By Michael Eigen
Wilfred Bion as soon as stated, “I use the Kabbalah as a framework for psychoanalysis.” either are preoccupied with disaster and faith,
infinity and depth of expertise, shatter and development of being that helps dimensions which sensitivity opens. either are preoccupied with ontological implications of the Unknown and the significance of emotional life.
This paintings is a psychospiritual event touching the areas Kabbalah and psychoanalysis supply whatever to one another. Michael Eigen makes use of facets of Bion, Winnicott, Akivah, Luria and Nachman (and many extra) as shades on a palette to open realities for progress of expertise. Bion known as religion "the psychoanalytic perspective" and Eigen the following explores artistic, paradoxical, multidimensional points of faith.
Eigen formerly wrote of psychoanalysis as a sort of prayer in The Psychoanalytic Mystic. In Kabbalah and Psychoanalysis he writes of artistic religion. periods as crucibles within which various currents of character combine in new methods, alchemy or soul chemistry might be, or just homage to our embryonic nature which responds to the breath of feeling second to moment.
This booklet brings out ways in which a feeling of infinity interweaves with lifestyle, whilst it faces the destructiveness of existence and human nature and makes an attempt to paintings with it.
Read those chapters and spot the place they take you. they're intended as own help to your personal internal paintings, touching nooks and crannies hungry for contact.
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Extra resources for Kabbalah and Psychoanalysis
Bion denotes unknown reality as “O” and writes of Faith in O. O can be catastrophic. It gives rise to many kinds of impacts. The Song of Songs registers O-impacts in another key, in terms of erotic longing and bliss rather than imminent catastrophe. In a sense, O is Eddington’s unknown doing we don’t know what. We can make a case that O resonates with Ein Sof in its unknowability. In a deep and pregnant sense, Bion is a guardian of the unknown. In Cogitations (1994b, pp. 323, 325; Appendix 4: O-grams), he offers two O-grams (my term), a kind of tree of life, starting with O alone at the bottom, giving rise to cosmic–human creative ventures, offspring.
Bion shadows Lurianic Kabbalah by depicting trauma and psychic origins with a Big Bang image, a constitutive psychic shattering. He relates the Big Bang image to an explosive beginning of psychic life and also the birth of psychosis (Bion, 1970, Chapter Two; Eigen, 1998, Chapter Three). In psychosis, he depicts an explosion (trauma), with bits and pieces of personality floating in space at accelerating velocity, going further and further away from each other and further from the point of explosion (O, origin).
While it is important to be able to link threat and loss of attention, much of the time the coming and going of states seem more chaotic and haphazard. Often, you do not have a clue. Often, you come and go in sessions, and sometimes you can make a link with how the patient is affecting you or threats coming from your own internal states. At the same time, it can be fruitful to have a sense of how your coming and going affects the patient. Psychic threats go both ways. An important part of therapy is living through mutual threats, absences, breaks in contact and hyperinfusions of contact.