This book explores developments in psychoanalytic field theory internationally, and their relevance for therapeutic theory and practice. The roots of psychoanalytic field theory can be traced back to the work of Kurt Lewin, and it has taken particular shape in the hands of the Barangers, Bion and Ferro. The book's focus is on developments in field theory post-Bion ('Post-Bionian Field Theory') in Italy, with contributions from Brazil, Serbia and the USA, in the form of chapters by Boffito, Civitarese, Fagundes, Levine, Mazzacane, Mojović, Morgan-Jones and Snell and Penna and Hopper. Among the themes the book explores are the transformative potentials of play and the centrality of dreaming. The book is informed by a psychoanalysis not so much of decoding and archeological uncovering as one of being and becoming, within a shared ‘field’ in which therapist and patient are partners in creating, exploring and developing. The chapter by Mojovíc and the commentary by Penna and Hopper extend the use of field theory: in other historical and geographical developments field theory and group analysis have productively been brought together, notably in Argentina where the two are most closely linked. This book will be essential reading for students and scholars of Psychology and Psychotherapy interested in field theory and contemporary psychoanalysis. The chapters in this book were originally published as a special issue of European Journal of Psychotherapy and Counselling.

* Post-Bionian field theory is a hot topic in contemporary psychoanalysis * Psychoanalytic aspects of art theory remain very popular in psychoanalytic circles * First psychoanalytic book to look at the work of Cezanne

What is it to listen? How do we hear? How do we allow meanings to emerge between each other? 'This book is about what Freud called "freely" or "evenly suspended attention", a form of listening, a kind of receptive incomprehension, which is fundamental and mandatory for the practice of psychoanalysis and psychotherapy. The author steps outside the usual parameters of psychoanalytic writing and explores how works of art and literature which elicit and require such listening began to appear in Europe, in abundance, from the late eighteenth-century onwards. Uncertainties, Mysteries, Doubts is a timely reminder, in the present era of audit and manualisation, of some of psychoanalysis's deep and living cultural roots. It hopes- by immersing the reader in the emotional, critical and contextual worlds of some artists and poets of Romanticism- to help psychotherapists, psychoanalysts, and counsellors in the endless challenge of staying open to their clients and patients, faced as we all are, therapists and clients alike, by multiple pressures to knowledgeable closure.

What is it to listen? How do we hear? How do we allow meanings to emerge between each other? 'This book is about what Freud called "freely" or "evenly suspended attention", a form of listening, a kind of receptive incomprehension, which is fundamental and mandatory for the practice of psychoanalysis and psychotherapy. The author steps outside the usual parameters of psychoanalytic writing and explores how works of art and literature which elicit and require such listening began to appear in Europe, in abundance, from the late eighteenth-century onwards. Uncertainties, Mysteries, Doubts is a timely reminder, in the present era of audit and manualisation, of some of psychoanalysis's deep and living cultural roots. It hopes- by immersing the reader in the emotional, critical and contextual worlds of some artists and poets of Romanticism- to help psychotherapists, psychoanalysts, and counsellors in the endless challenge of staying open to their clients and patients, faced as we all are, therapists and clients alike, by multiple pressures to knowledgeable closure.

* Post-Bionian field theory is a hot topic in contemporary psychoanalysis * Psychoanalytic aspects of art theory remain very popular in psychoanalytic circles * First psychoanalytic book to look at the work of Cezanne

Post-modern ideas are now making an impact in psychotherapy and counselling. There is, however, nothing in the current literature that brings together thinking for those professionals who may not be aware of how post-modernism can help inform their work.
Post-Modernism for Psychotherapists is a primer which takes the reader through the ideas of the most important post-modern thinkers (as well as the roots of post-modernism and critiques of post-modernism), giving a clear summary of the essential points of their ideas and how they relate to current and future psychotherapy theory and practice. It will be essential reading for psychotherapists and counsellors, as well as those in training, who need an accessible text covering the basic philosophical ideas and their relation to psychotherapy.

Related link: Free Email Alerting

In the early 1820s, in the gloomy aftermath of the 1789 Revolution and the Napoleonic wars, the French Romantic painter Theodore Gericault (1791-1824) made five portraits of patients in an asylum or clinic. No depictions of madness before or since can compare with them for humanity, straightforwardness and immediacy. Why were they painted? For whom? Art-historical ways of accounting for them open up questions about the nature of psychoanalytic interpretation. The portraits challenge us to find responses in ourselves to the face and the embodied mysteries of the other person, and to our own internal (unsconscious, disavowed) otherness: in this sense, Gericault was a "painter-analyst". The challenge could not be more urgent, in our world of suspicion of the stranger, and of the medicalisation of madness. The book sketches the history of this last process, from the Enlightenment through to the Revolution and its public health policies, to the birth of the asylum in its interface with the penal system.

In the early 1820s, in the gloomy aftermath of the 1789 Revolution and the Napoleonic wars, the French Romantic painter Theodore Gericault (1791-1824) made five portraits of patients in an asylum or clinic. No depictions of madness before or since can compare with them for humanity, straightforwardness and immediacy. Why were they painted? For whom? Art-historical ways of accounting for them open up questions about the nature of psychoanalytic interpretation. The portraits challenge us to find responses in ourselves to the face and the embodied mysteries of the other person, and to our own internal (unsconscious, disavowed) otherness: in this sense, Gericault was a "painter-analyst". The challenge could not be more urgent, in our world of suspicion of the stranger, and of the medicalisation of madness. The book sketches the history of this last process, from the Enlightenment through to the Revolution and its public health policies, to the birth of the asylum in its interface with the penal system.