The Ego, the Self and the Subject in Paul Auster's Fictions

Total Page:16

File Type:pdf, Size:1020Kb

The Ego, the Self and the Subject in Paul Auster's Fictions The Ego, the Self and the Subject in Paul Auster’s Fictions Catherine Roger In Paul Auster’s fiction, the self can become the other very easily because it has no cohesion or continuity. Yet the subject speaks loud and clear, even though it cannot be grasped easily. Paul Auster’s fiction mostly deals with the unconscious. The conscious part of the self spies on the intimate, secret, unconscious self, so as to see through its workings. A split between conscious and unconscious selves occurs during writing and it is this process that Auster stages in his poetry and in his prose. Not only does the individual criss-cross his own inner world but he also explores the outside world. After coping with his inner conflicts, he attempts to adapt to society. Yet two possibilities for confusion crop up. The “I” in Auster’s works is both the subject of French Lacanian psychology and the self of American psychology. On the one hand, the subject is both present and impossible and the whole of Auster’s writing turns around “aphanisis,” the process by which a subject disappears as soon as it has appeared to consciousness. Dissociation, alienation and imperfection characterize the subject which is inaccessible by nature. On the other hand, the “I” is also the ego and the self of American psychology in Auster’s works. The American self has nothing to do with the Freudian self: it is a complex blend of conscious and unconscious. The self of Auster’s fiction is situated in between Hartmann, Kris and Loewenstein’s ego-psychology and Kohut’s self-psychology. It partakes both of the Lacanian subject and Kohut’s self. Writing enables Auster to stage the fundamental alienation of the subject and to find out how to prop up, back up a weak, fragmented self, how to give it cohesion and continuity. Finally, by questioning the subject, Auster makes it more present than ever in his fiction. In this essay, I intend to show that the “I” in Auster’s works partakes both of the subject of French Lacanian psychology and the self of American psychology and that, in his fiction, Auster gradually moves away from the former and comes to accept the latter while deriding it. In a way, Auster’s works can be considered as the successive steps of an existential quest which can be summed up thus: after coping with his inner conflicts, the individual tries to adapt to society - except that none of these tasks is ever over, it has to be performed again and again in each work. Such a terse definition of Auster’s writing deserves a little explanation. The unconscious is a repository of signifiers, both visual and auditory, that are repressed at the oedipal moment when incestuous desire for the mother is no longer perceived to be acceptable by the ego. What’s unconscious in mental life is also infantile, it is the initial, primitive part of psychical life. The unconscious is inaccessible to contradiction, location and time. It pays no attention to the demands of external reality and seeks to satisfy pleasure rather than be regulated by the reality principle to which the ego is subject. It is a system which is in direct and continual conflict with the ego, in a constant state of resistance due to the striving of the wishes to obtain immediate satisfaction. Thus Auster’s characters act despite their conscious will: when Quinn goes to Stillman’s appartment in City of Glass, when Jim Nashe criss-crosses America in The Music of Chance, they obey the demands of the unconscious. The ego combines common usage of the word: the image one has of oneself, the conscious data, the knowable information about oneself, and an accepted use in psychoanalytic theory: one agency among others functioning within the psyche (Freud’s ego, superego and id). The ego and the conscious do not coincide exactly in so far as the ego strives to maintain repression of the unconscious. In Auster’s fiction, characters are on the lookout for the unconscious. Quinn in City of Glass claims the writer is a detective spying on “the tiny life-bud of the body buried in the breathing self” (9). Lacan takes up the Freudian ego: the mirror stage becomes a decisive step in ego-identity in which the ego constructs an image of unity, permanence, and substantiality, but which is marked by the misrecognition and alienation inherent in the reflected specular image. Moreover, Lacan thinks that the center of the human being is not the ego, but the subject which sometimes corresponds to what Freud calls the id. The unconscious, according to Lacan is “that which vacillates in a split in the subject” (Four Fundamental 28). Unconscious discourse is other to conscious discourse and it speaks to the self through the symptom. Moreover, Lacan distinguishes between need, demand and desire. Whereas need belongs to the realm of the Real (it is short-lived and instinctual, it can be satisfied easily), demand belongs to the realm of the Imaginary (it is a call to the other, to the Imaginary mother, to the image in the mirror), desire belongs to the realm of the Symbolic. Desire is the hallmark of the subject, it is insatiable and unfulfillable, predicated on lack and absence. The desire of the subject is the desire of the Other. Lacan defines the subject as forever wanting and privileges the Other as the locus of want, lack and speech. Auster’s characters Roger, Catherine. “The Ego, the Self and the Subject in Paul Auster’s Fiction.” EREA 2.2 (automne 2004): 72-7. 72 <www.e-rea.org> are forever trying to grasp otherness in themselves. The desire of the other is called “hunger” in Paul Auster’s fiction. It is what motivates his characters, what makes them walk endlessly. They are subjects because they are forever wanting (The inhabitants of the City in In the Country of Last Things are insatiable “The stomach is a bottomless pit” - Marco Fogg in Moon Palace almost starves himself to death, hoping that someone will take pity on him and rescue him, which finally happens since Kitty Wu comes to his help - characters cultivate that hunger both as a rejection of society and a call to the other). Impossibility, alienation and imperfection characterize the subject in Paul Auster’s poetry. A voice can be heard but it corresponds to a subject which is divided, alienated in the Other. The poem White Nights (1972) starts with this line of verse: “No one here” and ends with “And each night, / from the silence of the trees, you know / that my voice / comes walking toward you.” The subject is alienated to itself: “The wall / is your only witness. Barred / from me, but squandering nothing, / you sprawl over each unwritten page...” (Unearth II). Its whereabouts cannot be mapped. While the poet keeps mentioning his wish to discover a true, personal language (the true seed - the seed of a single voice - the clandestine word - a flower), words come out corrupted, tainted, alien: language bespeaks the alienation of the subject (the babble - the rant - the mob - the work of sabotage - the skull’s rabble). Lacan teaches that language speaks the subject, that the speaker is subjected to language rather than master of it. The subject is hidden from view, it has to speak to give birth to itself, but the hoped-for clandestine word is forever replaced by “the hundred-faced lie that makes you visible” (Unearth XII). In Auster’s poems, the subject is this “you” which is forever barred from the “I.” Whereas Auster, before 1978, before White Spaces, dwells in his poetry on the voice of the impossible subject, on the inaccessibility, division and alienation of the subject, in White Spaces, he finds a way out of the dilemma: speech becomes as much a function of the body as an extension of the mind “no less a gesture than a hand outstretched […] and in this gesture can be read the entire alphabet of desire, the body’s need to be taken beyond itself, even as it dwells in the sphere of its own motion” (White Spaces 82). Auster has found a clever way of escaping from the impossible and alienated subject as defined by Lacan. “In other words, it says itself, and our mouths are merely the instruments of the saying of it” (White Spaces 84). The subject, the unconscious, says itself through language. Writing remains minimalist “to say the simplest thing possible” and still deals with reality “how much sweeter to remain in the realm of the naked eye,” but, thanks to that leap in the unknown, the “I” achieves full subjectivity at last “as if in an act of blind faith, I want to assume full responsibility.” While it is true that the subjective stance is an interaction of all three orders (symbolic, imaginary and real), it is only when the individual takes his rightful place in the sociocultural and signifying order that he attains full subjectivity, according to Lacan. Auster no longer refuses otherness and alienation, he embraces it. The poet has become a passive urn which welcomes otherness rather than refuses it. Language speaks the subject: whereas bodies are mere weak and vulnerable puppets, their voices are powerful and come from an alien world. This is the case for Stillman Junior in The City of Glass, but also for Effing in Moon Palace and Jack Pozzi in The Music of Chance. The “I” achieves full subjectivity through acceptance of the symbolic order. True enough, nostalgia for lost and impossible perfection and harmony still pervades Auster’s prose, but it is not hampered by the inability to speak which looms, weighs over his poetry.
Recommended publications
  • Pastiche in Paul Auster's the New York Trilogy
    qw Advances in Language and Literary Studies ISSN: 2203-4714 Vol. 7 No. 5; October 2016 Australian International Academic Centre, Australia Flourishing Creativity & Literacy Pastiche in Paul Auster’s The New York Trilogy Maedeh Zare’e (Corresponding author) Islamic Azad University, Tehran Central Branch, Iran E-mail: [email protected] Razieh Eslamieh Islamic Azad University, Parand Branch, Iran Doi:10.7575/aiac.alls.v.7n.5p.197 Received: 17/06/2016 URL: http://dx.doi.org/10.7575/aiac.alls.v.7n.5p.197 Accepted: 28/08/2016 Abstract This article is a Jamesonian study of Auster’s The New York Trilogy in which one of Fredric Jameson’s notions of postmodernism, pastiche, has been applied on three stories of the novel. This novel is one of Auster’s outstanding postmodern works to which Jameson’s theories of postmodernism, in particular, pastiche can be applicable. Pastiche has been defined by Fredric Jameson as an imitation of a strange style and contrasted to the concept of postmodern parody. This article indicates that theory of pastiche can be applied on both the form and content of three stories of the above mentioned novel. Keywords: Pastiche, Parody, Depthlessness, Historicity 1. Introduction Paul Benjamin Auster (1947) is one of the most influential American postmodern authors, whose works mostly mix realism, experimentation, sociology, absurdism, existentialism and crime fiction. Pastiche, intertextuality, aesthetic dignity and Auster’s own appearance in his works, such as City of Glass (1985), are also some of the features of his works. The search for identity and self-discovery can be found in his works such as The New York Trilogy (2015)1, Moon Palace (1989), The Music of Chance (1990), The Book of Illusions (2002), and The Brooklyn Follies (2005).
    [Show full text]
  • Download Article (PDF)
    Advances in Social Science, Education and Humanities Research, volume 289 5th International Conference on Education, Language, Art and Inter-cultural Communication (ICELAIC 2018) A Review of Paul Auster Studies* Long Shi Qingwei Zhu College of Foreign Language College of Foreign Language Pingdingshan University Pingdingshan University Pingdingshan, China Pingdingshan, China Abstract—Paul Benjamin Auster is a famous contemporary Médaille Grand Vermeil de la Ville de Paris in 2010, American writer. His works have won recognition from all IMPAC Award Longlist for Man in the Dark in 2010, over the world. So far, the Critical Community contributes IMPAC Award long list for Invisible in 2011, IMPAC different criticism to his works from varied perspectives in the Award long list for Sunset Park in 2012, NYC Literary West and China. This paper tries to make a review of Paul Honors for Fiction in 2012. Auster studies, pointing out the achievement which has been made and others need to be made. II. A REVIEW OF PAUL AUSTER‘S LITERARY CREATION Keywords—a review; Paul Auster; studies In 1982, Paul Auster published The Invention of Solitude which reflected a literary mind that was to be reckoned with. I. INTRODUCTION It consists of two sections. Portrait of an Invisible Man, the first part, is mainly about his childhood in which there is an Paul Benjamin Auster (born February 3, 1947) is a absence of fatherly love and care. His memory of his growth talented contemporary American writer with great is full of lack of fatherly attention: ―for the first years of my abundance of voluminous works.
    [Show full text]
  • In Paul Auster's Timbuktu
    Home and the Sense of ‘Welcoming’ in Paul Auster’s Timbuktu Treball de Fi de Grau Grau en Estudis d’Anglès i d’Espanyol Supervisor: Dr. Christina Howes Miriam Mordoh Flores June 2019 Acknowledgments As this dissertation talks about love, home and being with the other, I would like to express my sincere gratitude to the ones that have been my ‘home’ during this process. First, I would like to thank my supervisor, Christina Howes, for all the support and the bibliography you have provided me with. Thanks to you I have discovered a wonderful line of philosophy, Josep Maria Esquirol’s Philosophy of Proximity, that has broadened my outlook on life. To the Prolope Research Group and, specially, to Laura Fernández for all the advice and help regarding some final details of the dissertation. To my whole family. Mum and dad, thank you very much for your unconditional support during these four years. Also, thanks to my sister and best friend Judith. Having lived together this year in Barcelona has made things easier for me. Finally, to my grandparents, Yayo, Ann and Yaya. You always inspire me to fight for my dreams. To my friends from Lloret de Mar, because they have remained by my side during all these years despite the distance. Especially you, Marina, you know you're like my second sister. To all the people from university that have accompanied me in this intense journey. Specially, Anna, Marta, María Maslanka and Maria Sánchez, you have become my second family and I will never forget you. Once again, thank you for everything.
    [Show full text]
  • An Analysis Of" City of Glass" by Paul Auster in Terms of Postmodernism
    International Journal of Languages’ Education and Teaching Volume 5, Issue 1, April 2017, p. 478-486 Received Reviewed Published Doi Number 17.01.2017 16.02.2017 24.04.2017 10.18298/ijlet.1659 AN ANALYSIS OF CITY OF GLASS BY PAUL AUSTER FROM A POSTMODERNIST PERSPECTIVE1 Mehmet Cem ODACIOĞLU 2 & Chek Kim LOI3 & Fadime ÇOBAN4 ABSTRACT This study analyzes City of Glass, a postmodernist detective novella (or anti-detective) of the New York Trilogy by Paul Auster in terms of postmodernist elements and techniques such as metafiction, parody, intertextuality, irony. In doing so, some information about Auster’s life and the plot of the work are also offered to the reader to make the analysis more concrete. Last but not least, this study is also thought to be useful for students enrolled in English Language and Literary Departments for them to understand the movement of postmodernism. Key Words: City of Class, postmodernist detective fiction, anti-detective, metafiction, parody, irony, intertextuality, pastiche. 1.Short Biography of Paul Auster Paul Auster is an American-Jewish essayist, novelist, translator, poet, screenwriter and memoirist, who was born in Newark, New Jersey on February 3, 1947. Auster lived in a middle class family and spent some of his childhood in the Newark suburbs of South Orange and Maplewood. However, in 1959, his family moved into a large Tudor house. Auster's uncle, Allen Mandelbaum was a translator and left his books for him to read there when he decided to make a journey to Europe. Auster read all of these books which encouraged him to be interested in writing and in literature.
    [Show full text]
  • Self Psychology
    Year III, Winter II 2020 Self Psychology Instructors: Holly Blatman and Rafael Ornstein As a post-Freudian psychoanalytic theory, self psychology is continually undergoing changes and transformations. These changes have two major sources: The first is related to the fact that the theory as it was originally articulated by Heinz Kohut over a period of less than two decades, contained ideas the meanings of which could only become clear with time and increasing clinical experience. The best example of this is the selfobject concept: originally a purely intrapsychic concept, the concept now includes intersubjective and relational perspectives. The second major source of changes is related to the fact that there is a continuous, imperceptible influence that all psychoanalytic theories exert on each other. While each theory attempts to preserve its “purity,” discussions of clinical material reveal that analysts’ private theories (Sandler) have multiple theoretical sources. This course of eight, one and a half hour sessions can only be an overview in which we will focus on the most essential features of self psychology. We will aim for a systematic presentation recognizing that all psychoanalytic theories have to meet the criteria of inner consistency: all clinical theories are based on clinical observations (transferences) which have to be supported by a theory of development and a theory of psychopathology. CME Objective: Self-psychology is a clinically focused theory that bridges theory of development, psychopathology therapeutic process and curative action. By demonstrating knowledge of the precepts of this theory participants will be more skilled in treating a wide range of patients with a sophisticated psychoanalytic approach.
    [Show full text]
  • Critics on White Noise and Moon Palace. on Classification and Genre
    Universiteit Utrecht MA – Westerse Literatuur en Cultuur: English Sarah Scholliers (3104591) Critics on White Noise and Moon Palace. On Classification and Genre Hans Bertens Onno Kosters July 2007 Table of Contents Introduction: On Classification 1 CHAPTER ONE: Genre(s) and Critics 4 Contemporary Criticism with Regard to Genre 5 Genres, Auster and DeLillo 9 Two Stories 10 Playing with Genres? 11 Moon Palace 11 White Noise 13 Conclusion 14 CHAPTER TWO: French Influences? 16 Derrida and the Instability of Language 17 Derridean Language in Auster and DeLillo 18 Lacan’s Theory of Language and the Unconscious: in Search of the Sublime 19 Lyotard and the Unpresentable 21 Auster’s and DeLillo’s Sublime: Echoes of Lacan and Lyotard, and Derridean examples 23 Baudrillard’s Simulation 27 A Baudrillardean Auster and DeLillo? 28 Conclusion 30 CHAPTER THREE: American Approaches 32 Postmodern Sublime 32 The Romantic Sublime 32 Space 32 Magic and Dread – The Question of Language 35 Systems Theory 39 Conclusion 42 General Conclusion 43 Bibliography 46 I would like to thank Professor Hans Bertens and Dr. Onno Kosters, my supervisor and co-supervisor respectively, for the careful reading of the first versions of my thesis. INTRODUCTION On Classification Most people have clear ideas about the nature of a work of art. They tend to classify it within a particular category with which they are familiar. They do so, based on their own experience with this (and other) artwork, on critics’ opinion, popular media or hearsay. In general, people approach works of art with an unambiguous view, and they classify a film as a comedy or a book as a thriller.
    [Show full text]
  • Edward Hopper the Light and the Fogg: Edward Hopper and Paul Auster
    “Hotel Room” Edward Hopper The Light and the Fogg: Edward Hopper and Paul Auster James Peacock University of Edinburgh Auster contributed an extract from Moon Palace to the collection “Edward Hopper and the American Imagination,” and it is clear that Hopper’s images of alienated individuals have had a profound resonance for him. This paper employs two main ideas to compare them. First, a pivotal moment in American literature: the hotel room drama watched by Coverdale in Hawthorne’s Blithedale Romance. Secondly, Aby Warburg’s concept of the “pathos formula” in art, which bypasses the problematic issue of influence, choosing instead to posit sets of inherited cultural memories. It therefore allows discussion of the re-emergence of Hawthorne’s puritan tropes of paranoid specularity and transcendence in the work of Hopper and Auster. I was never able to paint what I set out to paint. (Edward Hopper, quoted in O’Doherty 77) Words are transparent for him, great windows that stand between him and the world, and until now they have never impeded his view, have never even seemed to be there. (G 146) Somewhere in New England in the nineteenth century, a man resumes his “post” (Hawthorne 168) at his hotel room window, there to observe the boarding house opposite. Before long, a “knot of characters” enters one of the rooms, appearing before our observer as if projected onto the physi- cal stage, having been “kept so long upon my mental stage, as actors in a drama.” Longing for “a catastrophe,” some moment of high theatre to fill the epistemological void of his own soul, our voyeur gazes with increasing intensity, fabricating scenarios which, he admits, “might have been alto- gether the result of fancy and prejudice in me.” When, in one of the most compelling and influential moments in all American literature, he is spot- ted by the female protagonist and barred from the scene by the dropping of a curtain, his appetite for narrative resolution remains unsated and he is condemned to brood on his isolation once more.
    [Show full text]
  • “Then Catastrophe Strikes:” Reading Disaster in Paul Auster's Novels and Autobiographies « Then Catastrophe Strikes
    Université Paris-Est Northwestern University École doctorale CS – Cultures et Sociétés Weinberg College of Arts & Sciences Laboratoire d’accueil : IMAGER Institut des Comparative Literary Studies Mondes Anglophone, Germanique et Roman, EA 3958 “T HEN CATASTROPHE STRIKES :” READING DISASTER IN PAUL AUSTER ’S NOVELS AND AUTOBIOGRAPHIES « THEN CATASTROPHE STRIKES » : LIRE LE DÉSASTRE DANS L’ŒUVRE ROMANESQUE ET AUTOBIOGRAPHIQUE DE PAUL AUSTER Thèse en cotutelle présentée en vue de l’obtention du grade de Docteur de l’Université de Paris- Est, et de Doctor of Philosophy in Comparative Literature de Northwestern University, par Priyanka DESHMUKH Sous la direction de Mme le Professeur Isabelle ALFANDARY et de M. le Professeur Samuel WEBER Jury Mme Isabelle ALFANDARY , Professeur à l’Université Paris-3 Sorbonne Nouvelle (Directrice de thèse) Mme Sylvie BAUER , Professeur à l’Université Rennes-2 (Rapporteur) Mme Christine FROULA , Professeur à Northwestern University (Examinatrice) Mme Michal GINSBURG , Professeur à Northwestern University (Examinatrice) M. Jean-Paul ROCCHI , Professeur à l’Université Paris-Est (Examinateur) Mme Sophie VALLAS , Professeur à l’Université d’Aix-Marseille (Rapporteur) M. Samuel WEBER , Professeur à Northwestern University (Co-directeur de thèse) In memory of Matt Acknowledgements I wish I had a more gracious thank-you for: Mme Isabelle Alfandary , who, over the years has allowed me to experience untold academic privileges; whose constant and consistently nurturing presence, intellectual rigor, patience, enthusiasm and invaluable advice are the sine qua non of my growth and, as a consequence, of this work. M. Samuel Weber , whose intellectual generosity, patience and understanding are unparalleled, whose Paris Program in Critical Theory was critical in more ways than one, and without whose participation, the co-tutelle would have been impossible.
    [Show full text]
  • Authorial Turns: Sophie Calle, Paul Auster and the Quest for Identity
    Authorial Turns: Sophie Calle, Paul Auster and the Quest for Identity © Anna Khimasia, 2007 Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. Library and Bibliotheque et Archives Canada Archives Canada Published Heritage Direction du Branch Patrimoine de I'edition 395 Wellington Street 395, rue Wellington Ottawa ON K1A 0N4 Ottawa ON K1A 0N4 Canada Canada Your file Votre reference ISBN: 978-0-494-36802-2 Our file Notre reference ISBN: 978-0-494-36802-2 NOTICE: AVIS: The author has granted a non­ L'auteur a accorde une licence non exclusive exclusive license allowing Library permettant a la Bibliotheque et Archives and Archives Canada to reproduce, Canada de reproduire, publier, archiver, publish, archive, preserve, conserve, sauvegarder, conserver, transmettre au public communicate to the public by par telecommunication ou par I'lnternet, preter, telecommunication or on the Internet,distribuer et vendre des theses partout dans loan, distribute and sell theses le monde, a des fins commerciales ou autres, worldwide, for commercial or non­ sur support microforme, papier, electronique commercial purposes, in microform, et/ou autres formats. paper, electronic and/or any other formats. The author retains copyright L'auteur conserve la propriete du droit d'auteur ownership and moral rights in et des droits moraux qui protege cette these. this thesis. Neither the thesis Ni la these ni des extraits substantiels de nor substantial extracts from it celle-ci ne doivent etre imprimes ou autrement may be printed or otherwise reproduits sans son autorisation. reproduced without the author's permission. In compliance with the Canadian Conformement a la loi canadienne Privacy Act some supporting sur la protection de la vie privee, forms may have been removed quelques formulaires secondaires from this thesis.
    [Show full text]
  • Download the Story of My Typewriter, Paul Auster, Sam Messer, D.A.P
    The story of my typewriter, Paul Auster, Sam Messer, D.A.P., 2002, 1891024329, 9781891024320, 63 pages. This is the story of Paul Auster's typewriter. The typewriter is a manual Olympia, more than 25 years old, and has been the agent of transmission for the novels, stories, collaborations, and other writings Auster has produced since the 1970s, a body of work that stands as one of the most varied, creative, and critcally acclaimed in recent American letters. It is also the story of a relationship. A relationship between Auster, his typewriter, and the artist Sam Messer, who, as Auster writes, "has turned an inanimate object into a being with a personality and a presence in the world." This is also a collaboration: Auster's story of his typewriter, and of Messer's welcome, though somewhat unsettling, intervention into that story, illustrated with Messer's muscular, obsessive drawings and paintings of both author and machine. This is, finally, a beautiful object; one that will be irresistible to lovers of Auster's writing, Messer's painting, and fine books in general.. DOWNLOAD http://bit.ly/1bs6nlL Hand to Mouth A Chronicle of Early Failure, Paul Auster, Aug 1, 2003, Biography & Autobiography, 169 pages. From the streets of Manhattan to Paris, a poignant memoir explains a series of ingenious and farfetched attempts to survive on next to no money, showing both the humor and .... Office Collectibles 100 Years of Business Technology, Thomas A. Russo, Jun 1, 2000, , 224 pages. This book presents the most comprehensive collection of antique and collectible office technology that has appeared to date.
    [Show full text]
  • Self Psychology As a Theoretical Model for Intervention with Adolescent Mothers
    Loyola University Chicago Loyola eCommons Master's Theses Theses and Dissertations 1993 Self Psychology as a Theoretical Model for Intervention with Adolescent Mothers Breda M. O'Connell Doak Loyola University Chicago Follow this and additional works at: https://ecommons.luc.edu/luc_theses Part of the Education Commons Recommended Citation O'Connell Doak, Breda M., "Self Psychology as a Theoretical Model for Intervention with Adolescent Mothers" (1993). Master's Theses. 3960. https://ecommons.luc.edu/luc_theses/3960 This Thesis is brought to you for free and open access by the Theses and Dissertations at Loyola eCommons. It has been accepted for inclusion in Master's Theses by an authorized administrator of Loyola eCommons. For more information, please contact [email protected]. This work is licensed under a Creative Commons Attribution-Noncommercial-No Derivative Works 3.0 License. Copyright © 1993 Breda M. O'Connell Doak SELF PSYCHOLOGY AS A THEORETICAL MODEL FOR INTERVENTION WITH ADOLESCENT MOTHERS by Breda M. O'Connell Doak A Thesis submitted to the Faculty of the Graduate School of Loyola University Chicago in Partial Fulfillment of the Requirements for the Degree of Master of Arts May 1993 ACKNOWLEDGMENTS I wish to extend my sincere appreciation to Dr. Marilyn Susman for her interest, concern and guidance as advisor to this thesis. I would also like to express gratitude to Dr. Carol Harding for serving on my thesis committee and lending her expertise to this project, and to Dr. Gloria Lewis for her commitment and encouragement in the completion of this thesis. I am also very grateful for the support and encouragement I received from my friends and family.
    [Show full text]
  • Relational Self Psychology
    Psychoanalysis, Self and Context ISSN: 2472-0038 (Print) 2472-0046 (Online) Journal homepage: http://www.tandfonline.com/loi/hpsp21 Relational Self Psychology Barry Magid M.D., & Estelle Shane Ph.D To cite this article: Barry Magid M.D., & Estelle Shane Ph.D (2017) Relational Self Psychology, Psychoanalysis, Self and Context, 12:1, 3-19, DOI: 10.1080/15551024.2017.1251176 To link to this article: http://dx.doi.org/10.1080/15551024.2017.1251176 Published online: 04 Jan 2017. Submit your article to this journal Article views: 65 View related articles View Crossmark data Full Terms & Conditions of access and use can be found at http://www.tandfonline.com/action/journalInformation?journalCode=hpsp21 Download by: [216.14.22.178] Date: 18 January 2017, At: 10:52 Psychoanalysis, Self and Context, 12:3–19, 2017 Copyright © Taylor & Francis Group, LLC ISSN: 2472-0038 print / 2472-0046 online DOI: 10.1080/15551024.2017.1251176 Relational Self Psychology Barry Magid, M.D., and Estelle Shane, Ph.D Self psychology has evolved beyond Kohut’s original one person psychology into a two per- son intersubjective theory that we propose can now be best understood as belonging to, and developing through interaction with, the broad spectrum of theories that come under the umbrella of Relationality, which are characterized by some form of bi-directionality and mutual influence. Key to this development has been the restoration of the selfobject from psychic function to personhood with its own subjectivity upon which the patient can have and recognize an impact. Kohut’s conception of the therapeutic action of the acknowl- edging and repair of empathic failure can be expanded and enriched by relational ideas of mutual recognition, impact, complementarity, and the Third.
    [Show full text]