In this interview with Raymond Cahn, the interviewers essentially used Adolescence et folie (PUF, 1991) as a guideline. Four successive points of view explored Cahn’s conceptions of adolescence: from the respective angles of the subject, of the object, of the internal-external family, and of the therapeutic institution.
Aurore Dupin, alias George Sand, the product of a family that was in crisis because of the character of its members’ social class and religious convictions, experienced a powerful mystical episode at the age of 15 while at boarding school. This moment, recounted in Histoire de ma vie, did not lead her into a religious vocation, but would influence her social convictions and her psychological and artistic analyses.
»Jean-Auguste-Dominique Ingres’ painting « Antiochus « shows a reversal in the father-son relation which leads the first, the King of Syria, to give his young wife to the second. This article reflects on this decision, which turns out to be a happy one, despite its Promethean signification in the field of family conflict and its instituted tradition.»
In his book Marilyn, Last Sessions, M. Schneider recounts what happened in the course of thirty months of the last sessions of Marilyn Monroe’s slice of analysis with Ralph Greenson and shows the passionate aspect of this relationship. An explication of the actress’s exhibitionist problematic would have certainly led to a deeper understanding of the issues of this analysis. The author explains the elements of clinical work on exhibitionism, particularly in the woman, in order to show that these elements are quite present here, and they shed much light on how things evolved in this case.
The narrator of the autobiographical story Cousin K is a young male writer who retraces the course of his life before becoming the murderer of a hitch-hiker who asked him for assistance. We will consider the impact on the hero of several accumulated traumatisms in childhood and adolescence (early maternal rejection, direct confrontation with his father’s death, perverse influence) and their possible role in the emergence of a cruelty drive. We will advance the hypothesis that the recourse to a criminal act is a search for triumph over the object and for omnipotence in the face of a threat of annihilation.
Based on the notions of « body image « (P. Schilder) and of « pathosformel « (A. Warburg), this study proposes to revisit Boticelli’s pictorial work from the point of view of adolescent perception, as an idealized fiction resting upon threefold suffering : the inaccessible quest for purity, the dimension of manic excess in relation to future time, and the nostalgic disappearance of the time of childhood that is irremediably gone. The method used is that of « interactions of psychoanalysis «, that is, not the use of psychoanalytical method to decipher the model, but rather the placement of artwork’s sensitive listening into tension, or into resonance, with psychoanalytic treatment, in this case that of adolescence.
There are men who remind us that the flow of history is neither unhurried nor measured. Caravaggio (1571-1610) was one of these, thanks to innovations that were so radical they changed the course of Occidental painting. A notorious troublemaker – he was convicted of murder – he never ceased painting, be it under the protection of liberal patrons or on the run from papal justice. The disparity between the suspended moments he captured on canvas and his wayward wanderings punctuated with actions suggests that, despite the seminal nature of his work, his creative powers never quite prevailed over the attraction of the abyss he staged right from his early production. The drift accelerated in later years whilst he still engaged, sheltered by his canvas, in large religious compositions, exploring themes of despair and seeking out divine release.
This article proposes a discussion of the creative process in Camille Claudel (1864-1943) and the complex interaction between her art work and time. First, the author stresses the particular sensibility of the artist for time. Second, eight art pieces are presented and analyzed in their specific bond to time.
Para V. Woolf, en To the Lighthouse, lo femenino maternal, es la voz de la madre que ella perdió a los umbrales de su adolescencia. La reminiscencia de las palabras pronunciaddas, la escucha hacia un estado de lenguaje que pretende y que presupone la representación inconsciente a la imagen de un ritmo primordial hacia un inconsciente del lenguaje, es reivindicada a lo extremo y provee la tensión y la musicalidad de la escritura. En el presente texto, se trata de la voz de la madre, del rastro mnésico de una reminiscencia sonora que constituye el movimiento de la escritura mostrándonos el escenario de base maternal y ecolalica que aquella del intercambio de lenguaje.
Virginia Woolf’s writing reflects an intimate, radical engagement in the feminine, which interests us here insofar as it seems inseparable from her listening, as writer and as the child searching for meaning that she was, listening for the places engendered in speech, however fragmentary. In To the Lighthouse the maternal feminine is the voice of the mother V. Woolf lost on the threshold of her adolescence. The reminiscence of words heard, the ear straining to capture a state of language anterior to conscious representation, to catch its primordial, unconscious rhythm, provides the tension and musicality of the writing. In the paper here presented we shall concentrate upon the mnesic trace of aural memory which founds the movement of the writing while sketching out a back-stage maternal-echolalic scene in which the sounds of words are heard and exchanged.