By Jonathan Pedder
This choice of written items plots the paintings of an NHS psychotherapist, Jonathan Pedder, turning the technological know-how of psychiatry into human encounters. He had a occupation educating and encouraging colleagues and scholars with psychoanalytic methods of pondering, encouraging and assisting them within the demanding situations of latest psychiatry. In his paintings he made the realm of psychoanalysis available to non-analysts, and this book augments the textbook on psychotherapy which Pedder wrote with Dennis Brown. Pedder was once a quiet visionary influential in providing a pathway for psychological medical experts from many disci. Read more...
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Extra resources for Attachment and new beginnings : reflections on psychoanalytic therapy
Where is the drama now? We look at the actors. They have to be even more careful to follow the normal dramatic convention of not looking at us. If we exchanged glances it would conﬁrm our relationship as real people. They avoid this reality contact so that the play can come alive in the space between us. Similarly, children absorbed in a game can be watched, but often prefer to remain unseen: “don’t see me”—or the suspension of disbelief in their play collapses. It would be very cruel to say to a child clutching its transitional object, “That’s only a rag”.
Exploration of the concept of space runs throughout the writings of Masud Khan. In a fascinating essay on “Montaigne, Rousseau and Freud”, Khan (1970) proposes the idea that self exploration via “crucial friendship with the other became exigent only when there was a gap left by the absence of God’s presence; and the ﬁrst example of this is Montaigne’s relation to La Boétie in the sixteenth century”. After La Boétie’s death, Montaigne established a private space in his library at Château de Montaigne for himself, and in this space he lived through an extremely devout relationship to an inner presence, which was not that of God, but that of another human being.
Ii. 129] 18 ATTACHMENT AND NEW BEGINNINGS Yet, his guilt is not consciously acknowledged, for it is split off and projected into his image of his uncle, whose conjugal acts with mother he can then deplore. ii. 157). As Jones (1949, p. 88) says, “In reality his uncle incorporates the deepest and most buried part of his own personality so that he cannot kill him without also killing himself”, which is, of course, what ultimately happens. Now to the play within the play. ii. 608). Who is the King, but a split-off aspect of Hamlet himself; so, is he really saying that the play within the play, like a dream, will reveal his own unconscious guilt?
Attachment and new beginnings : reflections on psychoanalytic therapy by Jonathan Pedder