Editoriaal
Filip Geerardyn
Operamuziek
als informant van
het ongezegde
[abstract]
Sabine Lichtenstein
De
Maulwerke 2005 van Dieter Schnebel
en het kunstarbeidersgezelschap
[abstract]
Pat Jacops
Mishima's
L'école de la chair
De pedagogische pulsie en andere aspecten
in de perversie
[abstract]
Julien Quackelbeen
Psychoanalytische
pedagogiek getoetst
aan de werking van Zonnelied
[abstract]
Ellen Verhoeven
Freud
en de metafoor van het schrift
[abstract]
Helena De Preester
Over
het driftmatig statuut van het weten
[abstract]
Robert Flamant
Een
benadering van de onmogelijkheid
[abstract]
Jeroen Donckers
Freuds
hantering van de constructie
Bijdrage tot de geschiedenis van de
psychoanalytische techniek
[abstract][text]
Filip Geerardyn
ARCHIEFTEKST
Brief
aan Wilhelm Fließ 85
Sigmund Freud
BOEKEN
Maison
Verte – Bekendmaking
Jean-Pierre Van Eeckhout
OPERAMUZIEK ALS INFORMANT VAN HET ONGEZEGDE
Sabine Lichtenstein
Opera(tic) Music as Conveyor of the Unspoken
Summary: More than any other art form, music in its essence manages to hide its meaning, while at the same time still producing in the listener a strong affect. On foot of this remarkable ability, music was hailed in the 19th century as the most important art form, a pronouncement for which Schopenhauer provided the philosophical basis. But music can also be seen as a language. Composers of music, with or without text, have techniques at their disposal, using all musical parameters, with which they can impart information which is non-musical and sometimes not even (unambiguously) expressed by the text. Opera composers such as Mozart, Verdi and Wagner used musical means to underline, expose or contradict situations or feelings of characters that might be consciously or unconsciously hidden. In some cases, the music may be interpreted as "body language". Depicting unconsciously hidden feelings, music shows similarity with the dream from a Freudian viewpoint. Music also seems to depict hidden "truth" in symbolic, and thus veiled, form. While not always straightforward, it is nonetheless necessary in psychological interpretations of opera characters to differentiate, just as in literary fiction, between utterances ascribed by the composer to a character and those that he ascribes to an omniscient.
Key words: Music,
Opera, Semantics, Philosophy of Music, Analysis of Music.
DE MAULWERKE 2005 VAN DIETER SCHNEBEL EN
HET KUNSTARBEIDERSGEZELSCHAP
Pat Jacops
The Maulwerke 2005 by Dieter Schnebel and the Kunstarbeidersgezelschap
Summary: This article is the result of a collaboration between the author and the Kunstarbeidergezelschap of Ghent on "Maulwerke" by the contemporary composer Dieter Schnebel. It outlines briefly the importance of the figure Dieter Schnebel for contemporary experimental music and the idea behind his "Maulwerke". The "Maulwerke" (1968-1974), generally considered to be his masterpiece, was written during the period that Schnebel undertook his analysis. Schnebel calls this work the product of his analysis and it is here he introduces his concept of "psychoanalytic music". The author explores the meaning of "psychoanalytic music" and asks whether the psychoanalytic framework can help us to understand something of the gripping character of this musical work.
Key words:
Psychoanalysis, Music, Body, Unconscious.
MISHIMA'S L'ÉCOLE DE LA CHAIR
De pedagogische pulsie en andere aspecten in de perversie
Julien Quackelbeen
Mishima's "L'école de la chair": The Educational Drive
and Other Aspects of Perversion
Summary: In this paper the author revisits Mishima's L'école de la chair (1993) through an explorative questioning of the Japanese writer with respect to the structure of perversion. Rather than starting from an a priori formulated theory on perversion, Mishima's work is read in an open way that results in a series of themes. In addition to the opposites characteristic of Mishima's oeuvre, the following themes emerge: the educational drive; the psychological insight; the knowledge and the use of this knowledge in eroticism and love; homosexual eroticism; the contract; the jouissance; contempt and humiliation; and fantasy. L'ecole de la chair teaches us about perversion, especially with respect to the educational drive, that is when the latter serves other than strictly educational aims, such as humiliation. Finally, the author considers some aspects of C. Millot's Gide, Genet, Mishima, Intelligence de la perversion (1996).
Key words:
Mishima, Perversion, L'école de la chair, Psychoanalysis and Literature.
PSYCHOANALYTISCHE PEDAGOGIEK GETOETST AAN
DE WERKING VAN ZONNELIED
Ellen Verhoeven
Psychoanalytic Pedagogy put to the Test through the Work in 'Zonnelied'
Summary: In this contribution the possibility of a psychoanalytic pedagogy is tested by the practical experience of work in Zonnelied, a residential setting for mentally disabled persons, some of whom also have psychiatric or behavioural problems. The author classifies the way of working within Zonnelied as directive, educational and supportive while being informed by the ethics of psychoanalysis. The following topics are discussed and illustrated with clinical fragments: how the structure of the institution functions as an instrument for the education of patients and as anchoring point for patients as well as for members of the team; patients' identification with their negligent parents; the provision of points of reference within and beyond the community; the particular history of the patients and patterns of repetition; and, a continuous interrogation by team members of their own desire to educate.
Key words:
Psychoanalysis & Education, Zonnelied, Mental Disability.
FREUD EN DE METAFOOR VAN HET SCHRIFT
Helena De Preester
Freud and the Metaphors of Writing
Summary: In this paper, our point of departure is Plato's Phaedrus-dialogue, in which the role and meaning of writing for memory are assessed, focusing special attention on Plato's evaluation of writing. The use of writing-metaphors in elaborating the model of the psychic apparatus in a number of Freud's texts is also discussed. Relying on Derrida's interpretation (1967), the Project (1950c [1895]) is our starting point and the Note on the Wonder-block of 30 years later rounds off the discussion. Tracing Freud's development, it becomes apparent that the model of the psychic apparatus gains support as the notion of facilitation is further elaborated based on the metaphor of writing or letter. The Platonic distinction between writing as supporting memory and writing as a "true writing in the soul" is encountered again in Freud's work.
Key words:
Writing, Memory, Metaphor, Psychic Apparatus, Plato, Freud, Derrida, Written
Sign.
OVER HET DRIFTMATIG STATUUT VAN HET WETEN
Robert Flamant
On the Drive-like Status of Knowledge
Summary: The first part of this paper investigates the status of knowledge. Starting from the general question of whether knowledge can prevent Evil, it is argued that in the particular case of Martin Heidegger reason was powerless against hatred. Next, the question posed by Einstein to Freud in 1932 (whether or not psychoanalysis is capable of diffusing hatred), is addressed. This historical correspondence leads the author to characterise knowledge as having a drive-like status: Not only is the epistemological drive a substitute for infantile sexual curiosity, it is first and foremost a drive to overpower (Bemächtigungstrieb). Finally, Foucault's Il faut défendre la société (1997) teaches that the ideal of "The" science attributes the status of power to knowledge, an ideal that also holds for psychoanalysis, notwithstanding that the latter does not meet scientific criteria. In the second part of the paper, the way in which the relation between knowledge and power can manifest itself in the psychoanalytical cure is illustrated with the case of Guillaume.
Key words: Epistemological
Drive, Power, Psychoanalysis & Science, Heidegger, Foucault.
EEN BENADERING VAN DE ONMOGELIJKHEID
Jeroen Donckers
Approaching the Impossible
Summary: Working with psychic suffering one is often confronted with feelings of impotence. Yet this is not a necessary consequence of the impossibility proper to the professions of educating, analysing or governing. Throughout the essays of Imre Kertész, the impossibility – or the unthinkable – is conceived of as proper to the relation between experience and language. A specific example is encountered in what is called the negative experience. Speaking and writing are treated as two distinct possibilities in the encounter with the impossible.
Key words: Impossible
Professions, Negative Experience, Language, Imre Kertész, Writing.
FREUDS
HANTERING VAN DE CONSTRUCTIE
BIJDRAGE TOT DE GESCHIEDENIS VAN DE PSYCHOANALYTISCHE TECHNIEK
Filip Geerardyn
Freud's Use of Construction: Contribution to the History of Psychoanalytic Technique
Summary: In this paper the author investigates the precise manner in which Freud applied the technique of construction in his clinical practice. Not withstanding the fact that construction comprised an obvious part of Freud's technique, he seldom mentioned it in his works. Light is shed on Freud's technique of construction by revisiting the analogies he used to describe psychoanalytic practice, i.e., the psychoanalyst as archeologist (1937d) and psychoanalysis as travel (1920a), and the sixth and seventh sessions of his analysis of the Ratman (1909d). It appears that for Freud construction not only formed an integral part of his technique but was also the focus of a dialectical working through. Attention is paid to the role of working through in the subjectivation process as part of the psychoanalytic cure. To conclude, the author presents a third analogy in order to elucidate the range of the technique of construction: the analogy of an oeuvre.
Key words: History
of Psychoanalysis, Technique, Construction, Narrative Structure, Oeuvre.
