addressing questions of space, borders, community, and the acoustic norms defining capacities of listening, leading to what LaBelle terms “poetic ecologies of resonance.” Acoustic Justice works at issues of recognition and resistance, place and displacement, by moving across a range of pertinent references and topics, from social practices and sound art to the performativity of skin and the poetics of Deaf voice. Through such transversality, LaBelle captures acoustics as the basis for strategies of refusal and repair.

This book is one of a short series on the teaching of post-Kleinian psychoanalysis, with a companion volume on Teaching Meltzer.

This book addresses aspects of how creativity is viewed in psychoanalytic theory and worked with in the consulting room, with particular reference to human generativity and the life cycle, within the arts in the broadest sense and its workings in society and culture in the widest sense.

Art, Creativity, and Psychoanalysis: Perspectives from Analyst-Artists collects personal reflections by therapists who are also professional artists. It explores the relationship between art and analysis through accounts by practitioners who identify themselves as dual-profession artists and analysts. The book illustrates the numerous areas where analysis and art share common characteristics using first-hand, in-depth accounts. These vivid reports from the frontier of art and psychoanalysis shed light on the day-to-day struggle to succeed at both of these demanding professions. From the beginning of psychoanalysis, many have made comparisons between analysis and art. Recently there has been increasing interest in the relationship between artistic and psychotherapeutic practices. Most important, both professions are viewed as highly creative with spontaneity, improvisation and aesthetic experience seeming to be common to each. However, differences have also been recognized, especially regarding the differing goals of each profession: art leading to the creation of an art work, and psychoanalysis resulting in the increased welfare and happiness of the patient. These issues are addressed head-on in Art, Creativity, and Psychoanalysis: Perspectives from Analyst-Artists. The chapters consist of personal essays by analyst/artists who are currently working in both professions; each has been trained in and is currently practicing psychoanalysis or psychoanalytic psychotherapy. The goal of the book is to provide the audience with a new understanding of psychoanalytic and psychotherapeutic processes from the perspective of art and artistic creativity. Drawing on artistic material from painting, poetry, photography, music and literature, the book casts light on what the creative processes in art can add to the psychoanalytic endeavor, and vice versa. Art, Creativity, and Psychoanalysis: Perspectives from Analyst-Artists will appeal to psychoanalysts and psychoanalytic psychotherapists, theorists of art, academic artists, and anyone interested in the psychology of art.

There is currently a burgeoning interest in the relationship between the Western psychotherapeutic and Buddhist meditative traditions among therapists, researchers, and spiritual seekers. Psychotherapy and Buddhism initiates a conversation between these two modern methods of achieving greater self-understanding and peace of mind. Dr. Jeffrey B. Rubin explores how they might be combined to better serve patients in therapy and adherents to a spiritual way of life. He examines the strengths and limitations of each tradition through three contexts: the nature of self, conception of ideal health, and process of achieving optimal health. The volume features the first two cases of Buddhists in psychoanalytic treatment.

This voluminous book of 47 chapters offers a good cross section of what is burgeoing in the field of client-centered and experiential psychotherapy on the threshold of the nineties. it does not represent a single vision but gives the floor to the various suborientations: classics Rogerians; client-centered therapists who favor some form of integration or even eclecticism; experiential psychotherapists for whom Gendlin's focusing approach is a precious way of working; client-centered therapists who look at the therapy process in terms of information-processing; existentially oriented therapists... Remarkable is that - for the first time in the history of client-centered/experiential psychotherapy - the European voice rings through forcefully: more than half of the contributions were written by authors from Western Europe.Several chapters contain reflections on the evolution--past, present, and future--of client-centered/experiential psychotherapy. The intensive research into the process, which had a central place in the initial phase of client-centered therapy, is given here ample attention, with several creative studies and proposals for renewal. In numerous contributions efforts are made to build and further develop a theroy of psychopathology, the client's process, the basic attitudes and task-oriented interventions of the therapist. The chapters dealing with clinical practice typically aim at the description of therapy with specific client populations and paricularly severely disturbed clients. And finally a few fields are introduced which are new or barely explored within the client-centered/experiential approach: working with dreams, health psychology, couple and family therapy.

In this compelling book, Lauren Levine explores the transformative power of stories and storytelling in psychoanalysis to heal psychic wounds and create shared symbolic meaning and coherence out of ungrieved loss and trauma. Through evocative clinical stories, Levine considers the impact of trauma and creativity on the challenge of creating one’s own story, resonant with personal authenticity and a shared sense of culture and history. Levine sees creativity as an essential aspect of aliveness, and as transformative, emergent in the clinical process. She utilizes film, dance, poetry, literature, and dreams as creative frames to explore diverse aspects of psychoanalytic process. As a psychoanalyst and writer, Levine is interested in the stories we tell, individually and collectively, as well as what gets disavowed and dissociated by experiences of relational, intergenerational, and sociopolitical trauma. She is concerned too with whose stories get told and whose get erased, silenced, and marginalized. This crucial question, what gets left out of the narrative, and the potential for an intimate psychoanalytic process to help patients reclaim what has been lost, is at the heart of this volume. Attentive to the work of helping patients reclaim their memory and creative agency, his book will prove invaluable for psychoanalysts and psychotherapists in practice and in training.