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The author, practitioner of psychoanalytic psychotherapy with children and adolescents, explains her point of view regarding psychotherapy versus psychoanalysis. Verbatim process notes illustrate the work and are used to plan the therapeutic method.
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Over the past 25 years, group analysis has been much influenced by new developments in psychoanalysis, developmental psychology, evolutionary neurobiology, and evolutionary psychology. Basic group-analytic concepts are now being validated and reinforced by new knowledge of developmental processes in infancy and childhood. The development of both our brain as the organ of sociality and our personality begins as early as in utero. A child first learns how and whether to trust others and how to manage its emotions through empathy and sensitive responsiveness of its parents. Infant mental and emotional development is indebted to good enough environmental responses. Understanding these early influences is important because, among other things, it makes us aware how difficult it may be to influence such early factors by psychotherapy.
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Psychoanalysis aims to restore the artist in the patient, the part of the person that makes interest despite, or whatever, the early environment. At its most extreme, for the artist her own life, it is not so much a question of what she has been given (no one chooses their parents, but everyone invents them, makes what they can of them). The psychoanalytic model here is the dream, or the child's infantile sexual theory, in which so-called reality functions more like a hint than an instruction, setting the dreamer and child off on the work of transformation (Phillips, 1998, pp. 4-4).
In Strange Case of Dr Jekyll and Mr Hyde Robert Louis Stevenson created, out of one of his own dreams, the most famous pre-Freudian case study of the divided self. The present essay explores the roots of that work in Stevenson's lifelong difficulty in separating from his moody, conflicted, and passionately possessive father. Out of a matrix of religious guilt and social conformity, Stevenson struggled to create and define his own identity as a writer, a struggle that ran counter to many of his beloved father's deepest needs and led to sharp clashes, accompanied by periods of severe depressive and physical illness in both. Stevenson's creative block during his father's final depression and dementia was broken only by the nightmare that became Jekyll and Hyde, which enabled him to give enduring literary expression to the disavowed rage, guilt, and sense of deformity and fractured identity endemic to their internalized relationship. It may also have functioned as an act of exorcism and expiation that helped him recover rapidly from his father's death and exploit more productively the few years that were left to him.
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Why are secrets so fascinating and pleasurable, especially for little girls? A review of the psychoanalytic literature suggests that the ability to keep a secret represents an important developmental step. This paper proposes that secrets are integral features of female sexuality and that the sharing of secrets is important in how females relate to each other throughout development. It examines the role of sharing secrets in the psychoanalytic process and presents case material of female patients who cherished secrets and for whom the novel The Secret Garden was a favorite during childhood.
In the article the author would like to draw the readers' attention to one of the central issues of psychoanalysis, i.e. Oedipus complex. In the development of the psychoanalysis the classical conception of Oedipus complex presented by Freud gave rise to a severe criticism both on the part of some psychoanalysts, especially women such as e.g. Melanie Klein, and on the part of ethnographers such as B. Malinowski. In the paper the author presents the main controversies concerning this interesting discussion. The fact of the matter is that the Oedipus complex is a hotly debated subject, not only from the cultural point of view but also within the psychoanalytical movement.