At once autobiographical and psychoanalytic, The Hands of the Living God, first published in 1969, provides a detailed case study of Susan who, during a 20-year long treatment, spontaneously discovers the capacity to do doodle drawings.
At once autobiographical and psychoanalytic, The Hands of the Living God, first published in 1969, provides a detailed case study of Susan who, during a 20-year long treatment, spontaneously discovers the capacity to do doodle drawings.
Marion Milner (1900-1998) was a distinguished British psychoanalyst, educationalist, autobiographer and artist.
Inhaltsangabe
Winnicott, Foreword. Preface. Phillips, Introduction. Part I: The Years Before She Began to Draw. Her History. The Beginning of the Analysis: Her First Two Dreams. Unable to Grow Spiritually or Mentally: Blocks in the Maturational Process. The Dream of Water Behind the House: Need for the Self-created Environment. Daydream of a River and Logs: Her Devil as Seducer to Destruction? A Change in Technique: Attention to the Threshold Between the Articulate and the Inarticulate. Her Lost Background: The Undifferentiated Sea of Inner Body Awareness. She Begins to Turn Up as a Person: First Recognition of Self-projection Via her Cats. A New Experience of Breakdown: When her Foster Home Breaks Up. Part II: The 1950 Drawings. She Makes Contact by Doodle Drawings: Faecal Symbols as Devils or Chrysalises. After the Easter Holiday in Hospital: The Bottom's Eye View of the World. After the Consultation: The Turd-baby and Strangled Feelings. The Sleeping Goddess: Premonitions of Waking up to Face Disillusionment and Loss. Many Kinds of Nests: Beginning to Conceive of a Holding Environment. The Summer Holiday in N.I. Hospital: Ego Nuclei, Early Body Memories and Archaic Body Images. She Tries Physiotherapy: The Delusory Body Image and the Real Body Image. Part III: The Years From 1951 to 1957 and the Background Theory. The External Situation: Learning to Cook and Attending a Psychotherapy Group as well as Analysis. The Post-E.C.T. Drawing and the Circle: A Symbol of Fusion of Mother and Child. Ways of Communicating Feelings: Confusion of Body-openings and The Creative Surrender. Haloes, Traps and the Devil: Delusory Cocoons and Identification with the Exalted Ego-ideal. Part IV: The 1957 to 1958 Drawings and Her Re-entry Into The World. She Uses the Symbol of Water: Premonitions of Re-birth. The Little Duck Gets Ready to Come Out: But to Come out Means to be Eaten? Her First Landscapes and Drawings of the Inside of the Mouth: Beginning to Realize that her Attacks can do Harm. Her Use of the Diagonal: Experimenting with Ideas of Duality and an Interface Between Opposites. The Day her Head Stops Turning: Recognition of a Gap, A Sense of Loss, a 'Hole in the Heart'. The Proudman Dream and Return to the World: Accepting Limitations to Loving and Discovery of Communion. Part V: What Followed. A Crystallization of Theory: Breathing and Primary Self-enjoyment. Her Mother's Death and After: Finding a Mate and Towards Re-finding her Feet. The Saliva in the Cup: The Place of Transformation.
Winnicott, Foreword. Preface. Phillips, Introduction. Part I: The Years Before She Began to Draw. Her History. The Beginning of the Analysis: Her First Two Dreams. Unable to Grow Spiritually or Mentally: Blocks in the Maturational Process. The Dream of Water Behind the House: Need for the Self-created Environment. Daydream of a River and Logs: Her Devil as Seducer to Destruction? A Change in Technique: Attention to the Threshold Between the Articulate and the Inarticulate. Her Lost Background: The Undifferentiated Sea of Inner Body Awareness. She Begins to Turn Up as a Person: First Recognition of Self-projection Via her Cats. A New Experience of Breakdown: When her Foster Home Breaks Up. Part II: The 1950 Drawings. She Makes Contact by Doodle Drawings: Faecal Symbols as Devils or Chrysalises. After the Easter Holiday in Hospital: The Bottom's Eye View of the World. After the Consultation: The Turd-baby and Strangled Feelings. The Sleeping Goddess: Premonitions of Waking up to Face Disillusionment and Loss. Many Kinds of Nests: Beginning to Conceive of a Holding Environment. The Summer Holiday in N.I. Hospital: Ego Nuclei, Early Body Memories and Archaic Body Images. She Tries Physiotherapy: The Delusory Body Image and the Real Body Image. Part III: The Years From 1951 to 1957 and the Background Theory. The External Situation: Learning to Cook and Attending a Psychotherapy Group as well as Analysis. The Post-E.C.T. Drawing and the Circle: A Symbol of Fusion of Mother and Child. Ways of Communicating Feelings: Confusion of Body-openings and The Creative Surrender. Haloes, Traps and the Devil: Delusory Cocoons and Identification with the Exalted Ego-ideal. Part IV: The 1957 to 1958 Drawings and Her Re-entry Into The World. She Uses the Symbol of Water: Premonitions of Re-birth. The Little Duck Gets Ready to Come Out: But to Come out Means to be Eaten? Her First Landscapes and Drawings of the Inside of the Mouth: Beginning to Realize that her Attacks can do Harm. Her Use of the Diagonal: Experimenting with Ideas of Duality and an Interface Between Opposites. The Day her Head Stops Turning: Recognition of a Gap, A Sense of Loss, a 'Hole in the Heart'. The Proudman Dream and Return to the World: Accepting Limitations to Loving and Discovery of Communion. Part V: What Followed. A Crystallization of Theory: Breathing and Primary Self-enjoyment. Her Mother's Death and After: Finding a Mate and Towards Re-finding her Feet. The Saliva in the Cup: The Place of Transformation.
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