The Piano and the Couch: Music and Psyche. By Margret Elson

2019 ◽  
Vol 34 (2) ◽  
pp. 120-121
Author(s):  
Michael C Singer

The celebrated meeting between Sigmund Freud and Gustav Mahler in 1910 was the first known instance of a performing artist seeking out the assistance of a psychotherapist who happened to know something about art. It marked the beginning of what has grown into a permanent relationship between psychotherapists and performing artists.

Author(s):  
John E. Toews

This article studies selected works of Gustav Mahler and Sigmund Freud as enacting the history of subjectivity as a problematic narrative of the deconstruction and construction of identity. It views Mahler and Freud's cultural productions as historically parallel examples of a certain way of imagining human subjectivity as a reflective activity. It studies their ideas on identity as a form of assimilation, and looks at how their “works” took a turn towards subjectivity. The article shows that Freud, Mahler, and their modernist contemporaries did not opt to live in their songs and selves, but instead found a new way to imagine the relations among individuals.


2012 ◽  
Vol 36 (1) ◽  
pp. 58-83
Author(s):  
Ryan R Kangas

Abstract “You must have had the experience of burying someone dear to you,” wrote Gustav Mahler in a letter explaining his Second Symphony to the music critic Max Marschalk, suggesting that the critic's own experiences with death might help him better understand the symphony. Inversely, if listeners bring personal losses to bear on the piece, Mahler's Second Symphony offers one possible model for coping with death. If we take the distinction that Sigmund Freud draws between two responses to loss—melancholia and mourning—as a discursive frame, Mahler's Second Symphony may be heard as an attempt to come to terms with the death of a loved one by moving gradually from melancholia to mourning. According to Freud, a melancholic subject cannot truly cope with the traumatic experience and instead reenacts it, but someone who mourns truly remembers the loss and thus commemorates the dead, allowing them to live on, if only in memory. Framed in such a way, the early movements of Mahler's Second Symphony—characterized by the alternation between halting sections that dissolve almost as soon as they begin and long-breathed melodies that seem to unfold effortlessly—suggest the melancholic subject's struggle between despair in the face of abject meaninglessness and a manic euphoria, neither of which addresses the loss. By contrast, the text in the symphony's final movement, adapted by Mahler from Friedrich Klopstock's chorale on the resurrection of the dead, encourages true remembrance of the deceased as a figure beyond death. Heard as a musical enactment of mourning, the final movement suggests that the dead who are mourned are resurrected through remembrance. Forcing us to acknowledge Mahler's death on some level, the final movement completes the work of mourning by engendering the composer's own resurrection in our memories as we witness each performance of his Second Symphony.


Acta Poética ◽  
2015 ◽  
Vol 26 (1-2) ◽  
Author(s):  
Esther Cohen

La tesis de Enzo Traverso en su libro Los judíos y Alemania. Ensayos sobre la “simbiosis judeo-alemana” viene a apoyar las palabras del estudioso de la cábala judía. De la misma manera en que Scholem negaba y negó siempre esa anhelada simbiosis, Traverso plantea justamente esta innegable realidad. Las voces que una vez parecieron dar vida a ese diálogo fueron innumerables. Heinrich Heine, Karl Marx, Franz Kafka, Sigmund Freud, Edmund Husserl, Walter Benjamin, Gustav Mahler, Fritz Lang, Joseph Roth, y muchísimos más, como sabemos, fueron acallados en el intento por sobrevivir esta vez como judíos y no, como pretendieron durante años, como alemanes. Otros, como Hannah Arendt, Max Horkheimer y Theodor Adorno, encontraron refugio en Estados Unidos y desde allí hicieron oír sus voces, pero ni siquiera ellos lograron hacer realidad ese diálogo tan deseado. En efecto, y visto con el lente de la historia, Traverso nos da la pauta: este diálogo nunca existió, lo que el pasado nos muestra es precisamente que se trató de un monólogo judío en el que los alemanes nunca fueron auténticos interlocutores. La aceptación de la alteridad radical nunca se dio, o si apareció en momentos, no fue sino un simulacro. El intento por verse incluidos en la esfera de la cultura y tradición alemanas, no fue más que eso: un mero intento, un sueño que tardó poco tiempo en derrumbarse. El hecho es que, en realidad, los judíos vivieron en una no man’s land y que su asombrosa producción literaria, filosófica y musical no tuvo nada que ver con esa deseada simbiosis. En realidad, los judíos alemanes estuvieron siempre solos como solo estuvo Franz Kafka al escribir su obra. A la pregunta de qué tan solo se sentía Kakfa, él mismo respondió “Solo como Franz Kafka”. Así estuvieron, aunque en el autoengaño, la gran mayoría de los intelectuales y no intelectuales judíos-alemanes desde mitad del siglo XIX hasta 1933.


2017 ◽  
Vol 7 (3) ◽  
pp. 79
Author(s):  
Juan Jorge Michel Fariña

<p>¿Es filmable el psicoanálisis? Ante la proliferación de películas y series que buscan recrear en la pantalla la figura de analistas y pacientes, la pregunta se torna ineludible. Para abordar esta delicada cuestión, a la vez clínica y estética, acaba de aparecer el libro más esperado: <em>El ojo maravilloso: (des)encuentros entre psicoanálisis y cine</em>. Fruto de una investigación rigurosa de décadas, la obra de Eduardo Laso viene a coronar su sólida formación en psicoanálisis, epistemología y ética, junto a su pasión por el cine. Docente durante muchos años de la cátedra de Irene Friedenthal (Psicoanálisis: Freud) y miembro fundador de la Sociedad Porteña de Psicoanálisis, es actualmente investigador del Programa de Ciencia y Técnica de la UBA y docente de Ética y Derechos Humanos y de Psicología en el CBC.</p><p>Para dar una semblanza de sólo uno de los puntos desarrollados en el libro, digamos que Sigmund Freud, el inventor del psicoanálisis, fue recreado en la pantalla en más de veinte películas. Encarnado por actores como Montgomery Clift, Curt Jurgens, Max von Sydow o Viggo Mortensen, su figura se transformó en un ícono de la cultura. El cine representó a Freud analizando a sus pacientes clásicas, como Anna O., Elizabeth von R, o Dora, pero también a Gustav Mahler, Marie Bonaparte o Lou Andreas-Salomé. Y por cierto a personajes apócrifos, como al joven Indiana Jones, Sherlock Holmes, Hitler, el Sr. Spock, o el mismísimo vampiro de Transilvania. Esta larga serie, que va desde representaciones sublimes hasta banalizaciones ridículas, nos informa sobre el carácter revulsivo del psicoanálisis. Su visionado y lectura atentapor parte de Eduardo Laso permite pensar la tensión entre ética y estética, a la vez que introducir cuestiones epistemológicas desde una renovada experiencia como espectadores en una sala de cine.</p>


Author(s):  
Toni M. Torres-McGehee ◽  
Dawn M. Emerson ◽  
Kelly Pritchett ◽  
Erin M. Moore ◽  
Allison B. Smith ◽  
...  

Abstract CONTEXT: Female athletes/performing artists can present with low energy availability (LEA) either through unintentional (e.g., inadvertent undereating) or intentional methods (e.g., eating disorder [ED]). While LEA and ED risk have been examined independently, little research has examined these simultaneously. Awareness of LEA with or without ED risk may provide clinicians with innovative prevention and intervention strategies. OBJECTIVE: To examine LEA with or without ED risk (e.g., eating attitudes, pathogenic behaviors) in female collegiate athletes/performing artists. DESIGN: Cross-sectional and descriptive. SETTING: Free-living in sport-specific settings. PARTICIPANTS: Collegiate female athletes/performing artist (n=121; age: 19.8±2.0 years; height: 168.9±7.7 cm; weight: 63.6±9.26 kg) in equestrian (n=28), volleyball (n=12), softball (n=17), beach volleyball (n=18), ballet (n=26) and soccer (n=20) participated in this study. MAIN OUTCOME MEASURES: Anthropometric measurements (height, weight, body composition), resting metabolic rate, energy intake, total daily energy expenditure, exercise energy expenditure, Eating Disorder Inventory-3 (EDI-3), and EDI-3 Symptom Checklist were assessed. Chi-square analysis examined differences between LEA and sport type, LEA and ED risk, ED risk and sport type, and pathogenic behaviors and sport type. RESULTS: Female athletes/performing artists (81%; n=98) displayed LEA and significant differences were found between LEA and sport type (χ25=43.8, P&lt;.01). Female athletes/performing artists (76.0%; n=92) presented with ED risk with no significant difference between ED risk and sport. EDI-3 Symptom Checklist revealed 61.2% (n=74) engaged in pathogenic behaviors, with dieting the most common (51.2%; n=62). Athletes/performing artist displayed LEA with ED risk (76.0%; n=92). No significant differences were found between LEA with ED risk and sport. Softball was the highest with 82.4% (n=14) reporting LEA with ED risk followed by ballet (76%; n=19). CONCLUSION: Our results suggest a large proportion of collegiate female athletes/performing artists are at risk for LEA with ED risk, thus warranting education, identification, prevention, and intervention strategies relative to fueling for performance.


2000 ◽  
Vol 15 (2) ◽  
pp. 49-50
Author(s):  
Alice G Brandfonbrener

Although the Medical Program for Performing Artists was founded in 1985 at Northwestern Memorial Hospital, since 1990 it has been a part of the Rehabilitation Institute of Chicago (RIC). At the time of the move I felt that this special medical environment would provide an ideal setting for our clinic, and this feeling has been borne out by the experience of the subsequent decade. What I did not anticipate was the nonmedical impact on both my patients and myself from such an institution. Performing arts patients typically have problems that are not readily apparent to the casual observer, albeit their significance to the artists. Furthermore, by and large their problems have minimal impact on their nonartistic lives as well as on their health in general. More typical patients seen at the Rehabilitation Institute have a wide spectrum of disabilities, which, in contrast to the performing artist patients, have disrupted and compromised both their own lives and those of their families.


Crisis ◽  
2003 ◽  
Vol 24 (1) ◽  
pp. 7-16 ◽  
Author(s):  
Antoon A. Leenaars

Summary: Older adults consistently have the highest rates of suicide in most societies. Despite the paucity of studies until recently, research has shown that suicides in later life are best understood as a multidimensional event. An especially neglected area of research is the psychological/psychiatric study of personality factors in the event. This paper outlines one comprehensive model of suicide and then raises the question: Is such a psychiatric/psychological theory applicable to all suicides in the elderly? To address the question, I discuss the case of Sigmund Freud; raise the topic of suicide and/or dignified death in the terminally ill; and examine suicide notes of the both terminally ill and nonterminally ill elderly. I conclude that, indeed, greater study and theory building are needed into the “suicides” of the elderly, including those who are terminally ill.


1979 ◽  
Vol 24 (6) ◽  
pp. 537-537
Author(s):  
No authorship indicated
Keyword(s):  

1986 ◽  
Vol 31 (12) ◽  
pp. 1007-1007 ◽  
Author(s):  
Paul L. Wachtel
Keyword(s):  

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