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Despite the increasing research attention devoted to the role of psychological factors in the development of burnout in the last decades, little is known about the role of individuals' beliefs regarding the general character of the world. Based on the emerging line of research dedicated to primal world beliefs, the present study with N = 1,237 participants (M = 42.9 years, SD = 11.93) aims to examine the role of primary primal (i.e., seeing the world as a good place) and three secondary primal world beliefs (i.e., seeing the world as safe, enticing, and alive) in the burnout complaints. The results of CB-SEM showed that primary primal was negatively related to the severity of burnout complaints, and this relationship was partially mediated via psychological capital (PsyCap). The indirect role of PsyCap was also supported when secondary primals and core dimensions of burnout complaints were differentiated. Moreover, safe secondary primal negatively predicted exhaustion, and both safe and enticing secondary primals negatively predicted mental distancing. Enticing also predicted cognitive and emotional impairment. This study provides novel and promising findings and offers a starting point for future research on how general beliefs about the world shape people's experiences in the workplace domain.

This article examines Roman Polanski’s film Repulsion from a psychoanalytic perspective by attending Julia Kristeva’s notion of abjection. This paper deals primarily with two main focal points. First, it focuses on the film’s portrayal of the protagonist, Carole’s abjection, her problem of non-differentiation, as evidenced by her relation to the maternal body and to corporeality. Secondly, the article investigates how the film positions its viewers with regard to Carole. It questions how Repulsion impels its spectators to engage Carole with a similar non-differentiation by generating a complex web of ambiguities with regard to the differentiation between external/internal, objective/subjective and reality/fantasy.  

Published posthumously, Ending and Unending Agony is Philippe Lacoue-Labarthe's only book entirely devoted to the French writer and essayist Maurice Blanchot (1907-2003). The place of Blanchot in Lacoue-Labarthe's thought was both discreet and profound, involving difficult, agonizing questions about the status of literature, with vast political and ethical stakes. Together with Plato, Holderlin, Nietzsche, Benjamin, and Heidegger, Blanchot represents a decisive crossroads for Lacoue-Labarthe's central concerns. In this book, they converge on the question of literature, and in particular of literature as the question of myth--in this instance, the myth of the writer born of the autobiographical experience of death. However, the issues at stake in this encounter are not merely autobiographical; they entail a relentless struggle with processes of figuration and mythicization inherited from the age-old concept of mimesis that permeates Western literature and culture. As this volume demonstrates, the originality of Blanchot's thought lies in its problematic but obstinate deconstruction of precisely such processes. In addition to offering unique, challenging readings of Blanchot's writings, setting them among those of Montaigne, Rousseau, Freud, Winnicott, Artaud, Bataille, Lacan, Malraux, Leclaire, Derrida, and others, this book offers fresh insights into two crucial twentieth-century thinkers and a new perspective on contemporary debates in European thought, criticism, and aesthetics.

This article discusses the meaning of the primal scene for symbol formation by exploring its way of processing in a child's play. The author questions the notion that a sadomasochistic way of processing is the only possible one. A model of an alternative mode of processing is being presented. It is suggested that both ways of processing intertwine in the \"fabric of life\" (D. Laub). Two clinical vignettes, one from an analytic child psychotherapy and the other from the analysis of a 30 year-old female patient, illustrate how the primal scene is being played out in the form of a terzet. The author explores whether the sadomasochistic way of processing actually precedes the \"primal scene as a terzet\". She discusses if it could even be regarded as a precondition for the formation of the latter or, alternatively, if the \"combined parent-figure\" gives rise to ways of processing. The question is being left open. Finally, it is shown how both modes of experiencing the primal scene underlie the discoursive and presentative symbol formation, respectively.

The paper explores a process of growth represented in the interplay of Jane Austen's characterizations of Marianne and Elinor Dashwood in Sense and Sensibility, approaching the text through the lens of psychoanalytic theories on oedipal sibling rivalry, separation, and processes of change. A close reading of Sense and Sensibility tracks Marianne Dashwood's repudiation of any 'second attachment' as the surface of an unconscious fantasy, denying a rival for the mother's love. A psychoanalytic view contrasts Marianne's lack of separation from her mother, her use of denial and projection, and her near death after losing the man she loves, with her older sister Elinor Dashwood's capacities for depression, reflection, and greater acceptance of loss and separation. The narrative portrays Mrs. Dashwood's identification with and idealization of her daughter Marianne, which contribute to her oedipal sibling 'victory'. In the language and structure of the novel, the projections, identifications, aggressions, and separations (conscious and unconscious) of the sisters in the vicissitudes of their adolescent loves and rivalries constitute a process of growth. Austen's novel brings to life, with the vividness and coherence of great literature, forces and fantasies in oedipal sibling rivalries, inspiring renewed attention to their subtle presence in the transference and countertransference of the psychoanalytic process.

This book argues that Freud's mapping of trauma as a scene is central to both his clinical interpretation of his patients' symptoms and his construction of successive theoretical models and concepts to explain the power of such scenes in his patients' lives. This attention to the scenic form of trauma and its power in determining symptoms leads to Freud's break from the neurological model of trauma he inherited from Charcot. It also helps to explain the affinity that Freud and many since him have felt between psychoanalysis and literature (and artistic production more generally), and the privileged role of literature at certain turning points in the development of his thought. It is Freud's scenography of trauma and fantasy that speaks to the student of literature and painting. Overall, the book develops the thesis of Jean Laplanche that in Freud's shift from a traumatic to a developmental model, along with the undoubted gains embodied in the theory of infantile sexuality, there were crucial losses: specifically, the recognition of the role of the adult other and the traumatic encounter with adult sexuality that is entailed in the ordinary nurture and formation of the infantile subject.

I will suggest that the phantasy of 'a father is being beaten' and its transformations emerges for certain male patients as a result of the work of analysis and becomes a potential appropriation of the (symbolic) father. The symbolic beating of the father takes place at the threshold between an anal-sadistic organization and the oedipal situation. The phantasy of the 'father being beaten' does not necessarily mean that it is the father who is explicitly being beaten. It is a construction derived from the free associations and dreams, in the analytic encounter, reached through the work of interpretation. Detailed material of sessions of the five times a week analysis of one of my patients will be presented. This will be contrasted with material from four other analyses of male patients where the 'father being beaten' phantasy was not achieved. The common feature in all these other configurations is a foreclosure in the relationship to the father and a lack of an internalization of the paternal function as a symbolic capacity. It is my suggestion that this absence of the father in its symbolic function is then sexualized in a fusion between life and death drives. A final contrasting example is derived from Karl Abraham's classic paper detailing the analysis of a patient where one can interpret a dream as expressing 'a father is being beaten' phantasy; however the dream's repetitive nature and its links with a current dream in the analysis points out to a lack of differentiation between the sexes and an anal-sadistic organization.

I will suggest that the phantasy of ‘a father is being beaten’ and its transformations emerges for certain male patients as a result of the work of analysis and becomes a potential appropriation of the (symbolic) father. The symbolic beating of the father takes place at the threshold between an anal-sadistic organization and the oedipal situation. The phantasy of the ‘father being beaten’ does not necessarily mean that it is the father who is explicitly being beaten. It is a construction derived from the free associations and dreams, in the analytic encounter, reached through the work of interpretation. Detailed material of sessions of the five times a week analysis of one of my patients will be presented. This will be contrasted with material from four other analyses of male patients where the ‘father being beaten’ phantasy was not achieved. The common feature in all these other configurations is a foreclosure in the relationship to the father and a lack of an internalization of the paternal function as a symbolic capacity. It is my suggestion that this absence of the father in its symbolic function is then sexualized in a fusion between life and death drives. A final contrasting example is derived from Karl Abraham's classic paper detailing the analysis of a patient where one can interpret a dream as expressing ‘a father is being beaten’ phantasy; however the dream's repetitive nature and its links with a current dream in the analysis points out to a lack of differentiation between the sexes and an anal-sadistic organization.

A review of cross-species and cross-cultural research suggests that, throughout most of human behavioral evolution, children may have been enlightened as to the facts of life by observing parental intercourse and then imitating it in sexual rehearsal play in the context of a continuously rising curve of sexual desire and sexual knowledge throughout childhood. Concealment of the primal scene and prohibition of cross-generational, bisexual, and 'polymorphously perverse' childhood sex play may be of relatively recent origin in human cultural evolution, buttressed by the instillation of culturally acquired sexual disgust in sexually conservative cultures. Looking at the primal scene in cross-species and cross-cultural perspectives utilizing the adaptationist framework of contemporary evolutionary biology can challenge normative assumptions that may still be embedded in psychoanalytic theories of species-wide psychosexual development.

In *psychoanalysis, the child's first witnessing of its parents having sexual intercourse. The child makes a threefold interpretation of the act, according to ...