Maternal insightfulness or the capacity to see things from the child’s point of view, is considered to be a crucial construct for therapeutic change. In the present study, we aimed to implement the knowledge gleaned from the studies on attachment theory and maternal insightfulness into clinical practice to create an intervention program for mothers of children-at-risk due to inadequate parental care. We used drama therapy to “practice” maternal insightfulness in more “experiential” ways, because the use of creative expressive (...) means may be accessible and effective for the target population of the study and help improve maternal care. We used a manualized 10-week drama therapy-group intervention, focusing on the core concepts of maternal insightfulness: insightfulness, separateness, complexity, and acceptance. We used various dramatic means to explore and experience these components of maternal insightfulness. Forty mothers of children-at-risk took part in eight groups of parental insightfulness drama therapy. To evaluate the efficacy of the intervention, we used the Insightfulness Assessment interview, which produces 10 scales and a final classification of PI and non-PI. The Child Behavior Check List was used to evaluate a change in children’s behavior problems. The assessment took place at three time points: before the intervention, right after the end of the intervention, and 6 months following the intervention. Results at T2 showed a significant improvement compared to T1 in some of the maternal insightfulness scales, but not in the maternal insightfulness categorical classification. At T3, there was a significant change in the classification of the mothers, from non-insightful to positively insightful. At T3, there was also a significant decline in the children’s externalized and general behavioral problems. The results of this study contribute to an evidence-based practice of using drama therapy in the treatment of mothers and children at risk. (shrink)

Drama therapy has been found to improve various facets of mental health while aging. It provides opportunities for personal growth and creative expression and enhances group relationships. Drama therapy is a widely acknowledged way to explore the life stories in late life. However, only a handful of studies have empirically explored the value of drama therapy for the aging population. This conceptual analysis was designed to address this need by developing a new integrative model (...) of drama therapy. The analysis is based on the review of the results of four studies that explored the integration of life-review and playback theater as a drama therapy approach for older adults. The therapeutic process focused on the exploration of life-crossroads stories, a short unique technique which enables the participants to craft a harmonious view of their life stories in a short-term dramatic creative group process. Combining the four results yielded a multidimensional model which points to three potential transformative routes: the evolution of the life story, the evolution of improvised dramatic expression, and the expansion of social engagement. The transformative routes are described through the lens ofrole theoryin drama therapy. (shrink)

This work is an attempt to decipher the therapeutic essence of the Hellenic theater through the prism of "catharsis", starting with the Athenian orgy, when theatrical performances turned into a tool for collective healing. The article deals with the theoretical views of Aristotle, in whose aesthetics catharsis has become the main concept that testifies to the healing abilities of the Greek theater to purify and harmonize the personality. The author shows how these ideas can be used in modern theatrical art, (...) helping to identify and eliminate the mental problems of today's audience. Dramatic "catharsis", named and analyzed in the theoretical system of Aristotle, in turn, became a theoretical generalization of the healing abilities of the Greek theater. The scientific novelty of this work lies in the fact that the study of the essence and form of healing in the Greek theater can be used as a theoretical basis for the development of modern drama therapy. The work uses an interdisciplinary approach, a cultural-historical method and the principle of comparative analysis in the 70-80s. In the twentieth century, drama therapy began to be explored as a separate discipline that awakened creativity and imagination, contributed to the reunification of people with their inner world, removed the burden of difficult experiences, changed behavior and life circumstances, thus revealing the healing abilities of theatrical "catharsis". The rise of modern theater therapy reflects a new direction in the development of psychotherapy and theater, as well as a return to the ancient traditions of healing and artistic creativity and the development of fresh ideas and new creative ideas based on them. (shrink)

Plato’s Charmides suggests that there are really four notions that are deeply connected with one another, and in order to understand sôphrosunê we need to get a proper hold on them and their relation: these four notions are Knowledge of Ignorance, Self-Knowledge, Knowledge of the Good, and Knowledge of the Whole. My aim is to explore these four notions in two stages. First, I will try to explain Socrates’s notion of knowledge of ignorance, so that the nature and coherence of (...) this Socratic idea will come into focus, and shed some light on its connection to self-knowledge and knowledge of the good. Second, I will turn to explain what I call the origin (archê) or even “truth” of Socrates’s conception of sôphrosunê by examining the idea of the physician of the soul in Plato’s Charmides and Plato’s use of the dialogue form, and thereby make a connection to knowledge of the whole. I will show that seeing sôphrosunê as “whole-mindedness,” connects to Socrates’s description of our in-between state as human beings, and that the study of this “in-between-ness,” is the supremely insightful glimpse into Socrates and his philosophical activity (perhaps the very definition of it). (shrink)

The article is devoted to the study of the history of theatrical therapy in the no-si ritual drama. It is shown that, in general, the ritual elements of the no-si drama can be used in modern drama therapy. In addition, dramatic therapy, which is implied by the author in this article, is somewhat different from the modern concept of psychodrama, since it covers large areas of the human psyche. The author believes that it is (...) not necessary to completely ignore this complex area of human culture, because regardless of function or form, dramatic therapy is closely related to the shamanic ritual of healing. The formation of the Chinese national drama took place in the context of the historical development of China. Having originated in the most ancient forms of shamanic rituals, the theatrical performance has evolved into a unique stage genre. Along with other earliest theatrical forms such as ancient Greek theater and ancient Indian drama, Chinese opera originated several centuries before our era, but unlike them it has survived to this day almost unchanged. Now Chinese traditional opera occupies an important place in the list of intangible heritage not only of China itself, but also of the whole world. One of the most important milestones in the development of theatrical art in China was the ritual drama "no-si", which today the ritual drama no-si in China is called a real "living fossil", because it is the oldest cultural form that has come down to us through the centuries. Archaic religious rituals, reflected in modern theatrical performances, testify to the mixing and syncretization of various religious traditions, including no-rituals and no-si drama, and modernity. The current generation is successfully modernizing the tradition of its ancestors in accordance with the times, preserving it in the centuries-old cultural memory of its people. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Master" versus "Servant":Contradictions in Drama and Theatre EducationShifra Schonmann (bio)Mr Jourdain: You mean to say that when I say "Nicole, fetch me my slippers" or "Give me my night-cap" that's prose?Philosopher: Certainly, sir.Mr Jourdain: Well, my goodness! Here I've been talking prose for the last forty years and never known it, and mighty grateful I am to you for telling me!—Molière, Le Bourgeois Gentilhomme1My basic claim is that (...) our young field—drama and theatre education—feels old. Are we being stifled by applied drama and theatre, so that it has put real obstacles in the way of broadening the horizons of the field? I know that by asking this question I risk setting myself up as a living target for all those who maintain that applied theatre is the "hot" and the appropriate concept in the field. For more than twenty-five years now, we have been working with our students in teacher education departments and with children in schools in the manner of applied drama and theatre, but we have named it differently. It is as if we had been speaking the language of applied drama and theatre for twenty-five years—and we did not know that this was the case. (It reminds me of Moliere's Monsieur Jourdain who suddenly discovers that he has been speaking prose for the past forty years.) I would like to make it very clear from the outset that my claim is not against applied drama and theatre; it is a claim for another proportion (balance) between the instrumental function and the artistic-aesthetic function of our drama and theatre work in education.Is this a new claim? Not at all. But in the midst of our intensive endeavors in the field, it strikes me again and again that we have been running after our own tails, doing almost the same things over the past twenty-five [End Page 31] years. I have tried to understand why we are wandering around, surrounded by the same basic circles and experiencing a feeling of déjà-vu. What, really, is our problem? As a result of asking myself these questions, I began to analyze programs of the major conferences of the last ten years in drama and theatre education: Exeter (Researching Drama and Theatre in Education), AATE (American Alliance for Theatre and Education), IDEA (International Drama/Theatre and Education Association), and IDIERI (International Drama in Education Research Institute). These are considered to be the main international professional gatherings in the field (most of which I have attended). I have been looking into the headings that express the topics that were discussed. My data show that the majority of the topics were concerned with the by-products that drama and theatre can produce but not with the artistic and/or the aesthetic dimensions of the field. Sometimes I wonder if we fail to see the wood for the trees.In the Dictionary of Developmental Drama, written by Richard Courtney, an attempt was made to clarify the terms of drama used in a variety of practical fields.2 In this dictionary, we cannot find the applied theatre entry or process drama entry, but we can find entries such as developmental drama, drama in education, drama therapy, dramatic activity, educational drama, educational theatre, forum theatre, and many others. The terminology used among drama workers, leaders, and researchers is not precise. When drama educators and researchers meet, we engage in extensive discussion, often exchanging experiences and successful strategies. Quite some time can pass before we realize that our concepts of drama education differ considerably. These concepts range from completely spontaneous activities, such as improvisational exercises, to very carefully planned work, such as staging written scripts. Courtney's dictionary is the only one that I know that tries to define the basic concepts in our field: It is necessary but not adequate or up to date.In the "Drama Way" Project, a comprehensive work by Jouni Piekkari et al., coordinated by the University of Turku in Finland, I found a good attempt to set up a "mini" dictionary.3 The "Drama Way" Project identified a number of... (shrink)

"Meeting strangers" is a metaphor for the increasingly common experience of working with diversity in family therapy. This book offers a model of cultural family therapy for working with families across cultures, particularly immigrants, refugees, and minorities in mainstream society. -/- The author draws together several emerging trends in therapy and the human sciences: narrative approaches, transcultural psychiatry, studies of autobiographical memory and the distributed and saturated self, translation theory and sociolinguistics. He offers an understanding of the (...) "situated nature" of human problems and tools for translating the family's culture and idioms into a common language in a culturally responsive and collaborative way. -/- Each chapter is both theoretical and practical, far-reaching and grounded in the experiences of families in therapy. The chapters of Part I, Meeting Strangers, introduce themes of cultural family therapy, a synthesis of family therapy and transcultural psychiatry that reframes the presenting issue in therapy as the "presenting culture." Here DiNicola both critiques family therapy's unexamined use of cultural concepts and introduces fresh conceptual tools, such as spirals, masks, and roles, that facilitate the therapist's engagement with the family culture. -/- Part II, On the Threshold: Language, Identity, and Cultural Change, introduces a number of "changelings," "liminal people," and "orphans." Between or on the thresholds of two or more cultures, they struggle with issues around language and translation, identity and cultural change. The overbearing influence of Western concepts is seen in DiNicola's examination of the psychological, social, and cultural implications of the myth of independence. -/- Part III, Families as Storying Cultures, demonstrates in extended cases the power of narrative and of metaphor to transform experience. The final chapter is a moving memoir of the author's fascinating journey to Brazil to meet his father for the first time. -/- The author's aim is "to open space for people who have been treated like minor characters in the drama of family therapy." In doing so, he puts onto center stage all sorts of strangers in society, families of diversity, and their human predicaments, inviting his readers to engage in the full richness and complexity of culture, families, and therapy. (shrink)

The Mirror Game (MG) is a common exercise in dance/movement therapy and drama therapy. It is used to promote participants’ ability to enter and remain in a state of togetherness. In spite of the wide use of the MG by practitioners, it is only recently that scientists begun to use the MG in research, examining its correlates, validity and reliability. This study joins this effort by reporting on the identification of scale items to describe the nonverbal behaviour (...) expressed during the MG and its correlation to measures of attachment. Thus, we explored the application of the MG as a tool for assessing the embodiment of attachment in adulthood. Forty-eight participants (22 females, mean age = 33.2) played the MG with the same gender-matched expert players. All MG were videotaped. In addition, participants were evaluated on two central measurements of attachment in adulthood: The Adult Attachment Interview (AAI) and the Experience in Close Relationship questionnaire (ECR). To analyse the data, we developed the “mirror game scale” that coded the nonverbal behavior during the movement interaction, using 19 parameters. The sub-scales were reduced using factor analysis into two dimensions referred to as “together” and “free”. The free factor was significantly correlated to both measurements of attachment: Participants classified as having secure attachment on the AAI, received higher scores on the MG free factor than participants classified as insecure (t (46) = 7.858, p =.000). Participants who were high on the avoidance dimension on the ECR, were low on the MG free factor (r (48) =-.-285, p =.007). This is the first study to examine the MG as it is used by practitioners and its correlation to highly standardized measures. This exploratory study may be considered as part of the first steps of exploring the MG as a standardized assessment tool. The advantages of the MG as a simple, non-verbal movement interaction demonstrate some of the strengths of dance/movement and drama therapy practice. (shrink)

Depression experienced by older adults is proving an increasing global health burden, with rates generally 7% and as high as 27% in the USA. This is likely to significantly increase in coming years as the number and proportion of older adults in the population rises all around the world. Therefore, it is imperative that the effectiveness of approaches to the prevention and treatment of depression are understood. Creative arts interventions, including art, dance movement, drama and music modalities, are utilised (...) internationally to target depression and depressive symptoms in older adults. This includes interventions led by trained arts therapists as well as other health and arts professionals. However, to date there has not been a systematic review that reports effects and examines the processes (why) and mechanisms (how) of creative arts interventions are used to address depression in this older age group. This systematic review of studies on creative arts interventions for older adults experiencing depression examined: outcomes of four creative arts modalities (art, dance movement, drama, and music); with particular attention paid to processes documented as contributing to change in each modality; and mechanisms considered to result from these processes. Our analysis of 75 articles (17 art, 13 dance, 4 drama and 41 music) indicates mostly significant quantitative or positive qualitative findings, particularly for interventions led by creative arts therapists. Mechanisms of change gleaned from the studies that were common across modalities include physical (e.g. increased muscle strength; neurochemical effects, such as endorphin release), intra-personal (e.g. enhanced self-concept, strengthened agency and mastery; processing and communication of emotions), cultural (e.g. creative expression, aesthetic pleasure), cognitive (e.g. stimulation of memory) and social (e.g. increased social skills and connection), that were all considered to contribute to reduced depression and symptoms. Recommendations for future research include a stronger focus on testing of processes and mechanisms. (shrink)

This article discusses the transpersonal functions of masks in ritual and in drama therapy as expressed in the creative path of NohKiDo. NohKiDo, whose main components include the Prism of Consciousness , the Rainbow Method, Action Meditation techniques , and Therapeutic Noh Theater, is a therapeutic system developed by the author through the redefinition and interpretation of a set of transpersonal concepts based on Zeami’s original Noh formulation for Therapeutic Noh Theater. The most significant concepts of Ma , (...) Mushin-no-kan , Ichu no kei , and Riken no ken pertain especially to the transpersonal functions of masks. The main aim of a Therapeutic Noh Theater performance is to heighten the consciousness of its actors, as well as the members of its audience, to a transpersonal level; a Therapeutic Noh Theater performance of Born from Good Angel’s Tears is discussed as an example. The creative path of NohKiDo is introduced here as a lifelong journey to the spiritual, within and without, via masks, the arts, and creativity. (shrink)

Volume 13 provides valuable examples of the very type of clinically grounded theorizing that represents progress in self psychology. The opening section of clinical papers encompasses compensatory structures, facilitating responsiveness, repressed memories, mature selfobject experience, shame in the analyst, and the resolution of intersubjective impasses. Two self-psychologically informed approaches to supervision are followed by a section of contemporary explorations of sexuality. Contributions to therapy address transference and countertransference issues in drama therapy, an intersubjective approach to conjoint family (...) therapy, and the subjective worlds of profound abuse survivors. A concluding section of studies in applied self psychology round out this broad and illuminating survey of the field. (shrink)

We present experimental evidence that an interpretation was accurate. Current wisdom notwithstanding, we could interpret from the text alone because its information is redundant: repetition provides internal checks. Knowing neither dreamer nor their associations we made falsifiable predictions that we tested by subsequently gathering information about the dreamer. Predictions were supported. Results were repeated with seven additional dreams. Each dream was tightly crafted, used humor, drama or hyperbole to penetrate the dreamer’s defenses, and furthered the emergence of personality. Our (...) experiment compliments fMRI and statistics because it studies a whole text as a unique narrative: one iteration identified healing steps during therapy; another confirmed the psychological meaning of a myth. Our experiment might generate a body of objective knowledge about interpretation and make interpretation itself more accurate. In the US 20% live with mental illness. Our experiment supports talk therapy against pressure from the drug and insurance industries. (shrink)

This paper provides an explanatory rationale within a theoretical philosophical framework for the Philosophy Plays project as a call to public philosophy, conceived as a way of life and a form of communal therapy for the mind. The Philosophy Plays aim is to introduce philosophy to the general public through philosophical presentations by professional philosophers incorporating drama. Like Plato’s dialogues, the Philosophy Plays, that combine dialectic with rhetoric seek to engage their public audiences in a realistic and shared (...) lived experience, rendering philosophy a practical and meaningful applied activity for all participants, conceived as a way of life. (shrink)

This book is a study of Wittgenstein's descriptive, improvisational, and performative art of philosophical investigation. In addition to clarifying the nature of Wittgenstein's grammatical investigations, this study highlights several neglected aspects of his work: its humour and playfulness, its collaborative nature, and its emphasis on the imagination. These aspects often become distorted under the pressure of theory and argumentation, resulting in interpretations that equate grammatical investigation with confession, therapy, or a common sense view of the world. After presenting Wittgenstein's (...) art of investigation in part one, this study challenges these dominant and influential interpretations in part two. The volume examines Wittgenstein's mottos, forewords, and dedications. It looks at the art of his philosophical and grammatical investigations, linking it to drama and improvisation. The book discusses the complexity and subtlety of Wittgenstein's response to Augustine in the opening of the Investigations, and Wittgenstein's response to Moore's defence of common sense in On Certainty. The book also examines three kinds of therapeutic readings: those that compare Wittgenstein's philosophy to psychoanalysis, those that compare his philosophy to therapy generally, and those that describe philosophy itself as an illness or as the cause of illness. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:American Journal of Philology 124.1 (2003) 143-146 [Access article in PDF] William V. Harris. Restraining Rage: The Ideology of Anger Control in Classical Antiquity. Cambridge, Mass.: Harvard University Press, 2001. xii + 468 pp. Cloth, $49.95. It is a mark of evolving interests in the discipline that a well-known ancient historian should choose to write a major book on the ancient understanding of a single emotion. This reflects both (...) an ever-widening conception of what social history can include (and of how social and political history are interconnected) and the intense study in recent years of ancient ideas about the nature and therapy of the emotions, especially in Hellenistic and Roman philosophy. This book combines specificity of focus with breadth of evidence examined. The topic is not just anger but, more precisely, the ideology, broadly understood, of anger control. The evidence discussed ranges from Homer to early Christian ideas in late antiquity; it embraces literature, historiography, and philosophy, among much else. The combination of a single line of enquiry and comprehensiveness of material is crucial to the character and value of this study.The project of the book can be defined more exactly. Harris sets out to examine the evidence for ancient thought about anger and to contextualize it, placing it in a socially oriented history of ideas. This project explains the structure of the book. Part 1 considers the relevant material, above all the Hellenistic-Roman philosophical treatises on control of anger, and explores questions of method and approach. Key points include the difference between Greek or Roman and modern English vocabulary, such as the Greek distinction between violent temper ( orge \) and "spirit" or impulse ( thumos), and the importance of placing the Hellenistic treatises in a developing tradition of emotional self-control from the fifth century B.C. onwards. Part 2, the largest, connects Greco-Roman thought about the restraint of anger with salient features of political and social structure; this is extended, in part 3, to family life and the treatment of slaves. Part 4 returns to ancient ideas, especially in philosophy, about anger as a "sickness of soul" to be treated by "therapy"; these ideas are now placed within a larger history of anger control from archaic Greece to late antiquity.Inevitably, with a topic of such breadth, some of the discussion surveys material examined more fully by scholars writing from more specialist standpoints. This is so, for instance, in the review of philosophical ideas on control of anger in chapters 6 and 14-15 (though these ideas have not, I think, been assembled before in a single study). The main originality of the book lies in the social contextualization of ideas, particularly in parts 2 and 3. Here, a set of substantively new claims are offered, bearing especially on the explanation of the [End Page 143] prominence of the theme of anger control in Greek and Roman culture. For instance, the presentation of Achilles' rage in the Iliad as intensely problematic, taken with the more positive characterization of Odysseus' revenge (which depends on restraint of anger) in the Odyssey, is seen as expressing a growing awareness of the dangers of heroic or kingly rage in a period (ca. 700 B.C.) when the Greek archaic city-states were emerging from their pre-polis form (chapter 7, especially 145-46). Analogously, the preoccupation with the destructive impact of violent anger ( orge \) and the reiterated stress on emotional control ( so \ phrosune \) in the fifth and fourth centuries B.C., in contexts such as drama, historiography, and oratory, are taken as integral elements of the growth of cooperative life in the polis. Harris draws on Norbert Elias's thesis that the internalisation of doctrines restraining the motives (including anger) that generate violent aggression constitutes a key part of the development of civilized society (150).A comparably wide range of sources is reviewed for Roman attitudes; much of the evidence is drawn from the late Republic, a period when violent anger played a major role in the disruption of social and political order—although this connection is not... (shrink)

The article explores the connection between enlightenment and comedy, as well as its importance for German Jewry. Following Hegel, whose thoughts on ancient drama as well as modern society have shaped the German discourse on comedy until today, this article demonstrates that questions of self-formation, emancipation, and historical self-location are central to comedy. In Carl Sternheim’s comedy The Snob, the idea of self-formation resonates with the historic concept of “civic improvement” through “Bildung”: Jewish emancipation in Germany stood at the (...) end of an educational project that outlasted Jews’ achieving legal equality. The Snob is a comedy about Jewish acculturation and bourgeoisification and embodies Marx’s understanding of comedy as ambivalent: on the one hand, comedy helps people to part cheerfully from their past that was characterized by inequality, but, on the other, it indicates that a world-historic fact like Jewish emancipation may be prone to repeat itself as a farce. Sternheim’s comedy develops a poetic that embraces ambivalence, but also opens the genre of comedy to the question of therapy and healing. It depicts the struggle between autonomy and social formation – the dialectics of German “Bildung.”. (shrink)

Since 2016, my embodied avatar performance (EAP) has explored healing rituals and life review at the intersection of arts, health and virtual reality (VR) for a variety of individuals, including older adults and cancer patients. EAP established a format in which the avatar mirrors the participant’s behaviours and speech, facing them during the life review process. The aspect of mirroring and facing is crucial in EAP for facilitating engagement, embodiment and empathy and a symbiotic relationship between avatar and human. This (...) article outlines the symbiosis between humans and avatars within the EAP process, focusing on the interactions where participants face and mirror their avatars. The avatars are presented as if participants are looking into a mirror. As the avatars face the participants and mimic their movements, they create an illusion similar to seeing one’s reflection in a virtual setting. The article discusses a range of mirroring aspects, including virtual mirrors in VR, echoing techniques in drama and movement therapy, and broader concepts like empathy, embodiment, we-ness and the Korean emotional concept of Cheong. Early EAP avatars, especially in the case of technical failures, will be discussed as examples. (shrink)

This book presents systemic psychotherapy to integrative counsellors by using the most common counselling modalities and turning them into systemic approaches. The Systemic Model for Integrative Counsellors teaches systemic theory and techniques gradually, delving into various ways for integrative counsellors to think from a systemic perspective, reframing a client's presenting problem as emerging from relationships and social context. The chapters discuss how to combine person-centred counselling with a systemic outlook, how to combine psychodynamic theory with ideas about circularity and relationships, (...) and outlines ways to use cognitive-behavioural therapy, action techniques, drama techniques, gestalt therapy, and many counselling approaches systemically with individual clients. The author's conversational writing, accompanied with case studies and in-depth explanations of counselling techniques and theories, makes the material interactive and accessible. A Systemic Approach to Integrative Counselling will provide qualified and trainee counsellors with an in-depth systemic outlook on counselling modalities. It is also a helpful guide for scholars and researchers in related fields. (shrink)

From the publication of _Growing Up Absurd_ in 1960 until his death in 1972, Paul Goodman had the ear of the young radicals of the New Left, pouring forth books and articles on education, technology, decentralization, and of course, the war in Vietnam. Yet Goodman saw himself primarily as an artist rather than a political thinker or sociologist, and many of his books, even during the 1960s, were works of poetry, drama, and fiction. He had also practiced as a (...) psychotherapist and joined with Frederick Perls and Ralph Hefferkine in producing a new synthesis in psychological thought, Gestalt therapy, which has since become an international movement. In an age of specialization, few writers have taken on so braod a range of concerns. _Crazy Hope and Finite Experience_ is the final summing up of the thought and life of a self-described "old-fashioned man of letters." This book brings together for the first time five personal essays, all written near the end of his life, in which Goodman discusses his sense of the world and how he was "in" it, his politics, his spiritual and religious attitude, his sexuality, and his calling as a literary artist. For those already familiar with one or another aspect of his work, Goodman's self-assessment will provide new insight into the credo that underlies his whole career. For those learning about him for the first time, it offers a vivid sense of the man and his perspective. And for psychotherapists - especially Gestalt therapists - the book will fill in the picture of Goodman as a theorist whose work was crucial to the development of a new approach to therapy. (shrink)

Tough Decisions presents many of the complex medical-ethical issues likely to confront practitioners in critical situations. Through fictional but true-to-life cases, vividly described in clinical terms, the authors force the reader to choose among different courses of action and to confront a range of possible consequences. A two-year-old has been diagnosed with a malignant brain tumor. Who should be allowed to make decisions about the child's surgery and subsequent therapy, and on what basis? A family history of Huntington's disease (...) emerges when a fiancee seeks genetic counseling. Who should be informed? An elderly patient suffers a cardiac arrest. Should "do-not-resuscitate" orders always be followed? How should legal liability affect medical decisions? Other ethical issues considered include surgical complications, patient autonomy, rights of the retarded, informed consent, euthanasia, and the fair allocation of finite resources. Each case presented conveys the drama and pressure of weighing alternatives, and the realistic consequences of the choices made. The authors show that ethical decision-making is not limited to "matters of life and death", and that it is not the decision but the ethical process by which it is made that gives the decision moral integrity. With realistic detail, Tough Decisions brings to life and makes the student share in the many complexities of ethical decision-making when the health and lives of patients are at stake. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Philosophy, Psychiatry, & Psychology 8.1 (2001) 39-40 [Access article in PDF] Remembering Feminisms:A Response to the Commentary Erica Burman I am grateful to Gwen Adshead for outlining the broader arguments surrounding feminist critiques of science and their relevance for mental health, particularly in forensic contexts. As she highlights, the debates about the status of accounts of memory hinge upon contested concepts of objectivity and the problem of discursive and (...) provisional (but also necessary) claims to external reality, these being debates to which feminists have actively contributed. There are four additional points I would like to make in response to her comments.Firstly, while I am in general agreement with her presentation of feminist positions in relation to scientific theory and method--and this does largely reflect a current consensus within feminist approaches--it is important not to overstate this consensus. Feminist debates about science, method, and claims to truth are precisely debates. There is no unitary feminist approach. Key arguments between feminists concern, for example, whether to lay claim to (forms of "strong") subjectivity rather than objectivity (see Harding 1986, Hollway 1989, Griffin et al. 1998) or whether to re-work criteria for objectivity to takeaccount of well-known gender biases (Eichler 1988).In my analysis of feminist approaches to "false memory syndrome" (FMS), I wanted to highlight the diversity of feminist positions in order to indicate something of the interconnections between feminist and other political, theoretical, and cultural analyses--ranging from the modernist and empiricist to the postmodernist and constructionist. Hence, while I agree with Adshead that much feminist analysis seems unremarkable since its impact on cultural practice has been so great, I would argue that her account glosses over the many different feminist positions mobilized within the debate around "false/recovered memories." There are widely different views, for example, about the status of evidence/science. Another key area of debate is the role of psychiatric diagnosis between those who subscribe to and those who reject the "terms of art" of psychiatric diagnostic categories.This may sound like a mere effort to attest to the rigor and rationality of feminist scholarship, including feminist re-workings of these terms. However, to come to my second point, there is a material consequence of this closer attention to the conditions for, and reception of, specific feminist analyses. For the debate about "false" or "recovered" memories goes beyond questions about the circulation of the roles of victim versus perpetrator that surround claims of credibility, legitimacy, manipulation, or gullibility. [End Page 39]Thus, Laura Brown and I (1997) and Jan Haaken (1998) have suggested that in order to understand how the current debates surrounding (women's) reported memories could have come about, we need to analyze what has happened through, and what the stakes have been in, the (limited) institutionalization of feminism within models and practices of therapy. This involves attending to the particular forms of feminism that have been included and excluded: For example, how far do therapeutic models accept, and how far do they problematize, the forms and functioning of families? We also need to consider the broader societal response (or backlash?) to a feminized/therapeutic culture, including consequences of the confounding of the therapeutic with the feminized. In particular, Haaken draws attention to the gender essentialism that pervaded second wave (1960s and 1970s) U.S. feminist therapies. This essentialism, she argues, has fueled a failure to interrogate power dynamics (including therapeutic dynamics) between women that make possible displacements of transferential dynamics to an outside party, whether past or present.My third point concerns the ever closer relationship between the therapeutic and legal arenas reflected within the career of FMS. Adshead's reference to a film narrative to highlight competing versions of legal knowledge puts me in mind of how FMS--as a potent cocktail of psychiatric labeling, familial conflict and abuse, and litigation--is the U.S. television courtroom drama writ large. It may be the case that, as Adshead argues, I fail adequately to address the complexity of legal process, with its assumptions about what makes certain accounts more credible or legitimate than others... (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Notes on Psychodramatic Treatment of a Person with SchizophreniaJonathan D. Moreno, PhD (bio)I have enjoyed reflecting on Mr. Chapy’s account of work in psychodrama with a patient with schizophrenia.Although at one time many years ago I was interested in phenomenological psychiatry, and especially the writings of Ludwig Binswanger and Medard Boss, I am not an authority on dasein-analysis, so I have nothing to add to the discussion. I should (...) say, however, that my father had little interest in this approach, which was far too abstract for his taste. He proceeded from the standpoint of the theater, of action and enactment. He believed that the drama itself provided the insight.For the purposes of this response, I take it as a given that the patient in question has been accurately diagnosed, although in the description of the scene with his father he does not exhibit the usual symptoms, such as auditory hallucinations. People with schizophrenia often find it difficult to manage the voices they are hearing without substantial preparation for a psychodrama. According to psychodramatic method, one way to prepare them is to externalize the voices, allowing a different therapist to take the role of each one as the protagonist instructs them how to play that role. Chair may be set up so that each “voice,” personified by an auxiliary ego, can sit in each chair in an array. This preparation may require a number of sessions. If the scene is to be enacted with a significant other, like the father in this instance, the patient may not be able to warm up to a direct encounter, especially with all the different voices competing for his internal attention. So he may be directed to observe each voice in the encounter with his father, preferably played by a therapist of his choosing and trained for the role, usually by giving the father-player certain lines so that they can learn something about the father and the way he addresses his son.Or consider the patient whose illness manifests itself as delusions, often of a megalomaniac character. They may be a messiah, for example, or the rightful heir of a royal line whose identity is being suppressed by governmental forces. The patient might be invited to choose key therapists to play the roles of key members of their circle, [End Page 225] enacting critical scenes like the sermon on the mount or speeches to their oppressed followers. In this way the patient’s “act hunger” may be to some degree satiated and have a calming effect on their anxiety and irritation with the frustrating world around them that refuses to accept their “authentic” identity and belief system.In these ways, psychodrama therapy can take advantage of one of the remarkable advantages of this method for such patients, who are generally recalcitrant to talk therapy alone and for whom medication is at best modestly effective. Still, these disorders are among the most challenging for psychotherapists. Although the process of treating them may open up insights into the nature of the human mind, as Chapy has pursued in this paper, we await the neuroscience that can affect the kind of long-term remission they and their families so desperately wish. [End Page 226]Jonathan D. MorenoUniversity of Pennsylvania [email protected] D. Moreno Jonathan D. Moreno is a philosopher and historian who specializes in the intersection of bioethics, culture, science, and national security, and has published seminal works on the history, sociology and politics of biology and medicine. He is an elected member of the National Academy of Medicine.submitted on January 27, 2023Accepted on January 30, 2023Copyright © 2023 Johns Hopkins University Press... (shrink)

Le terme « incasable » est récurrent dans le champ de la protection de l’enfance. Il désigne ces jeunes en rupture sociale, scolaire, éducative et souvent en absence de soin face auxquels les professionnels se sentent régulièrement démunis. À travers un dispositif thérapeutique théâtre, cet article a pour objectif d’interroger la prise en charge de jeunes dits « incasables » et d’améliorer les pratiques cliniques et éducatives. L’atelier théâtre rassemble six jeunes placés en foyer. L’accent est mis ici sur le (...) suivi de l’un d’eux, un jeune dont la famille a demandé le placement. Les premières réflexions cliniques soulignent comment ce jeune participant à l’atelier thérapeutique théâtre parvient à s’ancrer dans le groupe et à y advenir comme sujet. La représentation des images parentales émerge au fur et à mesure qu’un récit se construit dans le jeu. (shrink)

Assessing the risk-benefit ratio has always been considered key in designing clinical trials. These benefits can be diverse and may include social value and psychological benefits. When it comes to...

I argue that Descartes intended the so-called ontological "argument" as a self-validating intuition, rather than as a formal proof. The textual evidence for this view is highly compelling, but the strongest support comes from understanding Descartes's diagnosis for why God's existence is not 'immediately' self-evident to everyone and the method of analysis that he develops for making it self-evident. The larger aim of the paper is to use the ontological argument as a case study of Descartes's nonformalist theory of deduction (...) and his method of analysis, showing how he conceives the latter as a form of philosophical therapy. (shrink)

Abstract: The notion that philosophy can be practised as a kind of therapy has become a focus of debate. This article explores how philosophy can be practised literally as a kind of therapy, in two very different ways: as philosophical therapy that addresses “real-life problems” (e.g., Sextus Empiricus) and as therapeutic philosophy that meets a need for therapy which arises in and from philosophical reflection (e.g., Wittgenstein). With the help of concepts adapted from cognitive and clinical (...) psychology, and from cognitive linguistics, the article shows that both philosophical projects address important and literally therapeutic tasks and explains how they can do so with genuinely philosophical argument and analysis. This brings into view new applications for philosophy, a need for therapy in core areas of the subject, and the outline of a new approach to meet what will be shown to be a central need. (shrink)

The development of gene therapy has always come with the expectation that it will offer a cure for various disorders, of which hemophilia is a paradigm example. However, although the term is used regularly, it is unclear what exactly is meant with “cure”. Therefore, the aim of this paper is to analyse how the concept of cure is used in practice and evaluate which of the interpretations is most suitable in discussions surrounding gene therapy. We analysed how cure (...) is used in four different medical fields where the concept raises discussion. We show that cure can be used in three different ways: cure as normalization of the body, cure as obtaining a normal life, or cure as a change in identity. We argue that since cure is a practical term, its interpretation should be context-specific and the various uses can exist simultaneously, as long as their use is suitable to the function the notion of cure plays in each of the settings. We end by highlighting three different settings in the domain of hemophilia gene therapy in which the term cure is used and explore the function(s) it serves in each setting. We conclude that in the clinical application of gene therapy, it could be better to abandon the term cure, whereas more modest and specified definitions of cure are required in the context of health resource allocation decisions and decisions on research funding. (shrink)

Is nonhuman animal-assisted therapy a form of exploitation? After exploring possible moral vindications of AAT and after establishing a distinction between "use" and "exploitation," the essay distinguishes between forms of animal-assisted therapy that are morally unobjectionable and those modes of it that ought to be abolished.

This article examines Nietzsche's engagement with Stoic philosophical therapy in the free spirit trilogy. I suggest that Nietzsche first turned to Stoicism in the late 1870s in his attempt to develop a philosophical therapy that might treat the injuries human beings suffer through fate or chance without recourse to the metaphysical theodicies discredited by Enlightenment skepticism and positivism. I argue that in HH and D Nietzsche adopts a conventional form of Stoic therapy. The article then shows how (...) Nietzsche came to take a critical stance against Stoic therapy on the grounds that it entails a radical extirpation of the value judgments that underpin the emotions. For this reason, I claim that in GS he attempts to develop a rival philosophical therapy, one that aims to enable human beings to unconditionally affirm fate but without this affirmation entailing, as it does for the Stoics, the dissolution of all emotional valuations. However, despite Nietzsche's belief that he had fundamentally broken with Stoicism, I argue, first, that Nietzsche's therapy in GS is deeply indebted to a "cosmic" model of Stoicism, which consists in the loving consent to the events that happen to us, and second, that he gives us no reasonable account of how it is possible to unconditionally affirm fate without adopting some form of Stoic indifference or apatheia. (shrink)

The Pyrrhonist’s argumentative practice is characterized by at least four features. First, he makes a therapeutic use of arguments: he employs arguments that differ in their persuasiveness in order to cure his dogmatic patients of the distinct degrees of conceit and rashness that afflict them. Secondly, his arguments are for the most part dialectical: when offering an argument to oppose it to another argument advanced by a given dogmatist, he accepts in propria persona neither the truth of its premises and (...) conclusion nor the validity of its logical form. Thirdly, he avails himself of arguments in his own open-minded inquiry into the truth about a wide range of topics. Fourthly, Pyrrhonian argumentation is oppositional inasmuch as it typically works by producing oppositions among arguments that appear to the Pyrrhonist to be equipollent. In this article, I focus on the first three features with the aim of both shedding some light on them and determining whether they are in tension or coherently relate to each other. (shrink)

In his last papers about deontic logic, von Wright sustained that there is no genuine logic of norms. We argue in this paper that this striking statement by the father of deontic logic should not be understood as a death sentence to the subject. Rather, it indicates a profound change in von Wright's understanding about the epistemic and ontological role of logic in the field of norms. Instead of a logical constructivism of deontic systems revealing a necessary structure of prescriptive (...) discourse, which marked his earlier efforts, he adopted the view that such systems should be seem as mere objects of comparison, i.e. as providing practical standards of rationality for normgiving activity. Within such view he proposed an interpretation of standard deontic logic in such a way to free deontic logicians from the philosophical difficulties related to the so-called Jørgensen's dilemma and deontic paradoxes. This effort, as we claim in the present paper, is an application of Wittgenstein's therapeutic method to dissolve philosophical difficulties caused by the use of logical tools to model relations between norms. (shrink)