Brett Kahr has worked in the mental health field for over thirty-five years. He has worked in many branches of the psychotherapy profession as clinician, teacher, researcher, author, and broadcaster, having served previously as Resident Psychotherapist on B. Radio 2. Susie Orbach is a psychotherapist and writer.
A reflection on working with the transgenerational transmission of trauma
Her forthcoming book In Therapy is due for publication in November, when a new series of the same name will be broadcast on Radio 4. She continues to work with many individuals and couples from her practice in London. She has published widely in international scientific journals. She has a psychoanalytic private practice in London.
He is also Visiting Professor of Psychoanalysis in Northumbria University and a training analyst for trainings in both Adult and Child and Adolescent psychoanalytical psychotherapy in the North of England. He teaches in the UK and Europe and is especially interested in the developmental point of view, the nature of therapeutic action and the history of psychoanalysis. He is currently interested in the nature of therapeutic action and working with regressed patients.
M Fakhry Davids is a psychoanalyst practising full-time in London. Her research focuses on social and emotional development and attachment, personality functioning in adulthood, the process and outcome of psychotherapies for children, adults and couples, and qualitative research on the experience of illness. Since she has also maintained a half-time adult psychoanalytic practice. He works as a Consultant Psychotherapist to various socio-political organisations and is Director of Public Interest Psychology PiP , dealing with asylum issues and whistleblowing.
He was recently the chief speaker at the Freud Memorial Conference, Melbourne. He is organiser of Frontier Psychoanalyst , a radio programme and podcast. Judit Szekacs is a bilingual psychoanalyst and psychotherapist, a member of the British Psychoanalytical Society and the Group of independent Psychoanalysts, and a training analyst of the Hungarian Psychoanalytical Society. Born and educated mostly in Budapest, Hungary, has taken in the way of thinking and ideas of Ferenczi, the Balints, Hermann and Rajka as integral part of a "professional mother tongue".
The experience of living and working in a totalitarian regime and the transformatory years leading to the fall of the Berlin Wall sensitised her to the social and individual aspects of trauma, identity formation and strategies of survival. From she moved to London, where, with a small group of psychoanalysts, therapists, artists and social scientists has founded Imago East-West and later the Multilingual Psychotherapy Centre MLPC to create a space where diverse experiences of living and changing context and language in different cultures can be explored and creative solutions found.
She is the author of several articles and co-editor of Lost Childhood and the Language of Exile By contrast, many American intellectuals in the s, disillusioned by what they considered the pointless carnage of World War I , had shown little interest in politics or social movements. Nor did they display much affection for life in the United States.
Beyond the couch: Psychoanalytic consumer character readings into narcissism and denial - CORE
Indeed, most American novelists, poets, artists, composers, and scientists continued to believe, as they had since the 19th century, that the United States was culturally inferior to Europe. So, to learn the latest modernist techniques in literature, painting, or music, or to study the most advanced theories in physics or psychoanalysis, they assumed they had to go to London, Paris, Berlin, Vienna, or Copenhagen. During the worst years of the Great Depression, between and , this engagement often took the form of an attraction to Marxism , the Soviet Union, and the American Communist Party.
Meanwhile, the communist parties in the United States and in western Europe gave intellectuals—as well as teachers, lawyers, architects, and other middle-class professionals—a feeling that they were no longer solitary individuals suffering from the failures of capitalism but belonged instead to a vibrant community of like-minded souls, in that they were participants in an international movement larger than themselves and that they were literally making history.
For all these reasons Marxism, the Soviet Union, and the various national communist parties enjoyed a prestige and a popularity through much of the s that they had never possessed in the s and would never again enjoy after the Great Depression. Perhaps no writer better reflected this new sense of social commitment than Ernest Hemingway.
Freud Today/Freud Tomorrow
In Hemingway published A Farewell to Arms. In this novel, Robert Jordan, another Hemingwayesque volunteer, serving with a band of anti-Franco guerrillas, is badly wounded but stays behind to defend a bridge, thereby protecting his comrades as they retreat. Jordan—unlike Lieutenant Henry—has found a cause worth fighting and dying for.
Of course, not every Depression-era American writer was entranced by communism or the Soviet Union. The majority of intellectuals and artists, like their fellow citizens, were much more comfortable voting for Roosevelt than idolizing Joseph Stalin. Indeed, by the middle and late s, a growing number of American intellectuals—many of them clustered around the literary and political journal Partisan Review —had become militantly anti-Stalinist even as they retained their sympathy for socialism , their new stance having formed as Stalin launched a series of show trials that sent his former Bolshevik colleagues to Siberian labour camps or more frequently to their death in the cellars of prisons , as terror spread throughout the Soviet Union, and as stories began to circulate about the communists murdering Trotskyists and anarchists behind the Republican lines in Spain.
follow url Still, it was not until August , when Stalin shocked the world by signing a nonaggression pact with his archenemy Hitler, that the Soviet Union and the Communist Party in the United States lost what was left of their moral authority with all but a few American intellectuals. Novelists, poets, painters, and playwrights of the s did not need to be Marxists to create works that dealt with the problems of the Great Depression or the dangers of fascism.
Most writers and artists in the prosperous s thought of themselves as members of a transatlantic avant-garde and as stylistic disciples of Pablo Picasso , James Joyce , or Igor Stravinsky. Given the political and economic calamities at home and abroad, they sought to focus on the plight of workers, sharecroppers, African Americans, the poor, and the dispossessed. Further, they wanted to communicate their insights in a language—whether literary, visual, or musical—that their audiences could easily comprehend.
This impulse led, in a variety of genres , to an aesthetic of documentary-style realism and of social protest.
For writers such as Edmund Wilson , Sherwood Anderson , John Dos Passos , Erskine Caldwell , Richard Wright , and James Agee , fiction seemed inadequate in describing the disastrous effects of the Great Depression on political institutions, the natural environment , and human lives.
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