Academic literature on the topic 'Bion, Wilfred R. (Wilfred Ruprecht), 1897-1979'

La presente investigación es un estudio de casos que explora el soñar según W. Bion y su lugar en la tarea analítica. Para Bion, el soñar es “la forma más profunda de pensamiento”, y se da tanto de día como de noche. El soñar es la actividad mental que transforma las impresiones sensoriales de la experiencia emocional en elementos disponibles para pensar, y posibilita así el crecimiento psíquico (Bion, 1966, 1992). Para esta investigación, tres analistas en formación registraron en un diario, durante seis meses lo que para ellos constituía “soñar la tarea” analítica, lo que fue complementado con entrevistas finales y material clínico de sus casos control. Luego del análisis de los resultados, encontramos tres distintas formas de soñar que presentamos detalladamente y constituyen el centro de nuestro estudio, así como algunas características en común, relacionadas a su condición de analistas en formación. Si bien el soñar como actividad mental se encontró presente en los resultados de los analistas, este se encuentra, al mismo tiempo, en desarrollo. Para finalizar, planteamos la necesidad de dar cuidado constante al “laboratorio de sueños” que es la mente del analista, para que pueda seguir soñando.
The present research is a case study that explores dreaming as proposed by W. Bion, and its place in the analytic work. According to Bion, dreaming is “the most profound form of thinking”, and occurs by day as well as by night. Dreaming is the mental activity that transforms sensorial impressions of emotional experience into thinkables elements, and so doing permits psychic growth (Bion, 1966, 1992). For this research, three training analysts registered in a diary during six months their dream thoughts about their analytic work. This was complemented with final interviews, and some clinical material about their control cases. After the data analysis, we found three different ways of dreaming, wich are described with detail and contitutes the core of our study, but also we found similar characteristics related to their condition of being training analysts. Even though dreaming as a mental activity is present in the analysts’ collected data, it’s still evolving. Finally, we suggest the need for constant care in the “dreaming laboratory” that analyst’s mind contitutes, to preserve his capacity to dream.
Tesis

Orientador: Amnéris Ângela Maroni
Tese (doutorado) - Universidade Estadual de Campinas, Instituto de Filosofia e Ciências Humanas
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Resumo: Para W. R. Bion, psicanalista inglês, pensar é diferente do conhecer; pensar é "pensar as emoções" e só somos capazes de pensar na medida em que toleramos as frustrações. A partir do trabalho dos Doutores da Alegria com crianças hospitalizadas e sob a teoria psicanalítica de Bion, "Capacidade Negativa", nos debruçamos sobre possíveis cruzamentos entre riso, alegria e pensamento. Riso e alegria são emoções que permitem passagens, certa compreensão. Acontecem, às vezes, de maneira plural, no encontro com o outro; são também formas de olhar para o mundo, para si, uma maneira de abrir sentido para a vida. Talvez só o ser humano tenha capacidade e crescimento emocional para o paradoxal, para suportar a ambiguidade, a indefinição. É aí que o riso e a alegria - dos Doutores da Alegria -, habitam e florescem. Somos finitos, mas temos familiaridade, de maneira inexplicável, com o infinito. É nessa familiaridade que as perguntas aparecem, no desejo de "desvendar? o misterioso, o belo, o mágico. Para compreendermos o riso e a alegria - e também para rir - temos que acolher o paradoxo. Quanto mais suportarmos o negativo, a dúvida, a incerteza, a luz e a sombra, a dor, a perda, o ridículo, maior será nossa capacidade de rir. O ser humano é movimento, trânsito, lugar de instabilidade, é incompletude. Com a ideia de "alegria pensante' queremos apreender o riso, a alegria e a capacidade psíquica que lhe é afim. Só ri, na modernidade líquida, quem conquistou e é capaz de suportar o paradoxo, o negativo. Tentamos compreender isso a partir de algumas aproximações entre antropologia e psicanálise
Abstract: To W. R. Bion, an english psychoanalyst, thinking is different from knowing; thinking is "thinking the emotions" and we are only capable of thinking as we tolerate the frustrations. From the work conducted by Doutores da Alegria (Doctors of Joy) with hospitalized children and under Bion?s psychoanalytic theory, the 'Negative Capability', we have paid close attention to possible intersections between laughter, joy and thought. Laughter and joy are emotions that allow changes, some understanding. They sometimes happen differently in the encounter with the other; they are also ways of looking at the world and at ourselves, a way to open meaning for life. Perhaps only humans have the capacity and the emotional growth for the paradox, to bear the ambiguity, the vagueness. That is where the laughter and joy - of the Doctors of Joy - live and flourish. We are finite, but we have familiarity, inexplicably, with the infinite. It is in this familiarity that questions arise in the desire to 'unravel' what is mysterious, beautiful, and magical. To understand laughter and joy - and to laugh - we have to embrace the paradox. The longer we endure the negative, the doubt, the uncertainty, the light and the shadow, the pain, the loss, the ridiculous, the greater our ability to laugh will be. The human being is movement, transit, place of instability and incompleteness. With the idea of ' thinking joy' we want to apprehend laughter, joy and the psychic ability that is related to him/her. In the liquid modernity, only those who have conquered and are capable of bearing the paradox, the negative, are able to laugh. We try to understand it from some links between anthropology and psychoanalysis
Doutorado
Ciencias Sociais
Doutora em Ciências Sociais

Dans le cadre d'une comparaison entre une population d'origine française et une population originaire du Sénégal, du Mali et de la Mauritanie, nous recherchons l'articulation entre les productions oniriques et les images échographiques dans la formation des représentations maternelles. L'utilisation de l'IRMAG pour mener des entretiens réguliers avant et après les trois échographies obstétricales des trois trimestres de la grossesse, et la passation du test de Rorschach ont pour but, de repérer le mode de perception de l'image du fœtus à Péchographie. La symbolisation de l'image échographique du fœtus est appréciée à travers la traduction psychique de la rencontre visuelle et sa mise à disposition du rêve et de la rêverie maternelles. La méthodologie de cette recherche met à l'épreuve l'hypothèse selon laquelle la prédominance des rêves dans la structure des représentations de l'enfant dans la psyché maternelle est différente selon l'appartenance culturelle de la femme enceinte. Pour étudier les représentations maternelles, nous nous sommes appuyés sur le concept psychanalytique du rêve et le postulat de la capacité de rêverie maternelle de Bion. Une différenciation du concept de représentation en fonction de ses composantes corporelles, visuelles et de sa fonction anticipatrice, est élaborée. Les résultats de la recherche ont montré chez les femmes d'origine africaine, une participation singulière des symboles du rêve et d'une perception globalisante défensive de l'image échographique du fœtus à la formation des représentations maternelles. Ce constat est discuté sous l'angle de la théorie de la relation d'objet prénatale et de la résurgence de la vie fœtale maternelle. Du point de vue de l'universalité du psychisme, le discours manifeste des femmes d'origine africaine révèle les angoisses latentes des femmes d'origine française
Within the framework of a comparison between a French population and a population from Senegal, Mali and Mauritania, we are researching the link between dreamlike production and ultrasound scans in the formation of maternal representations. Both the utilization of IRMAG for regular check-ups before and after the three obstetric ultrasounds for each pregnancy trimester, as well as the passing of the Rorschach, aim to ascertain the means of perception of the image of the foetus in the ultrasound. The symbolization of the ultrasonic image of the foetus is appreciated throughout the psychic translation of the visual meeting and its availability of the dream and the maternal reverie. The methodology of this research proves the hypothesis according to which the predominance of dreams in the representative structures of the child in the mother's psyche differs, depending on the culture of the pregnant woman. To study the maternal representations, we are drawing on the psychoanalytical concept of the dream and Bion's postulate concerning the capacity of maternal reverie. A differentiation is elaborated on the concept of representation according to its bodily, visual and anticipatory components. The research results showed in African women a remarkable collaboration in a dream's symbols and an overall negative perception of the ultrasonic image of the foetus at the formation of maternal representations. This assessment is discussed from the angle of the theory of the prenatal object relation and the resurgence of the maternal foetal life. From the point of view of psychic universality, the obvious speech of the African women reveals the latent anguish of the French women

Imerso na tradição de pensamento de Melanie Klein, o psicanalista Wilfred Bion inicia a construção de um pensamento clínico e teórico original sobre a psicose e sobre o funcionamento mental primitivo na década de 1950, por meio de recorrentes menções à obra de Freud. Citações e referências ao autor são feitas por Bion em diferentes textos com diferentes propósitos. Em acréscimo, a tradição de pensamento de Freud está incorporada nas observações clínicas e nos desenvolvimentos conceituais de Bion, de modo que pode ser reconhecida pelo leitor não apenas por meio das remissões explícitas a Freud. Acompanhamos a construção do pensamento de Bion nos anos 50, período que precede à formulação de sua Teoria do Pensar, apresentada nos anos 60, e no momento em que ele estava em vias de realizar a sua decolagem pessoal na psicanálise, conforme expressão de Bléandonu (1993). A partir desse acompanhamento, procuramos ressaltar o que nomeamos de presenças de Freud, e trazer a um primeiro plano de análise os conceitos, noções e ideias deste autor que estão entranhados em seus textos de maneira mais ou menos evidente. Por meio de citações, mas também de alusões, ecos, remissões, associações e aproximações a Freud, que estão apenas sugeridas ou que se dão de maneira silenciosa, apresentamos o trabalho clínico e teórico de Bion, tendo em vista os seus objetivos, as dificuldades que parece ter encontrado e a forma com que, na época, procurou enfrentá-las. Também contextualizamos histórica e teoricamente as concepções dos autores em relação à psicose e às origens do psiquismo de um modo mais sistemático. O estudo das ligações intertextuais entre os autores evidencia a importância e os limites do pensamento de Freud para Bion; mostra que este autor dialoga pontualmente com diferentes trabalhos de Freud e não com a totalidade de suas concepções; indica que Bion está mais interessado em formular e em descrever suas experiências clínicas do que em promover debates conceituais e terminológicos com a teoria freudiana. Nesse sentido, Freud é uma fonte para o pensamento clínico, mais do que fonte para a discussão conceitual.
Immersed in the tradition of Melanie Kleins thinking, the psychoanalyst Wilfred Bion started to construct original theoretical and clinical thinking on psychosis and primitive mental functioning in the 1950s, through recurrent mention of Freuds works. Bion cited and made reference to Freud in different texts with different purposes. Furthermore, the tradition of Freuds thinking was incorporated in Bions clinical observations and conceptual developments such that readers can recognize this not just through the explicit references to Freud. In the present study, we started by tracing the construction of Bions thinking in the 1950s. This period preceded the formulation of his Theory of Thinking, which was presented in the 1960s, at a time when he on the way to achieving his personal liftoff in psychoanalysis, in the words of Bléandonu (1993). We sought to emphasize what we named Freuds presence, and to bring to the analytical foreground Freuds concepts, notions and ideas that permeate Bions texts with varying degrees of apparentness. Through not only citations but also allusions, echoes, remissions, associations and approaches relating to Freud that are only suggested or that are made silently, we present Bions theoretical and clinical work. We have borne in mind his aims, the difficulties that he seems to have encountered and the ways in which, at that time, he sought to deal with them. We have also put Freuds and Bions concepts relating to psychosis and the origins of the psyche into a more systematic theoretical and historical context. Studying the links between Freuds and Bions texts shows the importance and the limits of Freuds thinking for Bion. It shows that Bion had a point-by-point dialog with different works by Freud and not with the entirety of Freuds concepts. It indicates that Bion was more interested in formulating and describing his clinical experiences than in promoting conceptual and terminological debates on Freuds theory. In this respect, Freud is a source for clinical thinking, rather than a source for conceptual discussion.

Cette recherche démontre au travers des expériences et analyses ethnologiques ainsi que celles de la clinique psychanalytique, que l'affirmation de Freud concernant la « concordance » entre les processus psychiques des sociétés dites « primitives » et ceux des « névrosés » est tout à fait justifiée. A partir de l'analyse ethnologique de déconstruction du « Totémisme », institution longtemps considérée comme prototypique des peuples dits « primitifs », nous mettons en évidence dans l'ensemble des phénomènes mythico-rituels qui le constituent, un pivot autour duquel ceux-ci s'articulent pour former ce que nous nommons un « complexe totémico-initiatique » qui présente les mêmes caractéristiques « primordiales » ou « fondamentales » qui interviennent dans les processus de symbolisation « primaires » ou « originaires » du psychisme individuel. Il est mis en évidence que dans ces processus « primordiaux » ou « fondamentaux » de la constitution d'une société comme dans ceux de la constitution de l'appareil psychique individuel la question du « féminin » est centrale. Nous nommons « archaïque » l'ensemble de ces phénomènes sociaux et processus psychiques individuels pour signifier qu'ils échappent à une temporalité linéaire d'une vision développementale, rejoignant ainsi une conception psychanalytique postfreudienne qui propose un mouvement pendulaire de « positions » psychiques qui animent la « vie psychique » et dans lequel la question de la différence des sexes et de l'union sexuelle sont les formes inconscientes privilégiées de représentation des éléments « primordiaux » du processus de symbolisation, là ou la question de l'engendrement est au premier plan
Through ethnological analyses and experiments as well as psychoanalytic clinics, this work establishes that Freud's statement about the" concordance" between the psychic process of so-called " primitive" societies and of "neurotics" is totally justified. Starting from the deconstruction of « Totemism », which was considered for a long time as prototypical of the so-called « primitive » peoples, in this analysis of the whole of the mythico- rituals phenomena which a constitute it, we want to put the stress on the turning point where they are articulated so as to form what we call « a totemical-initiatical complex » viewed as an actual « total social fact » which presents the same « primordial » characteristics, or « fundamental « ones which get along through the process of « primary » or « originary » symbolizations of the individual psyche. It is put forward that in these processes of the constitution of a society as in that of the individual psychic System, the « feminine» question is central. We call » archaic » the whole of these social phenomena and individual psychic processes, so as to mean they escape a linear temporality in the sense of a developmental vision. We meet a postfreudian psychoanalytical conception which suggests a pendular movment of psychic "positions", animating the psychic life. In such positions the question of the difference of the sexes and the sexual union are privileged unconscious forms of the representation of the" primordial" elements of the symbolization process, at the point where the question of generation are at the foreground, and support all the processes of either " collective" or " individual" life

Cette recherche a pour but l'étude de situations traumatiques caractérisées par l'absence de langage. Il se penche plus précisément sur une évaluation du lien paradoxal entre l'expérience de mort psychique où le langage fait défaut et entre différentes expressions créatrices dans les arts (au théâtre chez Samuel Beckett, dans la poésie dans l'œuvre de Paul Celan et dans l'œuvre artistique de Francis Bacon), telles des trouvailles spécifiques au renouvellement du langage et de la vie. Cette démarche est soumise à la capacité de l'artiste de supporter la "mort psychique" et l'absence de représentation et de langage, ce que je nomme dans ce travail "le langage négatif", et d'en faire ressortir, par son art, des piliers qui formeraient un nouveau piédestal à la vie, à l'existence, à la créativité et à la découverte. Ce sujet a préoccupé le célèbre psychanalyste britannique Wilfred Bion et l'a amené à développer un ensemble de concepts théoriques et cliniques. Le modèle conçu dans cette recherche utilise les concepts théoriques et cliniques de Bion concernant les psychothérapeutes et psychanalystes et donne la possibilité de définir les différentes voies par lesquelles un artiste réussit à se servir de la créativité ou du processus de création comme étant un contenant (concept fondamental chez Bion) lui permettant d'accéder à des territoires et des domaines psychiques situés au-delà du langage. Dans une certaine mesure, différemment de Bion focalisé sur la thérapie, le modèle préconisé par cette présente recherche, fait essentiellement appel à la création artistique et à l'artiste au sein du processus créatif, comme étant le témoignage de son expérience dans "l'espace de mort". Il permet ainsi, non seulement de découvrir un "langage" propre à l'artiste mais aussi d'enrichir la théorisation thérapeutique psychanalytique de Bion, qui lui-même, tout comme Freud, admet que l'artiste devance le psychanalyste et parfois même lui trace la voie
The purpose of this research was to study traumatic situations characterized by the absence of language. More specifically, the focus is on the paradoxical relation between the experience of "psychic death" in which language fails and on the other hand, different creative expressions in the arts (in the theatre of Samuel Beckett, in the poetic writings of Paul Celan, and the paintings of Francis Bacon), as well as specific discoveries recreating the possibility of language and even life. This act is made possible by the capability of the artist to support "psychic death" and absence of representation - named in this work "negative language", and to go through it by his art which recreates an access to life, creativity and new discoveries. This subject preoccupied the eminent British psychoanalyst Wilfred Bion and led him suggest an abundance of new theoretical and clinical concepts. The model developed in the present research uses these conceptualizations of Bion concerning the psychotherapist and the psychoanalyst and applies it to the different ways that serve the artist to successfully use creative processes to form a container (a fundamental concept in Bion’s theories), and thus get access to territories and zones which are beyond common language. Bion focuses on therapy while the present model and research focuses on the artistic creation as a testimony coming back from the "region of death". It enables not only to find a "language" for the artist but also to enrich the psychoanalytic psychotherapeutic theorization of Bion, who admitted as Freud did that the artist precedes the psychoanalyst and even paves a new way

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The purpose of this paper is to discuss what happens during a psychoanalytic experience, when something with a potential for change and growth is generated and what kind of linking favors it. Also, it runs through a fundamental psychic phenomenon of a specific symbiotic quality, capable of a high degree of regenerative and/or constitutive parts of the self. This paper is justified by the fact that more and more the psychoanalytic process has been seen as a result of the pair s interpenetration (transference/ countertransference) and for what is stimulated in the analyst as knowledge about his/her patient psychodynamics. Some clinical hypotheses have been put forward to explain the occurrences of phenomena that are analogous to a kind of immersion in affectionate dimensions of low awareness but necessary to achieve a deep affectionate interaction that would keep symbiotic fusion fantasies. Seven topics are highlighted in order to corroborate to the institution of a link that could support this symbiotic process and the intensity of the emotions present on it: comprehension, love, confidence, loss, truth, companionship and closeness X distance. Results of this research related to clinical aspects are the maternal holding function, as an integrating experience that follows and supports moments of turbulence, a kind of safety net under the trapeze offering security and also the phenomenon of a symbiosis as a fundamental constitutive part of the psychism. This development of the libido previous to the PS ↔ D oscillation could be part of the same dynamics and then, would be turned into a three-part circulation process: symbiotic, disintegrated, integrated
O objetivo do trabalho é discutir o que acontece na experiência do encontro analítico, na qual gera-se algo com potencial de mudança e crescimento e qual o tipo de ligação que o favorece. Discorre, também, sobre um fenômeno psíquico fundamental, de uma qualidade definida, simbiótica, capaz de um alto grau regenerador e/ou constitutivo do self. Justifica-se por ser o processo psicanalítico, cada vez mais, entendido como o produto da interpenetração do par (transferencial/ contratransferencial) e daquilo que é suscitado no analista como forma de conhecimento sobre a dinâmica do analisando. Levantaram-se hipóteses clínicas, sobre a ocorrência de fenômenos análogos a uma espécie de imersão de determinadas dimensões afetivas, pouco conscientes, porém necessárias a uma interação afetiva profunda que guardaria aspectos de fantasias fusionais simbióticas. Destacam-se sete tópicos que corroboram para a instauração de um vínculo que dê sustentação a esse processo e à intensidade das emoções presentes: compreensão, amor, confiança, perda, verdade, companhia e proximidade X distanciamento. Como resultados dessa pesquisa, evidenciou-se no caso clínico a função de holding materno como experiência integradora que acompanha e suporta momentos de turbulência, uma espécie de rede armada sob o trapézio a oferecer segurança e, também, o fenômeno de uma simbiose fundamental a fazer parte da construção do psiquismo. Esse desenvolvimento da libido anterior à oscilação PS ↔ D, poderia, então, fazer parte da mesma dinâmica que se transformaria em uma triangulação: simbiótico, desintegrado, integrado

Cette recherche a pour but l'étude de situations traumatiques caractérisées par l'absence de langage. Il se penche plus précisément sur une évaluation du lien paradoxal entre l'expérience de mort psychique où le langage fait défaut et entre différentes expressions créatrices dans les arts (au théâtre chez Samuel Beckett, dans la poésie dans l'œuvre de Paul Celan et dans l'œuvre artistique de Francis Bacon), telles des trouvailles spécifiques au renouvellement du langage et de la vie. Cette démarche est soumise à la capacité de l'artiste de supporter la "mort psychique" et l'absence de représentation et de langage, ce que je nomme dans ce travail "le langage négatif", et d'en faire ressortir, par son art, des piliers qui formeraient un nouveau piédestal à la vie, à l'existence, à la créativité et à la découverte. Ce sujet a préoccupé le célèbre psychanalyste britannique Wilfred Bion et l'a amené à développer un ensemble de concepts théoriques et cliniques. Le modèle conçu dans cette recherche utilise les concepts théoriques et cliniques de Bion concernant les psychothérapeutes et psychanalystes et donne la possibilité de définir les différentes voies par lesquelles un artiste réussit à se servir de la créativité ou du processus de création comme étant un contenant (concept fondamental chez Bion) lui permettant d'accéder à des territoires et des domaines psychiques situés au-delà du langage. Dans une certaine mesure, différemment de Bion focalisé sur la thérapie, le modèle préconisé par cette présente recherche, fait essentiellement appel à la création artistique et à l'artiste au sein du processus créatif, comme étant le témoignage de son expérience dans "l'espace de mort". Il permet ainsi, non seulement de découvrir un "langage" propre à l'artiste mais aussi d'enrichir la théorisation thérapeutique psychanalytique de Bion, qui lui-même, tout comme Freud, admet que l'artiste devance le psychanalyste et parfois même lui trace la voie
The purpose of this research was to study traumatic situations characterized by the absence of language. More specifically, the focus is on the paradoxical relation between the experience of "psychic death" in which language fails and on the other hand, different creative expressions in the arts (in the theatre of Samuel Beckett, in the poetic writings of Paul Celan, and the paintings of Francis Bacon), as well as specific discoveries recreating the possibility of language and even life. This act is made possible by the capability of the artist to support "psychic death" and absence of representation - named in this work "negative language", and to go through it by his art which recreates an access to life, creativity and new discoveries. This subject preoccupied the eminent British psychoanalyst Wilfred Bion and led him suggest an abundance of new theoretical and clinical concepts. The model developed in the present research uses these conceptualizations of Bion concerning the psychotherapist and the psychoanalyst and applies it to the different ways that serve the artist to successfully use creative processes to form a container (a fundamental concept in Bion’s theories), and thus get access to territories and zones which are beyond common language. Bion focuses on therapy while the present model and research focuses on the artistic creation as a testimony coming back from the "region of death". It enables not only to find a "language" for the artist but also to enrich the psychoanalytic psychotherapeutic theorization of Bion, who admitted as Freud did that the artist precedes the psychoanalyst and even paves a new way

This work is composed of two parts: Part I and Part II. In Part I, it is proposed to recognize, firstly, those human internal aspects that remain latent, that are not valued collectively and are hardly perceived individually, and their involvement in art and politics. It is about emotions, specially negative ones, such as sadness, anguish, frustration, aggres¬sion, fear, anger ... which are rejected and hidden through institutional structures such as law, health, education, advertising, etc. and build a system that keeps us in a state of apparent ‘well-being’. It aims to show the importance of recognizing and accepting these ‘negative’ emotions and to place them at the same level as the ‘positive’ emotions (love, reparation, empathy, solida¬rity, etc.) and to reveal how both are equally necessary for internal and social balance, which is fundamental create space for growth, thought and creation. Through the history of art can be verified that there was always an awareness of the need to reconnect with our emotional essence, and, therefore, to rethink the social structures that contain us. Art, due to its sensitive nature, constantly questions the system, trying to remem¬ber and keep those essential aspects that we should not lose or forget, which, according to the epoch, received the name of morality, spirituality, sensitivity, expression, origin or inner world. What today still remains latent and needs to be recognized. ‘Something that is not forgotten, nor is it remembered’. Knowing this, we make an exposition of social systems that are based on the principles of acceptance and integration of emotions, respect, solidarity and empathy; that can serve as a model for transforming the current neoliberal capitalist system into other types of systems that guarantee the freedom of citizens, so that they can develop according to their individual needs. We will conclude with the assessment of the role of art in this political renewal, as a funda¬mental means of recognition of emotions and their transformation through artistic creation which, therefore, plays a crucial role in questioning structures and building a new society, more respectful with our essence and real needs. Part II includes the results of my artistic project that focuses on shaping my own emotions, my inner world, the internal vicissitudes that can not find words to be transmitted. It is, the¬refore, the personal approach to my emotional needs, memories, desires and impressions. Through my artistic practice I transform, in my own instinctive language, the internal and external reality, seeking answers to questions raised from the experience of growth, life and existence in the world