By M. Masud R. Khan
The "hidden selves" that Masud Khan finds to us during this 3rd quantity of his psychoanalytic writings are to be understood in methods. essentially, they're these elements of the self that are inherent in, yet unsuspected through, the person involved, and which have to be pointed out if that particular is to accomplish an entire and fit self-awareness. extra largely, they're the parts of human nature that may no longer be glaring at the floor yet which are introduced out via literature or artwork, for instance, or in the course of the insights received in psychoanalysis.
In research, and over a time period, either analyst and sufferer observe elements in their character that have been unknown to one another firstly. the individual is not only a unmarried 'self' yet a university of hidden selves; and one of many objectives of psychoanalysis is to determine how this university features for the person involved - even if via symptomatology or via introspection. The shut courting of sufferer and analyst, the slow discovering of one's self throughout the different, used to be elucidated by way of the writer in prior books, The privateness of the Self and Alienation in Perversions. during this 3rd publication Masud Khan bargains extra proof, as a rule within the type of a few extraordinary case histories, of the rewards that may be completed, via either events, in the course of the mutual endeavors of the psychoanalytic strategy.
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Extra info for Hidden Selves: Between Theory and Practice in Psychoanalysis
They isolated the symptom as a foreign body and attacked it with the aim to rid the patient of it. Charcot's famous case history of Ler, in his Lectures on the Diseases of the Neroous System, gives a vivid account of the patient treated as an exhibit. Freud learnt from the personr whose symptoms had rendered them intopatients how to speak to them and help them to speak to him. Hence I have also italicized 'let her tell me'. Freud was also the first psychiatric clinician who, instead of explaining away symptoms, looked for their meaning for the patient.
Jean Starobinski ( 1g70), in his illuminating essay,'Hamlet et Oedipe', has postulated: HIDDEN SELVES The unconscious is not only language; it is dramaturgy. That is to say, words in theatrical production, spoken action between the extremes of clamour and silence. He further argues from it that: There is nothing behind Oedipus, because Oedipus is depth itself. Hamlet, on the other hand, invites us to ask a thousand ways the irksome question of what is behind Hamlet: his motivations, his past, his childhood, all that he dissimulates, all that he is unaware of, etc.
He had not been able to show any sign of grief when his father died. It looked at the time as if this patient had achieved enough inner psychic growth to deal with the cumulative trauma from his father's decay into inertia and apathy. He did start the new job but, alas, his own character stayed rigidly negativistic towards the possibilities of new life. It was material of this kind that led me to write my second paper, 'The Use and Abuse of Dreams' (Khan 1 9 7 2 ~ )In . the intervening decade I had become progressively more sensitive to how the whole B E Y O N D T H E DREAMING EXPERIENCE dream as an experiential entity can have quite a different value and function for a person than the component parts of the dream text.