The subject of the use of language in psychoanalysis touches on virtually every aspect of psychoanalysis. In this chapter, I shall make no attempt to be encyclopaedic; rather, I shall offer a few tentative thoughts concerning the way in which the conscious and unconscious experience of analyst and analysand is conveyed/created (in large part through language) in the analytic setting. I shall discuss some implications for analysis of the idea that language is not simply a package in which communications are wrapped, but the medium in which experience is brought to life in the process of being spoken or written.
This chapter does not represent an effort to apply analytic thinking to the field of literary studies. Instead, I hope to make a small contribution to an awareness of the life of words (and the life in words) that occurs in the analytic situation. Rather than attempting to look behind language, the effort here is to look into it.
Reading, Writing, and Psychoanalysis
I shall begin in a way that I realize is more than a little odd for an analytic paper: I will attempt to describe something of my experience in the introductory English courses that I took when I was a student at Amherst College. My experience in those courses remains at the core of the way I approach the use of language both within and outside of the analytic setting.
Your first step in defining your contribution is to know your strengths.
Here are a few penetrating questions you should answer as we ask them:
Do you feel apathetic at the beginning and the end of the workday?
Do you feel undervalued or ignored at work?
Do you hold on to your job in order to keep your insurance and benefits?
Do you frequently pretend to be busy?
Do you look forward to your annual performance review with, let’s say, something less than excitement?
Do you find your work meaningless?
And the most important question: Do you agree that you have more talent, intelligence, capability, and creativity to offer than your current job requires or even allows?
If you answered yes to any of these questions, you might be caught up in one of the great human dilemmas of our time.
We’re referring to the waste of unlimited human potential. We’re talking about the possibility that, in your own work, you are simply not allowed to use a significant portion of what you have to offer.
The great philosopher William James taught that “most people live in a very restricted circle of their potential being. We all have reservoirs of energy and genius to draw upon of which we do not dream.”17 Maybe it’s time for you to break out of that restricted circle of potential being instead of letting the wild times we live in break you.
light side and a dark side, and it holds the universe together. Back in
it mostly got used for doing things like validating form input on the fly
(inevitably making it really hard to complete forms amidst the onslaught
of alert() boxes) and putting
counters on pages. Now that we are firmly ensconced in the land of Web
animated, dynamic, and completely incompatible with all assistive
technologies. All kidding aside, the ability to build richer and more
desktop-like user interfaces (UIs)
within browsers, combined with some impressive librariessuch as the
Yahoo! User Interface Library (YUI), jQuery, Scriptaculous, Prototype, and
Dojohas breathed new life into the
web application space and made it a whole lot more fun to work in.
he world premiere in Dallas in April and May 2010 introduced Moby-Dick to the opera world and revealed its power to attract and inspire audiences. The Australian premiere in Adelaide in August and September
2011, the Canadian premiere in Calgary in January and February 2012, and
the West Coast premiere in San Diego in February 2012 were all highly successful productions featuring new conductors, casts, orchestras, and choruses in the presence of the same climbing wall and digital projections that had been seen in Dallas.
Each of these premieres had striking elements that distinguished it from the others.
David Sexton conducted the State Opera of South Australia in a production that featured Jay Hunter Morris as Ahab, Jonathan Lemalu as the only veteran from the Dallas cast, and a Pip who was not African American (a surprise to Heggie and
Scheer when they arrived for rehearsals).
The Calgary Opera production was conducted by Joe Mechavich with Ben Heppner as Ahab in the first Canadian appearance by the Canadian-born Heppner in sixteen years. The Calgary production closed on February 3 and the San Diego one opened on February 18, so there was some concern as to whether the “five trailers