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"Brakel, Arthur"
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From symbolizing to non-symbolizing within the scope of a link: from dreams to shouts of terror caused by an absent presence
This article examines pathologies in the creation of symbols and those pathologies' ensuing consequences. It relies mainly on the vertices provided by Bion and Meltzer. It studies the different forms in which these lapses occur in symbolic processes, where they may create vacuums in symbolic networks or give rise to 'lies', and even destroy or de-symbolize established symbols. Based on Bion's concept of the minus-contained (-contained),
I propose that when a symbol is attacked, a particular mental structure with its own peculiar characteristics comes about. This structure not only creates a vacuum in that mental zone, it ends up damaging the entire symbolization process. This contribution aims to describe that structure from the metapsychological point of view - contained. I end by synthesizing the possible widening of what could be a Bionian negative grid.
Journal Article
Doña Rosita la soltera: Metatheater Under Wraps
This article argues that García Lorca's Doña Rosita la soltera, which critics have considered his least typical and most traditional play, is in essence metatheater. After reviewing the concept of metatheater and critics' appreciation of the role metatheater has played in Lorca's other dramas, it examines the play's ample instances of metatheatrical characteristics: spectacles within the spectacle, intertextuality, literary criticism, and characters who assume the role of director, stage manager, stage hand, prompter, spectator, and critic. Rosita's Aunt, whom critics have seen as passive, conventional, and apathetic, emerges as dramatically crucial—she is the analogue of Lorca's frustrated directors in El público and Comedia sin título. The article ends suggesting that the play's subtlety has caused critics to overlook its metatheatrical nature.
Journal Article
IDA Y VUELTA Y LA SOMBRA DEL TENORIO: TEATRO PARA INICIADOS
Dice Esslin: [...] the stage tells us to look out for a universe more ordered [and] more meaningful, [...] a universe of a higher, more permanent order of reality [... where the] most casual remarks [...] turn [...] into a kind of poetry. Al mismo tiempo que cuenta el drama, cita comentarios aventados por graciosos en el auditorio, los cuales o sus congéneres deben de ser familiares a frecuentadores de obras teatrales vistas por las multitudes. 15 Saturnino da una interpretación freudiana de Don Juan Tenorio al mantener que los problemas que el protagonista tuvo con su padre, Don Diego, reflejan los problemas que Zorrilla tuvo con el suyo -\"Hombre rígido y conservador, no le gustaba que su [...] hijo fuera liberal y romántico, mucho menos que se dedicara a las letras\" (149). Antique termina la obra con las palabras de Don Juan, que contienen una promesa de salvación \"me abre el purgatorio [...] el Dios de la clemencia / el Dios de Don Juan Tenorio\" (182), ese final es un final teatral. 15 Conviene recordar que en las sitúaciones donde el público hace comentarios gratuitos o jocosos, la línea divisoria entre público y drama no se borra sino que se infringe. Para Saturnino, baja el telón de la existencia y sanseacabó-lo que torna trascendentales sus últimos instantes conscientes. 20 Las lágrimas de Sor Inés bien pudieran ser de compasión, de alguien que se compadece del deseo natural humano de burlarse de la muerte. 21 Aquí, al decir \"les hemos inventado\", el actor se refiere tanto a sí mismo como a Saturnino, como a Alonso de Santos y Rafael Álvarez, quienes colaboraron en crear La sombra del Tenorio. 22 \"El Brujo\" (Rafael Álvarez) es un actor grandemente alabado, cuya presencia escénica permea sus personajes y para quien y con quien se escribió este drama.
Journal Article
On the construction of thinking
In this study the author attempts to widen our understanding of language and thought construction by using Chinese ideograms as a model. This allows us to understand how concrete internal objects can coalesce to form abstract internal objects, e.g. concepts, ideas, symbols, and metaphors. One can establish a pictorial language that antedates verbal language. This is the case in the dream work that we routinely study. Thus, this study delves into the physiology of the alpha function. To this end the author not only relies on psychoanalytic concepts but also on concepts from philosophy and from language itself. The author presents the ideograms not only for discussion but also for their visual impact. If we really want to understand pictorial images, they must be seen and not just discussed from a theoretical point of view. Based on this understanding the author advances a proposal for the technique used in treating patients who cannot establish mental representations for their affect. And the technical proposal is illustrated in two clinical cases.
Journal Article
Narcissism lost: On translating and being translated1
(Final version accepted 11 May 2009)
The authors present a detailed account of the experiences shared in translating and having one's work translated. Carneiro maintains that, in order to communicate with their readers, writers should relinquish the narcissistic satisfaction they derive from their texts in the original. Beyond this, she feels that, owing to a good understanding between her and her translator, the creativity in her original text persists in the translation. Brakel introduces himself to the IJPA readership and shows how he works when translating the cultural and linguistic nuances and peculiarities of Brazilian Portuguese. He concludes with some thoughts about the affect he experiences from his original work and the work he has translated.
Journal Article
\El Norte,\ Deracination and Circularity: An Epic Gone Awry
Early journalistic reviews (e.g., Gold, Ebert, and Kael) of \"El Norte\" (1983), Gregory Nava's first major film, identify it as an epic. In \"El Norte\" the siblings Enrique and Rosa, two Guatemalan Amerindians, leave their native village on a quest to what for them is the mythical land in the North. Although \"El Norte\" corresponds to the general scheme of the migratory epic, in which characters leave their native land, endure perils, and finally reach their goal, the author argues that this film's structure and, more importantly, its theme and message derive more specifically and extensively, albeit inversely, from an epic in which the protagonist's voyage is spiritual rather than geographical and which plumbs, if not all mankind's fate, at least that of Christendom--Dante Alighieri's \"Divine Comedy.\" That is, he maintains that \"El Norte\" is an epic of modernity in which economic opportunity and political freedom take the place of the union with God that Dante achieved. It is also different from the \"Divine Comedy\" insofar as it distorts Dante's ascendance from the depths of hell into paradise. In \"El Norte\" the protagonists leave a would-be paradise turned infernal only to find themselves in a similarly hellish situation at the end of their quest. This film is an epic gone tragically awry: in the course of the plot, rather than achieve their desired prosperity and new identities, the sibling protagonists Rosa and Enrique lose their authenticity, i.e., their identities as Central American Indians, descendants of the Mayans. (Contains 12 notes.)
Journal Article
Fresh old news from Ferenczi about the function of dreams: The dream as a Kur, as a treatment and as a Gyógyászat
This article discusses a text on the function of dreams and their relation to trauma. Ferenczi intended to present this material as a talk at the 12th International Congress of Psychoanalysis, which was to take place in Interlaken, Switzerland the same year that he wrote it (1931). The entire conference, however, was postponed, and parts of this communication's content appeared in other texts in which Ferenczi rethinks the concept of trauma and its clinical significance. In the present article the author makes use of the Freud/Ferenczi correspondence to contextualize Freud's Hungarian follower's originality regarding his theorizations about different aspects of the function of dreams. In the 1931 speech, as well as in this article, Ferenczi used a patient's dream work as a clinical example of a process in which traumatic experiences and unmastered sensory impressions can be repeated to achieve a better working-through for the dreamer. The process Ferenczi describes resembles an effort of self-treatment, of self-Kur.
Journal Article