Download Beckett and Bion: The (Im)Patient Voice in Psychotherapy and by Ian Miller, Kay Souter PDF

By Ian Miller, Kay Souter

This booklet specializes in Samuel Beckett’s psychoanalytic psychotherapy with W. R. Bion as a crucial point either one of Beckett’s and Bion’s radical differences of literature and psychoanalysis. the new book of Beckett’s correspondence through the interval of his psychotherapy with Bion presents a foundation for an ingenious reconstruction of this psychotherapy, culminating with Bion’s recognized invitation to his sufferer to dinner and a lecture by way of C.G. Jung. Following from the process this psychotherapy, Miller and Souter hint the improvement of Beckett’s radical use of scientific psychoanalytic process in his writing, suggesting the advance inside of his characters of a literary-analytic operating via of transference to an idealized auditor identified through numerous names, it sounds as if according to Bion. Miller and Souter hyperlink this pursuit to Beckett’s leap forward from prose to drama, because the psychology of projective id is reworked to actual enactment. additionally they find Bion’s reminiscence and re-working of his medical touch with Beckett, who figures because the 'patient zero' of Bion’s pioneering postmodern psychoanalytic scientific theories.

This studying of Beckett and Bion isn't really easily interpretive yet a development that has arisen from a really dynamic method, packed with speculation and shock. faraway from negating different readings, it provides density to the textured knowing of those remarkable thinkers, every one officially in several strains of labor yet joined via what Bion himself may name a 'reciprocal perception' of psychoanalysis. it really is reciprocal simply because Beckett reworked psychoanalytic pondering right into a literary style whereas Bion reworked psychoanalytic pondering into strategy figuring out. each one applied a similar item, yet with diversified attentions to assorted ends. The constitution of the booklet is split into elements. half I starts with a biographical creation of Beckett and encompasses a dialogue of Beckett’s early metapsychological monograph, Proust. It provides Beckett’s years in psychotherapy, among 1934 and 193, and addresses the institutional contexts during which this psychotherapy came about, and in addition discusses of Wilfred Bion’s heritage and history. half II addresses Beckett’s radical use of loose organization as a literary shape and examines Beckett’s Novellas, the Trilogy, and his inventive transition from prose to drama. It concludes with an exploration of Bion’s theoretical use of his paintings with Beckett.

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Additional info for Beckett and Bion: The (Im)Patient Voice in Psychotherapy and Literature

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To get at this point—and to stress the fundamentally modernist nature of this gesture—I will begin with what might seem to some like a detour, by invoking the idea of the “salvage,” a concept that rhetorically links an anthropological practice of Boas’s early career with modernist literature, via the work of T. S. Eliot. 1 Moreover, the anthropology he did champion was the very kind of work, evolutionary comparativism, that Boas is most commonly seen as having delegitimated. Thus doubly antithetical to many conceptions of the Boasian “cultural” legacy—a spokesman for both “high culture” and outmoded ethnological thinking—Eliot’s work is, I will argue, similar to Boas’s in one basic respect: namely, the common experience of a shift characteristic of modernism generally from conceptions of human history based on a vision of lineal, temporal advancement, to a more complex historical understanding that incorporates the possibility of spatial differences in humanity.

This book addresses the work of several other modernist figures, including Sherwood Anderson, Waldo Frank, Jean Toomer, Hart Crane, Thomas Hart Benton, Nathanael West, and James Agee, whose work was variously situated within, and commented upon, this American—geographical—cultural divide. By insisting on these provincial and vernacular interests in the context of modernism—so long defined in terms of the experience of historical rupture, rejection of the aesthetics of the past, making things new, and so forth—we may begin to find a way to think about modernism’s project in terms that do not excessively privilege the modernists’ own self-presentation of their efforts, as enacting radical breaks from history.

This term would seem to refer to a position critical of modernist art or ideas—a position which, as we will see, certainly had its spokesmen, including Thomas Hart Benton, and (more complexly) Van Wyck Brooks. However, I am interested here in the “antimodernist” movement preceding and in some respects anticipating modernism, that—following the lead of socialist William Morris—attempted to address the problem of worker alienation in industrial society through a revitalization of handicraft traditions.

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