13646 Chapters
Medium 9781912567362

22. The Child Psychotherapist and the Patient's Family (1968)

Bick, Esther; Harris, Martha Harris Meltzer Trust ePub

Martha Harris

Practical matters of setting and communication are first considered, then attention is paid to underlying unconscious communications between family and therapist, clarifying the role of therapy as something that supports rather than interfering with the child's relationship with his parents. The process of transferring anxieties and working in the transference is described by means of two clinical cases (a ten-year-old boy and a sixteen-year-old girl), followed by one example of consultation with parents and child in which the therapist's role is specifically “to help the parents use the unrivalled experience they have of their own child.”

Those of us who work with children are more dependent on the co-operation of the patient's family than is the adult therapist as a rule. If the patient is a young child it is usually the mother, sometimes the father, who has to bring the child to treatment; the older child or adolescent still needs parental backing and encouragement at times to continue during difficult periods.

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Medium 9781911597094

Chapter Two: God

Chupp, Teresa Aeon Books ePub

When discussing the nature of God, it is imperative for us to remember that our perceptions and understanding of God are limited, and anything we can say is necessarily partial and biased. Nonetheless, we must press forward in this work to clarify our own ideas and understanding, and to construct a foundation for a system of meaning to guide our lives. To this end, I advocate a monotheism that is panentheistic, rather than the polytheistic theology of Paganism, and this needs to be explained, and its value clarified. Theodicy, arguably the most difficult issue in theology, must also be addressed. Although there are few things that can be said about the nature of God that are not unacceptably limiting, it seems that, with restraint, we can speak meaningfully of a God that is both immanent and transcendent. I suggest we begin by investigating how we perceive and understand God.

GOD AS OUR REFLECTION

Does the need to attribute personal intention or causality give rise to the religious impulse? Did people create God to explain mysterious events they did not understand? It has been suggested that humans naturally think in terms of cause and effect, and when a cause for an event is not obvious, one is postulated. In this manner, people may have devised the idea of God in order to explain why things exist (d'Aquili & Newberg, 1999). Situations that are threatening, stressful and mysterious, such as medical problems, elicit attributions to God most frequently (Spilka & Schmidt, 1983; Wikstrom, 1987). Early humans, like all people, had a need to find meaning in events, and since their understanding was limited to their own personal experience and point of view, they may have attributed intention to natural events they did not understand, personified those events, and inferred God out of those events.

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Medium 9781904658023

Appendix IV: Self Initiation and the Neophyte Spread

Hughes-Barlow, Paul Aeon Books ePub

APPENDIX IV

Self Initiation and the Neophyte Spread

In this more egalitarian world, the necessity to be at a Temple, or even be a member of a Lodge in order to progress spiritually has waned. Cyber-Temples can be found on the Internet. With the development of the powerful magical techniques for attaining one's Holy Guardian Angel using the Tarot, a more formal structure for self-initiation is required.

Contact with one's Holy Guardian Angel is considered a pre-requisite for any Magician – Aleister Crowley purchased Boleskin in Scotland purely for the purpose of practising the Abra-Melin ritual. Six months of isolation and abstinence is required to complete the Abra-Melin ritual – not an easy task at the best of times.

A characteristic of success in contacting one's Holy Guardian Angel is the appearance of ‘demonic’ spirits. The word demon comes from daimon, a Greek word meaning deity, something entirely different. Based upon my experience of writing this book and the contact made with the Goetic Spirits, (which are part of the Abra-Melin heritage) and the spirits of Liber 231, it occurs to me that ‘demon’ in this context may better be described as ‘spirits who arrived unexpectedly’.

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Medium 9781855752610

CHAPTER FOUR. The uncovering of a lack of identity

Desmarais, Jane Karnac Books ePub

Roberta Mondadori

I have divided this chapter into two parts corresponding to two phases of psychotherapy with Lydia, a 17-year-old anorexic girl. As I shall describe, Lydia ended her therapy abruptly after one year but asked to resume eighteen months later. Fortunately I was able to accept.

This second phase continued for two years. In her first phased-type therapy Lydia mainly communicated through primitive early mechanisms such as splitting, projections, and particularly through the “no-entry system” of defences (Williams, 1997). I greatly relied on the transference–countertransference relationship with Lydia, as she seemed at the beginning to have very little space for thinking. In the first phase, Lydia used me mainly as a container of her anxieties, and it was essential for me to perform a holding function. In her second phase, Lydia began to develop sufficient trust in our relationship, and some exploratory analytic work gradually took place. The feeling of trust was furthered by the experience of reliability and the stability of our relationship, which had withstood Lydia’s mental rejection and deep anxieties about her own survival.

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Medium 9781782204954

Chapter Five - Creativity and the Unconscious: The Objective Correlative and the Presence/Hermeneutic Dialectic: How Art Preferences Can Reflect Your Unconscious Mind

Hall, Rebecca; Steiner, Hans Karnac Books ePub

How art preferences can reflect your unconscious mind

“Art enables us to find ourselves and lose ourselves at the same time,” stated Thomas Merton (1955). Or as Aristotle put it: “The aim of art is to represent not the outward appearance of things, but their inward significance.” Most of us have experienced the feeling of losing ourselves in art. Some of us keep photographs of a beautiful sunset pinned up in our cubicles to calm ourselves amid a stressful workday; others listen to our favorite songs while driving home to buoy our mood after a rough day. Something about a piece, be it auditory or visual, resonates with us—we cannot use logic to explain why we are drawn to the piece, we just feel it. When it comes to art we are like sponges—we absorb a piece and transform its content into our own personal emotional experience.

Herein lies the power of art. When listening to a particularly gripping piece of music or contemplating a favorite painting, we stop thinking about what to make for dinner or about tomorrow's work presentation. Instead, these reality-oriented thoughts give way to an emotional experience that transports us. It is often this suspension of analytical cognitive activity and the wave of emotion that draw us to art.

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