Psychoanalysis and Creativity in Everyday Life: Ordinary Genius is an attempt to create a psychoanalytic space for the quest and questions of our everyday creativity. Official creativity is normally applauded to the point of obscuring all other types of creativity, with detrimental consequences for our psychic life. However, as Gemma Corradi Fiumara demonstrates, the creative force of ordinary subjects can be as vigorous as that of our acclaimed, official accomplishments. Corradi Fiumara focuses on the unsung creativity which emerges from relationships and the world at large. She explores how understanding the operation of creative impulses in an everyday setting can crucially inform psychoanalytic clinical work. There are three main themes: Donald Winnicott’s Psychoanalytic Will Melanie Klein and the Other Side of Genius Genius: Ordinary and Extraordinary. Psychoanalysis and Creativity in Everyday Life advocates an inclusionary view of human genius, and demonstrates that creativity and genius can be manifested in everyday life with the ordinary as its focus of attention. It will be key reading for psychoanalysts, psychoanalytic psychotherapists, philosophers and scholars in social studies.

This book advances an integrative approach to understanding the phenomenon of psychosocial maturation. Through a rigorous, dialectically-informed interpretation of psychoanalytic and humanistic-existential-phenomenological sources, Mufid James Hannush distils thirty essential markers of maturity. The dialectical approach is described as a process whereby lived, affect-and-value laden polar meanings are transformed, through deep insight, into complementary and integrative meta-meanings. The author demonstrates how responding to the call of maturation can be viewed as a life project that serves the ultimate purpose of living a balanced life. The book will appeal to students and scholars of human development, psychotherapy, social work, philosophy, and existential, humanistic, and phenomenological psychology.

"Psychoanalysis and Buddhism" pairs Buddhist psychotherapists together with leading figures in psychoanalysis who have a general interest in the role of spirituality in psychology. The resulting essays present an illuminating discourse on these two disciplines and how they intersect. This landmark book challenges traditional thoughts on psychoanalysis and Buddhism and propels them to a higher level of understanding.

First published in 1983. Volume 10 of the Psychoanalytic Study of Society papers. with essays on anthropology, religion, history, literature, and music.

This book explores the phenomenon of creativity and creation from a psychoanalytic point of view, focusing on understanding the psychoemotional dynamics underlying artistic creative activities, such as theatre, literature, and painting. Throughout, Delgado considers these works of art through a Bionian, Kleinian, and Freudian lens. He uses three major psychoanalytic models of the creative process, two of them classic: the first, Freudian, based on the theory of conflict between impulse and defense, the result of the effort to manage an excessive drive activity, and in which the concept of sublimation is central; the second, Kleinian, based on the attachment theory, in which creative effort corresponds to an attempt to repair the damage done to the object or to the self; and the third, more recent, affiliated with the more expanded attachment relationship theory, based on W. Bion’s theory of thinking, and emphasizing the continent’s capacity for psyche and the oscillation between schizo-paranoid and depressive positions. With illustrations throughout, this book will be vital reading for anyone interested in the intersection of creativity, the Arts, and psychoanalysis.

Image and sensing have been underrated in Western thought but have come into their own since the Romantic movement and have always been valued by poets and mystics. Images come in all shapes and sizes and give expression to our felt sense of life. We say we are made in the image of God, yet God has no image. What kind of image do we mean? An impalpable image carrying impalpable sense? An ineffable sense permeates and takes us beyond the five senses, creating infinities within everyday life. Some people report experiencing colour and sound when they write or hear words. Sensing mediates the feel of life, often giving birth to image. In this compelling book, the author leads us through an array of images and sensing in many dimensions of experience, beginning with a sense of being born all through life, psychosis, mystical moments, the body, the pregnancy of "no", shame, his session with Andre Green, and his thoughts related to James Grotstein, Wilfred Bion, and Marion Milner.

A revolution is brewing in psychoanalysis: after a century of struggle to define psychoanalysis as a science, the concept of psychoanalysis as an art is finding expression in an unconventional 'return to Freud' that reformulates the relationship between art and psychoanalysis and in this process, discovers and explores uncharted routes through art to re-think problems in contemporary clinical work. This book explores recent contributions to the status of psychoanalytic thought in relation to art and creativity and the implications of these investigations for todays analytic practice. The title, 'Art in Psychoanalysis', reflects its double perspective: art and its contributions to theory and clinical practice on the one hand, and the response from psychoanalysis and its "interpretation" of art. These essays expose the "aesthetic value of analytic work when it is able to 'create' something new in the relation with the patient". The authors surprise the reader with an immense array of fresh and stimulating hypotheses which reflect the originality of their own creative process that has overturned ideas including the 'application of psychoanalysis' to art and the entity of the object of art.

This new hardcover annual offers a unique scholarly format, an interdisciplinary dialogue that, it is hoped, will foster the development of a sound, useful methodology for applying psychoanalytic insight to art and artists. The series provides a medium for those who study art, those who interpret it, and occasionally those who create it, formally to explore the meaning of an artistic work as the direct reflection of the inner world of its creator. Within each volume, individual topics are addressed by either an art historian or a psychoanalyst, with a response frequently tendered by an expert from the other field. Reviews of important books of cross-disciplinary interest are treated in a similar manner, and include rebuttals by the authors themselves. It is precisely this exchange of ideas among scholars with difference perspectives on the meaning of a work of art that sets PPA apart from the standard art history publication. Its depth of scholarship, coupled with its innovative format, make it a fascinating addition to the burgeoning field of psychoanalytic studies of art history.

In Building Bridges, Stuart A. Pizer gives much-needed recognition to the central role of negotiation in the analytic relationship and in the therapeutic process. Building on a Winnicottian perspective that comprehends paradox as the condition for preserving an intrapsychic and relational “potential space,” Pizer explores how the straddling of paradox requires an ongoing process of negotiation and demonstrates how such negotiation articulates the creative potential within the potential space of analysis. Following careful review of Winnicott’s perspective on paradox—via the pairings of privacy and interrelatedness, isolation and interdependence, ruthlessness and concern, and the notion of transitional phenomena—Pizer locates these elemental paradoxes within the negotiations of an analytic process. Together, he observes, analyst and patient negotiate the boundaries, potentials, limits, tonalities, resistances, and meanings that determine the course of their clinical dialogue. Elaborating on the theme of a multiply constituted, “distributed” self, Pizer presents a model for the tolerance of paradox as a developmental achievement related to ways in which caretakers function as “transitional mirrors.” He then explores the impact of trauma and dissociation on the child’s ability to negotiate paradox and clarifies how negotiation of paradox differs from negotiation of conflict. Pizer also broadens the scope of his study by turning to negotiation theory and practices in the disciplines of law, diplomacy, and dispute resolution. Enlivened by numerous clinical vignettes and a richly detailed chronicle of an analytic case from its earliest negotiations to termination,Building Bridges adds a significant dimension to theoretical understanding and clinical practice. Now republished as a Classic Edition with an Introduction by Donnel Stern, this book is altogether a psychoanalytic work of our time.

This book examines the importance of language and writing in psychoanalytic theory and practice, offering an understanding of how language works can give a deeper insight into the psyche both in clinical practice and everyday life. Bringing together psychoanalytic insights that hinge on the language of "difficult cases", this collection also includes contributions dedicated to meta-study of psychoanalytic writing. The first chapter shows how music includes tonal regions that deploy existing rules and syntax, alongside atonal ones dominated by caesuras, pauses, and tensions. The second chapter discusses the malignant ambiguity of revealing and concealing typical of incestuous situations, pinpointing how the ambiguous language of incest "deceives by means of the truth,". The third chapter brings in Virginia Woolf’s character Orlando in order to illustrate two types of gender crossing. Distinctions defined by the linguist Roman Jakobson help in the fourth chapter to offer an integrative description of obsessive-compulsive phenomenon as an interaction between metaphoric and metonymic dimensions, as well as with a third, psychotic dimension. The fifth chapter focuses on what is called the "screen confessions" typical of the perpetrator’s language. George Orwell’s "newspeak" is used here to decipher the specific means by which the perpetrator turns his or her "inner witness" into a blind one. The final chapter uses Roland Barthes’ concepts of "studium" and "punctum" to discuss the limits of psychoanalytic writing. As a whole, this book sets the psychoanalytic importance of language in a wider understanding of how language helps to shape and even create internal as well as the external world. Drawing on insights from psychoanalytic theory and practice, as well as from linguistics and cultural theory, this book will be invaluable for psychoanalysts, psychoanalytic psychotherapists and bibliotherapists, as well as anyone interested in how language forms our reality.