By Ian Miller, Kay Souter
This e-book specializes in Samuel Beckett’s psychoanalytic psychotherapy with W. R. Bion as a important point either one of Beckett’s and Bion’s radical differences of literature and psychoanalysis. the hot booklet of Beckett’s correspondence in the course of the interval of his psychotherapy with Bion offers a origin for an ingenious reconstruction of this psychotherapy, culminating with Bion’s well-known invitation to his sufferer to dinner and a lecture by means of C.G. Jung. Following from the process this psychotherapy, Miller and Souter hint the improvement of Beckett’s radical use of medical psychoanalytic process in his writing, suggesting the improvement inside of his characters of a literary-analytic operating via of transference to an idealized auditor identified by means of numerous names, it seems that in accordance with Bion. Miller and Souter hyperlink this pursuit to Beckett’s leap forward from prose to drama, because the psychology of projective id is reworked to actual enactment. additionally they find Bion’s reminiscence and re-working of his medical touch with Beckett, who figures because the 'patient zero' of Bion’s pioneering postmodern psychoanalytic scientific theories.
This analyzing of Beckett and Bion isn't easily interpretive yet a development that has arisen from a truly dynamic approach, filled with speculation and shock. faraway from negating different readings, it provides density to the textured realizing of those great thinkers, each one officially in numerous strains of labor yet joined via what Bion himself may perhaps name a 'reciprocal perception' of psychoanalysis. it truly is reciprocal simply because Beckett reworked psychoanalytic pondering right into a literary style whereas Bion remodeled psychoanalytic considering into procedure figuring out. every one applied a similar item, yet with varied attentions to diverse ends. The constitution of the publication is split into components. half I starts off with a biographical creation of Beckett and contains a dialogue of Beckett’s early metapsychological monograph, Proust. It provides Beckett’s years in psychotherapy, among 1934 and 193, and addresses the institutional contexts within which this psychotherapy came about, and likewise discusses of Wilfred Bion’s heritage and heritage. half II addresses Beckett’s radical use of loose organization as a literary shape and examines Beckett’s Novellas, the Trilogy, and his inventive transition from prose to drama. It concludes with an exploration of Bion’s theoretical use of his paintings with Beckett.
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Additional resources for Beckett and Bion: The (Im)Patient Voice in Psychotherapy and Literature
550) with no progres sive development or coherent purpose. Here the seemingly inconsequential differences grow into a stark contrast: Bergson is attempting to establish a new foundation for Western metaphysics; Nietzsche, on the other hand, is struggling to overcome metaphysical thinking entirely. From Nietzsche's perspective, Bergson's inversion of Pla- 38 • "THIS INVENTED WORLD' tonism is a thinly veiled expression of Platonism itself. The metaphysician's homeland has merely transferred its locale from the transcendent world of eternal Forms to the imma nent surge of the έΐαη vital.
26364). " Bradley in fact uses the no tion of immediate experience to support his vision of the Ab solute: immediate experience presents reality as the original undivided whole to be recovered at a higher level. For Nietzsche, this preoccupation with the unity of immediate experience is merely a vestige of metaphysical thinking. In sofar as we find unity in the chaotic stream of sensations, it is we who have introduced it. The differences between Nietzsche's "chaos of sensations" and Bergson's "real duration" are especially striking.
We in stinctively tend to solidify our impressions in order to express them in language. 8 If we "carefully look into ourselves," we discover that the same object appears differently with changing moods and contexts. What we perceive is inseparable from how we per ceive it. Things are permeated with emotions, facts with val ues, the objects of present sensation with the coloring of all that we have experienced in the past. But we usually attend to the selfsame object rather than its ever-changing appear ances, and therefore lose sight of an important dimension of experience.