By Ian Miller, Kay Souter
This booklet specializes in Samuel Beckett’s psychoanalytic psychotherapy with W. R. Bion as a primary element either one of Beckett’s and Bion’s radical modifications of literature and psychoanalysis. the hot ebook of Beckett’s correspondence throughout the interval of his psychotherapy with Bion offers a foundation for an creative reconstruction of this psychotherapy, culminating with Bion’s recognized invitation to his sufferer to dinner and a lecture through C.G. Jung. Following from the process this psychotherapy, Miller and Souter hint the improvement of Beckett’s radical use of scientific psychoanalytic strategy in his writing, suggesting the improvement inside his characters of a literary-analytic operating via of transference to an idealized auditor recognized by way of quite a few names, it appears in line with Bion. Miller and Souter hyperlink this pursuit to Beckett’s step forward from prose to drama, because the psychology of projective identity is reworked to actual enactment. in addition they find Bion’s reminiscence and re-working of his scientific touch with Beckett, who figures because the 'patient zero' of Bion’s pioneering postmodern psychoanalytic medical theories.
This studying of Beckett and Bion isn't easily interpretive yet a building that has arisen from a really dynamic procedure, jam-packed with speculation and shock. faraway from negating different readings, it provides density to the textured figuring out of those marvelous thinkers, each one officially in numerous strains of labor yet joined via what Bion himself may perhaps name a 'reciprocal perception' of psychoanalysis. it truly is reciprocal simply because Beckett remodeled psychoanalytic pondering right into a literary style whereas Bion reworked psychoanalytic considering into strategy figuring out. each one applied an identical item, yet with various attentions to diversified ends. The constitution of the e-book is split into components. half I starts off with a biographical advent of Beckett and features a dialogue of Beckett’s early metapsychological monograph, Proust. It provides Beckett’s years in psychotherapy, among 1934 and 193, and addresses the institutional contexts within which this psychotherapy happened, and likewise discusses of Wilfred Bion’s heritage and history. half II addresses Beckett’s radical use of loose organization as a literary shape and examines Beckett’s Novellas, the Trilogy, and his inventive transition from prose to drama. It concludes with an exploration of Bion’s theoretical use of his paintings with Beckett.
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Additional resources for Beckett and Bion: The (Im)Patient Voice in Psychotherapy and Literature
Here we can refer to French theorist Paul Virilio, who, in “The Overexposed City” (1984), investigates how we have lost the immediacy of street apperception that was so vital to the culture of 1920s Berlin or New York. 54 The answer, in Virilio’s dystopic vision, is no. Suburbia has denuded the city’s street-fronts of their modern discursivity. ”57 As Baudrillard also states of the new virtual urban condition: “To grasp . . ”60 When Virilio looks back at the urban landscape of modernity he sees it sadly as a “‘Monument Valley’ from a pseudolithic era, .
116 Underlying the philosopher’s pursuit of truth, asserts Nietzsche, there is an instinct even more basic to all life and pleasure: namely the Will to Power, which asserts itself through what may also be termed a Will to Surface. At the heart of all things, Nietzsche finds affective forces eternally and agonistically inclined toward supremacy and play, toward destructiveness and creation, toward illusionary nonknowledge and forgetting. 117 Such a focus on Hautlichkeit is also a trademark of the urban culture of the Weimar Republic’s stabilization years.
World trade exhibitions glorify the exchange value of commodities. They create a space in which their use value diminishes. ”101 The most decadent, overblown example of the exhibition age’s excesses in ephemeral surface occurred in the World’s Columbian Exposition in Chicago, which produced a White City style of neoclassical, white-clad buildings south of the city. It was a surface event, in that it was literally built that way—as fakery. The overly ornate structures looked like marble to last the ages, but they were for the most part not real buildings at all but mere façades composed of “staff” (plaster and fibrous binding over wood and steel), which burned down weeks after the fair closed (the only remaining structure is now the Museum of Science and Industry).