Psych-Psychoanalyst 4-05.Indd
Total Page:16
File Type:pdf, Size:1020Kb
Load more
Recommended publications
-
Today's Operas
Today’s Operas BERG: WOZZECK Alban Berg: Wozzeck (1926). Opera in Three Acts. Text by the composer, based on Woyzeck by Georg Büchner (1813–37). Büchner was a brilliant but short-lived writer from the start of the 19th Century. His play, a searing attack on militarism and social injustice, was left unfinished at his death, existing only as a large number of short scenes. It was first performed only in 1913 in Munich and in Vienna the following year, a performance that Berg attended. Working on the opera during his own service in the World War, Berg must have seen uncanny relevance across the centuries. The opera premiered in Berlin in 1925 under Erich Kleiber, and was an immediate success until banned by the Nazis in 1933. [The following synopsis is adapted from Wikipedia. Sections to be played in class are underlined.] Despite its atonality, the three acts and the five scenes in each act are distinguished by reference to conventional musical structures. These are listed after each section below. Act One, Scene 1 (Suite). Wozzeck is shaving the Captain who lectures him on the qualities of a "decent man" and taunts him for living an immoral life. Wozzeck slavishly replies, "Jawohl, Herr Hauptmann" — 1 — repeatedly to the Captain's abuse. However, when the Captain scorns Wozzeck for having a child out of wedlock, Wozzeck protests that it is difficult to be virtuous when he is poor. The flustered Captain, unable to comprehend Wozzeck, finally concedes that he is a decent man, and dismisses him. Act One, Scene 2 (Rhapsody and Hunting Song). -
Psychoanalytic Psychotherapy Program
Psychoanalytic Psychotherapy Program HamAva Institute for Psychoanalytic Psychotherapy with the collaboration of international prominent professors in psychoanalysis offers a three-year program in psychoanalytic psychotherapy based on the tripartite model in which academic coursework, supervised analytic cases, and personal analysis are interwoven to provide a rich and comprehensive training experience. The curriculum consists of main obligatory courses and optional complementary ones covering state-of-the-art theories in the field. This program has been specifically designed for psychologists who wish to become psychoanalytic psychotherapists. The admission of the applicants is done via interview and is based on academic background, clinical experience, knowledge of psychoanalytic theories and desire for learning. Each academic year in HamAva starts in October and is divided into two semesters- Fall-Winter and Spring-Summer. Year one A. Theoretical courses The courses of this year focus on the fundamentals and basic elements of psychoanalytic psychotherapy and have been especially designed to provide a mental frame for the trainees in order to make them ready to learn the advanced topics in the following years. At the end of the first year, the trainees will be expected to have an introductory knowledge of the basic concepts in psychoanalytic psychotherapy, analytic attitude and methods of treatment. Year one- 1st Semester Core Concepts of Psychoanalysis To learn a new science, studying its core concepts is inevitable. That is why that the three-year- program in psychoanalytic psychotherapy in HamAva Institute starts with a course titled” Core Concepts of Psychoanalysis”. The aim of this course is introducing the first year students with the main subjects. -
A Librettist's Reflections on Opera in Our Times
Israel Eliraz A LIBRETTIST'S REFLECTIONS ON OPERA IN OUR TIMES [1] Pierre Boulez may have mourned the death of the opera and suggested setting fire to opera houses (he has repented since and has even written in this rnusical form himsel~, but the Old Lady is still going strong. She is no Ionger as regal and as much admired as in the 18th century, nor is she as popular and vital as she was in mid-I9th century for bold young rivals have entered the arena: film, radio, musicals and television. But reviewing the new operas written in this century, from MOSES UND ARON by Schoenberg and WOZZECK by Berg, to works by Luigi Dallapiccola, lldebrando Pizzetti, Werner Egk, Marcel Delannoy and others, one is taken by surprise by the abundance, versatility and ingenuity in musical, theatrical and ideological terms, of modern opera. What the rnusical avant -garde considered a defunct creature, a 'dinosaur' of sorts (this strange animal is over 370 years old), became, to their dismay, a phoenix redux. At tirnes it metarnorphosed into political drarna (Weiii-Brecht); at others it returned to the oratory form (Stravinsky, Honegger, Debussy), and on still other occasions it turns upon itself with laudable irony, as in Mauricio Kagel's STAATSTHEATER. Anylhing can happen in an opera, all is allowed and, if one rnay venture to express some optirnisrn - which is not easy in our province - it still has some surprises in store for us. [2] Music Iovers have been accustorned to think that it is in the nature of opera to address the 'larger issues'- biblical, rnylhological, historical, national. -
Schoenberg 20/8/07 8:24 Pm Page 8
557525 bk Schoenberg 20/8/07 8:24 pm Page 8 Robert Craft Robert Craft, the noted conductor and widely respected writer and critic on music, literature, and culture, holds a unique place in world music of today. He is in the process of recording the complete works of Stravinsky, SCHOENBERG Schoenberg, and Webern for Naxos. He has twice won the Grand Prix du Disque as well as the Edison Prize for his landmark recordings of Schoenberg, Webern, and Varèse. He has also received a special award from the American Academy and National Institute of Arts and Letters in recognition of his “creative work” in literature. In 2002 he Six Songs for Soprano and Orchestra was awarded the International Prix du Disque Lifetime Achievement Award, Cannes Music Festival. Robert Craft has conducted and recorded with most of the world’s major orchestras in the United States, Europe, Russia, Japan, Korea, Mexico, South America, Australia, and New Zealand. He is the first American to The Golden Calf and the Altar • Kol Nidre • Friede auf Erden have conducted Berg’s Wozzeck and Lulu, and his original Webern album enabled music lovers to become acquainted with this composer’s then little-known music. He led the world premières of Stravinsky’s later Jennifer Welch-Babidge, Soprano masterpieces: In Memoriam: Dylan Thomas, Vom Himmel hoch, Agon, The Flood, Abraham and Isaac, Variations, Introitus, and Requiem Canticles. Craft’s historic association with Igor Stravinsky, as his constant companion, co- conductor, and musical confidant, over a period of more than twenty years, contributed to his understanding of the David Wilson-Johnson, Rabbi-Narrator composer’s intentions in the performance of his music. -
Hypnotic Phenomena
The Ericksonian Approach to Hypnotic December 2019 Phenomena The Ericksonian Approach to Hypnotic Phenomena Disclaimer: “Materials that are included in this course may include interventions and modalities that are beyond the authorized practice of mental health professionals. As a licensed professional, you are responsible for reviewing the scope of practice, including activities that are defined in law as beyond the boundaries of practice in accordance with and in compliance with your professional standards.” With great appreciation 1 Demonstration 2 What are hypnotic phenomena? • Any response to a hypnotic scenario that does not seem to be the product of conscious intention (e.g., automaticity), or one that occurs in opposition to conscious intention (e.g., immobilization), or one that somehow alters the reality orientation on which conscious intentions are based (e.g., age progression). However… • All hypnotic phenomena occur in ordinary, daily life but without being incorporated into goal-oriented activity (e.g., suddenly not remembering a name, or driving w/o thought). Hypnotic procedure merely activates ordinary behavior within a novel perceptual context. • These phenomena are also necessary for any symptom complex: I didn’t intent to do it, I can’t stop it, or how can this be real. 3 By Dan Short 1 The Ericksonian Approach to Hypnotic December 2019 Phenomena Why use Hypnotic Phenomena? • To ratify the legitimacy of the hypnotic procedure, thus increasing positive expectancy effects associated with therapy outcomes. • To produce a type of virtual reality in which any action or experience can be tested without any risk of real-world consequences. • To transform liabilities into assets that can be utilized during lifelong problem solving. -
Complex Trauma Therapy in the Treatment of Psychosis: Toward An
Running head: TRAUMA THERAPY IN TREATMENT OF PSYCHOSIS COMPLEX TRAUMA THERAPY IN THE TREATMENT OF PSYCHOSIS: TOWARD AN INTEGRATIVE APPROACH A DISSERTATION SUBMITTED TO THE FACULTY OF THE GRADUATE SCHOOL OF APPLIED AND PROFESSIONAL PSYCHOLOGY OF RUTGERS, THE STATE UNIVERSITY OF NEW JERSEY BY LILLIE I. VANDEKAR IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF DOCTOR OF PSYCHOLOGY NEW BRUNSWICK, NEW JERSEY OCTOBER 2019 APPROVED: ___________________________ Monica J. Indart, Psy.D. ___________________________ Louis A. Sass, Ph.D. DEAN: __________________________ Francine Conway, Ph.D. TRAUMA THERAPY IN TREATMENT OF PSYCHOSIS ii Abstract An increasing number of studies have demonstrated that there is a high incidence of childhood trauma and posttraumatic stress disorder (PTSD) in individuals with schizophrenia, yet established treatments for psychosis do not address trauma. Recently, there has been an increasing emphasis on incorporating trauma treatment into care for schizophrenia. Despite heightened awareness of the need, there is little information available detailing an effective treatment strategy specifically tailored to this population. To address this need, a phase-oriented individual psychotherapy model is proposed that integrates Courtois and Ford’s (2013) relationship based model, widely recognized as the gold-standard treatment for the treatment of complex trauma, with interpersonal psychodynamic treatment for schizophrenia. The theoretical rationale for the choice of models and their integration are provided along with the historical development leading to the creation of each model. The proposed integrated model is designed for an outpatient population of individuals with psychosis and complex PTSD and is broken down into three general phases. Broadly, Phase I addresses safety, stabilization, and engagement, Phase II focuses on psychosis specific and trauma specific processing, and Phase III involves the consolidation of treatment gains and preparation for treatment termination. -
Gestalt Therapy Allen Richard Barlow University of Wollongong
University of Wollongong Research Online University of Wollongong Thesis Collection University of Wollongong Thesis Collections 1983 The derivation of a psychological theory: Gestalt therapy Allen Richard Barlow University of Wollongong Recommended Citation Barlow, Allen Richard, The derivation of a psychological theory: Gestalt therapy, Doctor of Philosophy thesis, Department of Psychology, University of Wollongong, 1983. http://ro.uow.edu.au/theses/1685 Research Online is the open access institutional repository for the University of Wollongong. For further information contact the UOW Library: [email protected] THE DERIVATION OF A PSYCHOLOGICAL THEORY : GESTALT THERAPY A thesis submitted in fulfilment of the requirements for the award of the degree of » DOCTOR OF PHILOSOPHY from THE UNIVERSITY OF WOLLONGONG by ALLEN RICHARD BARLOW, B.A. (Hons.l) DEPARTMENT OF PSYCHOLOGY (1983) -i- TABLE OF CONTENTS Page List of Tables xiv Acknowledgements xv xvi Abstract xvii CHAPTER 1: Introduction 1.1 The aim of this dissertation 1 1.2 Principles of Gestalt therapy 7 CHAPTER 2: Sigmund Freud and psychoanalysis 2.1 Biography 12 2.2 Difficulties in comparing Freud's and Perls' works 13 2. 3 Freud ' s influence on Perls 16 2.4 Structure of the personality 20 2.4.1 Relationship between the three subsystems 22 2.5 Conscious/unconscious 24 2.6 Instincts 28 2. 7 Defence mechanism; 30 2.7.1 Regression 31 2.7.2 Repression 32 2.7.3 Reaction-formation 33 2.7.4 Introj ection 34 2.7.5 Proj ection , 35 2.7.6 Turning against the self (retroflection) 36 2.7.7 Rationalization 37 2.7.8 Denial 37 2.7.9 Identification 38 2. -
Moses Und Aron and Viennese Jewish Modernism
Finding Music’s Words: Moses und Aron and Viennese Jewish Modernism Maurice Cohn Candidate for Senior Honors in History, Oberlin College Thesis Advisor: Annemarie Sammartino Submitted Spring 2017 !2 Table of Contents Acknowledgments 3 Introduction 4 Chapter One 14 Chapter Two 34 Chapter Three 44 Conclusion 58 Bibliography 62 !3 Acknowledgments I have tremendous gratitude and gratefulness for all of the people who helped make this thesis a reality. There are far too many individuals for a complete list here, but I would like to mention a few. Firstly, to my advisor Ari Sammartino, who also chaired the honors seminar this year. Her intellectual guidance has been transformational for me, and I am incredibly thankful to have had her mentorship. Secondly, to the honors seminar students for 2016—2017. Their feedback and camaraderie was a wonderful counterweight to a thesis process that is often solitary. Thirdly, to Oberlin College and Conservatory. I have benefited enormously from my ability to be a double-degree student here, and am continually amazed by the support and dedication of both faculties to make this program work. And finally to my parents, Steve Cohn and Nancy Eberhardt. They were my first teachers, and remain my intellectual role models. !4 Introduction In 1946, Arnold Schoenberg composed a trio for violin, viola, and cello. Schoenberg earned his reputation as the quintessential musical modernist through complex, often gargantuan pieces with expansive and closely followed musical structures. By contrast, the musical building blocks of the trio are small and the writing is fragmented. The composer Martin Boykan wrote that the trio “is marked by interpolations, interruptions, even non-sequiturs, so that at times Schoenberg seems to be poised at the edge of incoherence.”1 Scattered throughout the piece are musical allusions to the Viennese waltz. -
Volume 42, No. 4, 2008
the FALL/WINTER 2008 AMERICAN Volume 42, No. 4 PSYCHOANALYST Quarterly Magazine of The American Psychoanalytic Association Law and Order Taps Infant-Mother INSIDE TAP... Paradigm Research Winter Meeting Ed Tronick Highlights . 8–15 In 2007 research on my still-face infant- biological systems. These principles teach us Soldiers & Veterans mother paradigm was featured on the “Cage” that as open, complex systems, we humans Initiative . 15 episode of Law and Order, Special Victims Unit. connect with one another to maximize the Certainly I had never entertained the idea organizational complexity, coherence, integra- Special Section: that my laboratory research would make it to tion, and flexibility of our sense of ourselves Reflections prime time.Yet there it was. For the program, in the world. We thrive in the messiness of it was used to illustrate the damaging effects human connection and without it, we wither. on Education . 18–19 of poor parenting on children. For me, it In this regard, for example, I see Psyche’s story APsaA Fellows . 23–25 illustrated how children try to make sense as a canonical myth because she acts in the out of the senselessness and the lack of shared most human of ways: as a seeker expanding Empirical Research . 26 meanings they may experience growing up. I the complexity of her sense of herself, accord- thought about something Arnold Modell has ing to Carol Gilligan. She understands that Saint Elizabeths . 27 said,“The vitality of the private self depends on striving for and creating the new requires risk- the capacity to generate meaning; the inability ing the old and that it may bring deep and Notes on a Scandal . -
Eichler Columbia 0054D 12688.Pdf
The!Emancipation!of!Memory:!! ! Arnold!Schoenberg!and!the!Creation!of! A"Survivor"from"Warsaw" ! ! ! ! ! ! Jeremy!Adam!Eichler! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! Submitted!in!partial!fulfillment!of!the!! requirements!for!the!degree!of!! Doctor!of!Philosophy! in!the!Graduate!School!of!Arts!and!Sciences! ! ! COLUMBIA!UNIVERSITY! ! 2015! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ©!2015! Jeremy!Adam!Eichler! All!rights!reserved! ! ABSTRACT! ! The!Emancipation!of!Memory:!! Arnold!Schoenberg!and!the!Creation!of!A"Survivor"from"Warsaw! ! ! Jeremy!Eichler!! ! ! This!is!a!study!of!the!ways!in!which!the!past!is!inscribed!in!sound.!It!is!also!an! examination!of!the!role!of!concert!music!in!the!invention!of!cultural!memory!in!the!wake!of! the!Second!World!War.!And!finally,!it!is!a!study!of!the!creation!and!early!American!reception! of!A"Survivor"from"Warsaw,!a!cantata!written!in!1947!that!became!the!first!major!musical! memorial!to!the!Holocaust.!It!remains"uniquely!significant!and!controversial!within!the! larger!oeuvre"of!its!composer,!Arnold!Schoenberg!(1874]1951).!! Historians!interested!in!the!chronologies!and!modalities!of!Holocaust!memory!have! tended!to!overlook!music’s!role!as!a!carrier!of!meaning!about!the!past,!while!other!media!of! commemoration!have!received!far!greater!scrutiny,!be!they!literary,!cinematic,!or! architectural.!And!yet,!!A"Survivor"from"Warsaw"predated!almost!all!of!its!sibling!memorials,! crystallizing!and!anticipating!the!range!of!aesthetic!and!ethical!concerns!that!would!define! the!study!of!postwar!memory!and!representation!for!decades!to!come.!It!also!constituted!a! -
ARNOLD SCHOENBERG's RELIGIOUS ODYSSEY Submitted
FROM THE LADDER TO THE MOUNTAIN: ARNOLD SCHOENBERG'S RELIGIOUS ODYSSEY Submitted in partial fulfihnent of the req~ements for the degree of Doctor of Philosophy in the Department of Music University of Natal. Durban, 1998 by ROSELINE SHAPIRO DECLARATION I declare that unless otherwise stated this is my own, original work ---------------il--------------slgnedfL4Luu lltP· .. R. Shapiro December 1998 CONTENTS ABSTRACT ........................................................................................... .iv ACKN"OWLEDGMENTS ........................................................................ v ABBREVIATIONS ................................................................................ vi INTRODUCTION ................................................................................ vii PROLOGUE .......................................................................................... 1 JEWISH IDENTITY IN VIENNA Notes ......................................................................................... 27 I. SCHOENBERG APPROACHING THE LADDER. ..................... .30 SOURCES OF DIE JAKOBSLEITER Notes ......................................................................................... 60 11. DIE JAKOBSLEITER .................................................................... 63 Notes ....................................................................................... 91 Ill. THE PATH OF THE BIBLE. ...................................................... 94 DER BIBLISCHE WEG Notes ...................................................................................... -
Methods for Changing Emotions
1154 Chapter 12: Methods for Changing Emotions Introduction 1155 The Nature of Emotions 1155 Learning to Control Our Emotions 1156 Emotional Reactions: Behavior, Feelings, Physiology 1158 Are Feelings Good or Bad? 1160 Feelings Usually Leak Out 1160 Methods for Changing 1162 I. Learning to Produce Desired Emotions 1163 1. Relaxation training 1163 2. Moods by suggestion: calm scene, relaxation, elation 1170 3. How to be happy--determinism 1175 4. Gaining peace of mind--centering 1179 II. Reducing Unwanted Emotions 1181 5. Meditation 1181 6. Desensitization 1186 7. In vivo desensitization 1197 8. Exposure to the fear (flooding) 1199 9. Stress-inoculation: self-instructions; coping imagery 1202 III. Getting It Off Your Chest—Unconscious Feelings 1212 10. Catharsis: discharging or venting emotions 1214 IV. Converting Emotional Energy 1222 11. Constructive use of energy 1222 V. Additional Methods for Changing Emotions 1224 12. Distractions and/or Exercise 1224 13. Change of the environment and reinforcement 1226 14. Practice, practice, practice 1226 15. Pleasant activities 1226 16. Massage 1227 17. Drugs 1227 18. Implosion and Rational-Emotive imagery 1227 19. Gradual toleration 1228 20. Biofeedback 1228 21. Skills 1229 1155 22. Cognitive approaches 1229 23. Values 1229 24. Paradoxical intention 1229 25. Express the emotions you want to have 1230 VI. Useful general references for controlling emotions 1230 Introduction Understanding your emotions--behavior, feelings, physiology, and thoughts--will help you plan ways to change them. Use the steps in chapter 2. If an unwanted emotion is your main concern, read the appropriate chapter (5 to 8) and then refer back to this chapter for basic methods to change the emotional parts of the problem.