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.

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.

Bearing Witness to the Witness examines the different methods of testimony given by trauma victims and the ways in which these can enrich or undermine the ability of the reader to witness them. Years of listening to both direct and indirect testimonies on trauma has lead Dana Amir to identify four modes of witnessing trauma: the "metaphoric mode", the "metonymic mode," the "excessive mode" and the "Muselmann mode." In doing so, the author demonstrates the importance of testimony in understanding the nature of trauma, and therefore how to respond to trauma more adequately in a clinical psychoanalytic setting. To follow these four modes of interaction with the traumatic memory, the various chapters of the book present a close reading of three genres of traumatic witnessing: literary accounts by Holocaust survivors, memoirs (located between autobiographic recollection and fiction) and "raw" testimonies taken from Holocaust survivors. Since every traumatic testimonial narrative contains a combination of all four modes with various shifts between them, it is of crucial importance to identify the singular combination of modes that characterizes each traumatic narrative, focusing on the specific areas within which a shift occurs from one mode to another. Such a focus is extremely important, as illustrated and analyzed throughout this book, to the rehabilitation of the psychic metabolic system which conditions the digestion of traumatic materials, allowing a metaphoric working through of traumatic zones that were so far only accessible to repetition and evacuation. Bearing Witness to the Witness will appeal to trauma researchers of all research areas, including psychologists, psychoanalysts, literary scholars as well as philosophers of language and philosophers of the mind. The book will also be of interest and relevance to clinical psychologists, psychoanalytic candidates and graduate students in literary theory and criticism.

Bearing Witness to the Witness examines the different methods of testimony given by trauma victims and the ways in which these can enrich or undermine the ability of the reader to witness them. Years of listening to both direct and indirect testimonies on trauma has lead Dana Amir to identify four modes of witnessing trauma: the "metaphoric mode", the "metonymic mode," the "excessive mode" and the "Muselmann mode." In doing so, the author demonstrates the importance of testimony in understanding the nature of trauma, and therefore how to respond to trauma more adequately in a clinical psychoanalytic setting. To follow these four modes of interaction with the traumatic memory, the various chapters of the book present a close reading of three genres of traumatic witnessing: literary accounts by Holocaust survivors, memoirs (located between autobiographic recollection and fiction) and "raw" testimonies taken from Holocaust survivors. Since every traumatic testimonial narrative contains a combination of all four modes with various shifts between them, it is of crucial importance to identify the singular combination of modes that characterizes each traumatic narrative, focusing on the specific areas within which a shift occurs from one mode to another. Such a focus is extremely important, as illustrated and analyzed throughout this book, to the rehabilitation of the psychic metabolic system which conditions the digestion of traumatic materials, allowing a metaphoric working through of traumatic zones that were so far only accessible to repetition and evacuation. Bearing Witness to the Witness will appeal to trauma researchers of all research areas, including psychologists, psychoanalysts, literary scholars as well as philosophers of language and philosophers of the mind. The book will also be of interest and relevance to clinical psychologists, psychoanalytic candidates and graduate students in literary theory and criticism.

On the Lyricism of the Mind: Psychoanalysis and Literature explores the lyrical dimension (or the lyricism) of the psychic space. It is not presented as an artistic disposition, but rather as a universal psychic quality which enables the recovery and recuperation of the self. The specific nature of human lyricism is defined as the interaction as well as the integration of two psychic modes of experience originally defined by the psychoanalyst Wilfred Bion: The emergent and the continuous principles of the self. Dana Amir elaborates Bion's general notion of an interaction between the emergent and the continuous principles of the self, offering a discussion of the specific function of each principle and of the significance of the various types of interaction between them as the basis for mental health or pathology. The author applies these theoretical notions in her analytic work by means of literary illustrations showing how the lyrical dimension may be used to teach psychoanalytic readings of literature and explore the connection between psychoanalytic and literary languages. On the Lyricism of the Mind presents a new psychoanalytic understanding of the capacity to heal, to grieve, to love and to know, using literary illustrations but also literary language in order to extract a new formulation out of the classic psychoanalytic language of Winnicott and Bion. This book will appear to a wide audience to include psychoanalysts, psychotherapists and art therapists. It is also extremely relevant to literary scholars, including students of literary criticism, philosophers of language and philosophers of mind, novelists, poets, and to the wide educated readership in general.

On the Lyricism of the Mind: Psychoanalysis and Literature explores the lyrical dimension (or the lyricism) of the psychic space. It is not presented as an artistic disposition, but rather as a universal psychic quality which enables the recovery and recuperation of the self. The specific nature of human lyricism is defined as the interaction as well as the integration of two psychic modes of experience originally defined by the psychoanalyst Wilfred Bion: The emergent and the continuous principles of the self. Dana Amir elaborates Bion's general notion of an interaction between the emergent and the continuous principles of the self, offering a discussion of the specific function of each principle and of the significance of the various types of interaction between them as the basis for mental health or pathology. The author applies these theoretical notions in her analytic work by means of literary illustrations showing how the lyrical dimension may be used to teach psychoanalytic readings of literature and explore the connection between psychoanalytic and literary languages. On the Lyricism of the Mind presents a new psychoanalytic understanding of the capacity to heal, to grieve, to love and to know, using literary illustrations but also literary language in order to extract a new formulation out of the classic psychoanalytic language of Winnicott and Bion. This book will appear to a wide audience to include psychoanalysts, psychotherapists and art therapists. It is also extremely relevant to literary scholars, including students of literary criticism, philosophers of language and philosophers of mind, novelists, poets, and to the wide educated readership in general.

This book is an attempt to analyse psychic language and its diverse modes of expression, both within psychic structure and in the interpersonal realm. It begins by looking at two basic forms of delay in the development of psychic language: concrete language, which is based on flattening, and pseudo-language, which is rooted in concealment. The next chapter focuses on the split between voice and meaning which marks psychotic syntax, and the latter's double function in defending the self against an unconscious death wish. The subject of the third chapter is the chameleon language of perversion, and the relationship between the perverse structure and the primal scene. This chapter is followed by one that suggests understanding autistic syntax as an inverse use of the psychic musical 'organ point'. The fifth chapter discusses the absent function of the inner witness in traumatic language. The sixth chapter discusses psychosomatic language through the distinction between metaphorical, metonymical and psychotic bodily expressions.

This book is an attempt to analyze psychic language and its diverse modes of expression, both within psychic structure and in the interpersonal realm. It begins by looking at two basic forms of delay in the development of psychic language: concrete language, which is based on flattening, and pseudo-language, which is rooted in concealment. The next chapter focuses on the split between voice and meaning which marks psychotic syntax, and the latter s double function in defending the self against an unconscious death wish. The subject of the third chapter is the chameleon language of perversion, and the relationship between the perverse structure and the primal scene. This chapter is followed by one that suggests understanding autistic syntax as an inverse use of the psychic musical organ point. The fifth chapter discusses the absent function of the inner witness in traumatic language. The sixth chapter discusses psychosomatic language through the distinction between metaphorical, metonymical and psychotic bodily expressions. The final chapter is dedicated to the singular ethics of interpretation. The various chapters, most of them already published in psychoanalytic journals, include detailed clinical illustrations as well as close readings of literary works by Rilke, Beckett, Sartre, Brodsky and Celan."