By Antonino Ferro
Illustrated with richly particular medical vignettes, Seeds of affliction, Seeds of restoration bargains a desirable research into the origins, modes and therapy of psychical affliction. Antonino Ferro offers a transparent account of his notion of ways the brain works, his interpretation of the analytic figuring out of psychopathology, his reconceptualization of the healing strategy, and implications for analytic method derived from his view of the healing motion of psychoanalysis. Drawing on and constructing the information of Wilfred Bion, Ferro offers a distinct viewpoint on topics together with: box Inadequacy and Violent feelings The waking dream and narrations 'Evidence': beginning back from Bion Self-analysis and gradients of functioning within the analyst. This hugely unique method of the matter of healing elements in psychoanalysis could be of curiosity to all working towards and coaching psychoanalysts and psychotherapists.
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Additional resources for Seeds of Illness, Seeds of Recovery: The Genesis of Suffering and the Role of Psychoanalysis (New Library of Psychoanalysis)
In the next session he was active, producing a large number of focused interpretations, many of them of the transference. In his description of the session, he mentioned an image produced by the patient: she had fantasized seeing a large number of concentric circles. ’ She had gone on to describe her boyfriend’s sexual reawakening, which had exceeded all expectations. 33 Container inadequacy and violent emotions Cracks and fractures in the ﬁeld Microfractures in communication, like caesuras and withdrawals, are of fundamental importance because they give rise to cracks or pivots whereby what was previously outside the present relationship in the form of a set of ‘undigested facts’ can burst into it – in other words, because they allow the transference to become the engine of the analysis, by contributing raw material from the patient’s internal world and history.
The plot is the story as told, while the fabula is the underlying sequence of narrated situations. Andrea had narrated his drama immediately: inside him were emotions that were so primitive and violent (the dinosaurs) that the only way he could deal with them was to shut them, or perhaps himself, up in a rigid container – what Meltzer (1992) would call a claustrum (the tortoises). However, these contents, being so compressed inside the claustrum (ǩΘ; ǩ compressed Θ), periodically caused the claustrum itself to explode (the outbursts of anger and despair) (see note on p.
9 Note In this chapter I use some personal symbols whose meaning will, I believe, be immediately evident: Η means a ‘hyper-contained’ that exceeds the capacity of a container. is a visual indication of the ‘fragmentation’ of the container and its transformation into a projected contained Η when it passes through (turbulence causing the container to fragment). represents the development of the container. represents a ‘killer-contained’ that destroys the holding capacity of the container. * Again, I use clinical material not to ‘demonstrate’ anything but as a means of conveying and sharing the underlying theory – that is to say, in Bion’s terms, as a means of talking about theory, but of doing so along Row C of the Grid, which is that of story-telling, dreams and private myths.