Freud’s psychosexual stages of development, including the “developmental tasks”
Oral Stage
Tasks - get basic nuturing.
Anal Stage
Tasks - learning independence, accepting personal power, and learning to express negative feelings such as rage and aggression.
Phallic Stage
Tasks - gaining love and approval of the opposite gender parent.
Latency Stage
Tasks - socialization and making friendships.
Genital Stage
Tasks - investing sexual energy into more acceptable outlets, such as forming friendships, engaging in art or sports or preparing for a career. Later, the move to adulthood and caring for others.
For the record, I agree with the author of my textbook. Freud's stages do have some value, but Erikson's psychosocial stages give a more complete picture. Together, they work well.
Defense mechanisms
Repression - the involuntary removal of something from consciousness.
Denial - closing one's eyes to reality.
Reactive formation - defending against an impulse by actively expressing the opposite impulse.
Projection - attributing to others one's own unacceptable desires and impulses.
Displacement - discharging an impulse by shifting it to a "safe" target.
Rationalization - manufacturing a reason to explain away bruises to the ego.
Sublimation - diverting the energies from an impulse into an acceptable outlet.
Regression - reverting to an immature stage when there were fewer demands.
Introjection - "swallowing" the standards of others.
Identification - identifying with a cause or larger group to have feelings of self-worth.
Compensation - focusing on certain strengths to call attention away from weaknesses.
Evidence for postulating the concept of the unconscious
Dreams, slips of the tongue, posthypnotic suggestions, free-association material, projective material and the symbolic content of psychotic symptoms.
Therapeutic techniques
(I'm not posting the answers here because I don't have the time to write them out.)
· Object-relations theory
· Ego psychology
· Brief psychodynamic therapy (BPT)
The “fundamental rule” for the client in psychoanalysis
To say whatever comes to mind without self-censorship.
The basic aim of psychoanalytic therapy
To make the unconscious, conscious, and to strengthen the ego, so that behavior is based more on reality and less on instinctual cravings or irrational guilt.
Showing posts with label freud. Show all posts
Showing posts with label freud. Show all posts
Tuesday, October 23, 2007
Thursday, March 10, 2005
Art Therapy Presentation Outline - II. Theoretical Components
II. Theoretical Components
A. Goals and Objectives
1. General Goal
a) To connect with the inner world of unconscious feelings. ( Allen, p 53)
2. Goals in an Institutional Setting (Shoemaker, p. 3 - 4)
a) To facilitate self-expression via active problem solving.
b) To focus energies toward creative, constructive activities, and away from destructive and self destructive behaviors.
c) To allow expressive opportunities to serve as catharsis, while challenging rigidified defenses and entrenched pathologies.
d) As an integrative experience utilizing emotive, kinesthetic and cognitive functioning.
e) Allow the patient to explore, through the reflection of himself in artwork, his choice of personal definitions, to receive personalized feedback, to help define personal problems.
f) Set the stage for the exploration of creative alternatives, solutions and conflict resolution.
3. For those who have "no hope of getting better"(severe mental handicaps, psychogeriatricts, long term institutionalized etc.) (Dalley, 1984)
a) provide enjoyment, exploration and stimulation- probably their only outlet for individual expression, stimulation & creative occupation. (Dalley, 1984)
B. Client/Therapist Relationship
1. Relationship
a) Rogers (1976) suggested a client centered approach to psychotherapy. He suggested that there are 3 important factors that are essential to the therapeutic progress: warmth, empathy, genuineness.
b) Transference occurs in art therapy when strong feelings arise between the therapist and the client, though much effort is made to keep art production as the focus of the association. (Dalley, 1984)
2. Client's Role
a) Understands that their works of art may be psychologically picked apart. (Laing 1974:17) This understanding does affect the production of art. (Cunningham-Dax, 1953)
b) Active participation and cooperation from the client is an important part of art therapy in order for an art therapist to initiate an interpretation of a piece of art. (Dalley, 1984)
i) A client demonstrates progress by expressing verbally what is represented in the art form. (Birtchnell)
ii) The client moves talking about their art and what it represents into taking action. (Birtchnell)
3. Therapist's Role
a) Art-in-therapy - the therapist acts as interpreter. (Kahn, ¶ 5)
b) Art-as-therapy - the counselor is a facilitator. (Kahn, ¶ 5)
c) A therapist should use the art as the focal point in therapy which should involve talking about and talking to the art content. (Birtchnell)
C. Concepts and Beliefs
1. Beliefs of Man
a) It relies on the psychoanalytical notion that man is driven by unconscious desires. (Kahn, ¶ 4)
b) "The process of art therapy is based on the recognition that man’s most fundamental thoughts and feelings, derived from the unconscious, reach expression in images rather than words" (Naumberg 1958: 511)
2. Terms
a) Freud: "secondary processes" (verbal, rational, analytic modes of thought) and "primary processes" (imaginative, symbolic, non-verbal modes).
b) "A therapeutic procedure is one designed to assist favourable changes in personality or in living that will outlast the session itself" (Ulman, 1961:19)
c) Witnessing - the client showing their art to someone who is accepting to validate the client's images. (Allen, p 87, 108-110)
d) Honoring the resistance - explore the fears and what they are protecting, but don't push or rush understanding of them. (Allen, p 63 & 75)
3. Main Concepts
a) Art in therapy combines both conscious and unconscious expression through concrete activity. (Ulman, 1961:19)
b) "The process of art therapy is based on the recognition that man’s most fundamental thoughts and feelings, derived from the unconscious, reach expression in images rather than words" (Naumberg 1958: 511)
c) In the creative act, conflict is re-experienced, resolved and integrated (Kramer 1958:6)
i) Stern 1952: Magic mastery through pictorial presentation is a regression to the identical stage of adaptation to reality in which the original traumata, now pressing for reparation, occurred; in most cases to the preverbal phase. The technique used in therapeutic painting is on a level with thinking and of expression, it is on the same plane as the unconscious thought itself."
d) Laing 1974:17: "every original art production by the patient is in some degree an aspect of that person. No-one else can create the same result on paper or canvas. Art therapy offers an area where the patient can proclaim his identity and it offers an atmosphere where he can be himself… Art offers a medium which can give both communication with others and confrontation with the self."
e) "The blocking of energy and various limitations to available energy for problem solving are important observations available to the art therapist." (Shoemaker, p 17)
f) Images can have both personal and archetypal meanings. (Allen, p.103-105)
g) Fear distorts the images.
i) the distortions within images become less as the fear is dealt with.
(Allen, p 197)
ii) Sexually abuse children will often distort genitals and other areas of
abuse in their drawings. (Riordan, ¶ 10)
h) Images are patterns - people tend to repeat certain life scenes. They need to understand the familiar patterns and images before they can create new ones. (Allen, p 198)
i) "Art is an expressive, nonverbal format that discloses a child's inner reality." (Riordan, ¶ 6)
j) Melanie Klein, an Object Relations theorist, suggested that art therapy can be used for a client to progress through stages of development.
4. Basic Principles
a) Art is a concrete object that is visually presented for everyone to see. (Birtchnell 1984)
b) Art in therapy is created for a specific reason, and for specific people. John Birtchnell (1984) suggested that "the destructibility is an important quality: Sometimes the actual destroying of a picture and the way it is destroyed can be a positive component of therapy."
c) Art can represent and recreate something, someone, or an event from the past. (Birtchnell 1984)
d) Art can safely represent something that causes the client fear. (Birtchnell 1984)
e) Art allows the client to fantasize about actions that they are not allowed to enact in reality. John Birtchnell (1984) suggested that "accepting and owning the less acceptable aspects of oneself means that less energy is spent denying their existence."
f) Art provides an outlet for activities that the client may deem bizarre . (Birtchnell 1984)
g) Art is a metaphor. (Birtchnell 1984)
h) Art may represent the past, present or the future. (Birtchnell 1984)
g) Artwork should be dated and sequenced to be able to see the progression within the client's work and any patterns that may emerge over time. (Fincher, p. 27)
5. What Art Therapy is Not: (Dalley, 1984)
a) Not only for potential artists or those with natural talent in the subject. Majority of patients who are treated successfully have neither drawn nor painted before.
b) Art therapists are not teachers.
c) Art therapy is not a form of occupational therapy.
d) Art therapy is not a diagnosis through art. Clinical assessments made by taking an overall account of art work and how it has developed and changed during course of therapy.
A. Goals and Objectives
1. General Goal
a) To connect with the inner world of unconscious feelings. ( Allen, p 53)
2. Goals in an Institutional Setting (Shoemaker, p. 3 - 4)
a) To facilitate self-expression via active problem solving.
b) To focus energies toward creative, constructive activities, and away from destructive and self destructive behaviors.
c) To allow expressive opportunities to serve as catharsis, while challenging rigidified defenses and entrenched pathologies.
d) As an integrative experience utilizing emotive, kinesthetic and cognitive functioning.
e) Allow the patient to explore, through the reflection of himself in artwork, his choice of personal definitions, to receive personalized feedback, to help define personal problems.
f) Set the stage for the exploration of creative alternatives, solutions and conflict resolution.
3. For those who have "no hope of getting better"(severe mental handicaps, psychogeriatricts, long term institutionalized etc.) (Dalley, 1984)
a) provide enjoyment, exploration and stimulation- probably their only outlet for individual expression, stimulation & creative occupation. (Dalley, 1984)
B. Client/Therapist Relationship
1. Relationship
a) Rogers (1976) suggested a client centered approach to psychotherapy. He suggested that there are 3 important factors that are essential to the therapeutic progress: warmth, empathy, genuineness.
b) Transference occurs in art therapy when strong feelings arise between the therapist and the client, though much effort is made to keep art production as the focus of the association. (Dalley, 1984)
2. Client's Role
a) Understands that their works of art may be psychologically picked apart. (Laing 1974:17) This understanding does affect the production of art. (Cunningham-Dax, 1953)
b) Active participation and cooperation from the client is an important part of art therapy in order for an art therapist to initiate an interpretation of a piece of art. (Dalley, 1984)
i) A client demonstrates progress by expressing verbally what is represented in the art form. (Birtchnell)
ii) The client moves talking about their art and what it represents into taking action. (Birtchnell)
3. Therapist's Role
a) Art-in-therapy - the therapist acts as interpreter. (Kahn, ¶ 5)
b) Art-as-therapy - the counselor is a facilitator. (Kahn, ¶ 5)
c) A therapist should use the art as the focal point in therapy which should involve talking about and talking to the art content. (Birtchnell)
C. Concepts and Beliefs
1. Beliefs of Man
a) It relies on the psychoanalytical notion that man is driven by unconscious desires. (Kahn, ¶ 4)
b) "The process of art therapy is based on the recognition that man’s most fundamental thoughts and feelings, derived from the unconscious, reach expression in images rather than words" (Naumberg 1958: 511)
2. Terms
a) Freud: "secondary processes" (verbal, rational, analytic modes of thought) and "primary processes" (imaginative, symbolic, non-verbal modes).
b) "A therapeutic procedure is one designed to assist favourable changes in personality or in living that will outlast the session itself" (Ulman, 1961:19)
c) Witnessing - the client showing their art to someone who is accepting to validate the client's images. (Allen, p 87, 108-110)
d) Honoring the resistance - explore the fears and what they are protecting, but don't push or rush understanding of them. (Allen, p 63 & 75)
3. Main Concepts
a) Art in therapy combines both conscious and unconscious expression through concrete activity. (Ulman, 1961:19)
b) "The process of art therapy is based on the recognition that man’s most fundamental thoughts and feelings, derived from the unconscious, reach expression in images rather than words" (Naumberg 1958: 511)
c) In the creative act, conflict is re-experienced, resolved and integrated (Kramer 1958:6)
i) Stern 1952: Magic mastery through pictorial presentation is a regression to the identical stage of adaptation to reality in which the original traumata, now pressing for reparation, occurred; in most cases to the preverbal phase. The technique used in therapeutic painting is on a level with thinking and of expression, it is on the same plane as the unconscious thought itself."
d) Laing 1974:17: "every original art production by the patient is in some degree an aspect of that person. No-one else can create the same result on paper or canvas. Art therapy offers an area where the patient can proclaim his identity and it offers an atmosphere where he can be himself… Art offers a medium which can give both communication with others and confrontation with the self."
e) "The blocking of energy and various limitations to available energy for problem solving are important observations available to the art therapist." (Shoemaker, p 17)
f) Images can have both personal and archetypal meanings. (Allen, p.103-105)
g) Fear distorts the images.
i) the distortions within images become less as the fear is dealt with.
(Allen, p 197)
ii) Sexually abuse children will often distort genitals and other areas of
abuse in their drawings. (Riordan, ¶ 10)
h) Images are patterns - people tend to repeat certain life scenes. They need to understand the familiar patterns and images before they can create new ones. (Allen, p 198)
i) "Art is an expressive, nonverbal format that discloses a child's inner reality." (Riordan, ¶ 6)
j) Melanie Klein, an Object Relations theorist, suggested that art therapy can be used for a client to progress through stages of development.
4. Basic Principles
a) Art is a concrete object that is visually presented for everyone to see. (Birtchnell 1984)
b) Art in therapy is created for a specific reason, and for specific people. John Birtchnell (1984) suggested that "the destructibility is an important quality: Sometimes the actual destroying of a picture and the way it is destroyed can be a positive component of therapy."
c) Art can represent and recreate something, someone, or an event from the past. (Birtchnell 1984)
d) Art can safely represent something that causes the client fear. (Birtchnell 1984)
e) Art allows the client to fantasize about actions that they are not allowed to enact in reality. John Birtchnell (1984) suggested that "accepting and owning the less acceptable aspects of oneself means that less energy is spent denying their existence."
f) Art provides an outlet for activities that the client may deem bizarre . (Birtchnell 1984)
g) Art is a metaphor. (Birtchnell 1984)
h) Art may represent the past, present or the future. (Birtchnell 1984)
g) Artwork should be dated and sequenced to be able to see the progression within the client's work and any patterns that may emerge over time. (Fincher, p. 27)
5. What Art Therapy is Not: (Dalley, 1984)
a) Not only for potential artists or those with natural talent in the subject. Majority of patients who are treated successfully have neither drawn nor painted before.
b) Art therapists are not teachers.
c) Art therapy is not a form of occupational therapy.
d) Art therapy is not a diagnosis through art. Clinical assessments made by taking an overall account of art work and how it has developed and changed during course of therapy.
Art Therapy Prestention Outline - I. The Foundation of Art Therapy
What I put together from my partner and my notes. She's doing the Powerpoint slides.
I. The Foundation of Art Therapy
A. Reasons for Development.
1. As a means to further psychoanalytical analysis. (Kahn, ¶ 4)
a) Because of the resemblance of aesthetic creations to dreams, art therapy has traditionally fitted well with either analytic psych of Jung or Freudian psychoanalysis. (Reich 1960)
2. As a means to communicate what cannot be spoken clearly by the client. (Ulman, 1961:II)
B. Summary of the History. (Fuller et al, 1984)
1. ADRIAN HILL started art therapy, turned to his own paintings as a release from boredom and stress while in a tuberculosis sanatorium during WWII.
2. The term: "Art Therapy" coined in Britain during 1940’s, in 1980 criteria for the professional training of art therapists were founded.
3. In a state psychiatric hospital, Netherne, first art therapist employed in 1946 was EDWARD ADAMSON.
4. Art therapy gradually moved in direction of psychotherapy in 1970’s, totally separating from art teaching.
5. In 1980, according to the Dept of Health and Social Security (DHSS), art therapy officially separated from occupational therapy.
C. Key Theorists.
1. SIGMUND FREUD
a) "For there is a path that leads back from phantasy to reality- the path, that is, of art." (Freud 1973: 423).
b) "Nothing takes place in a psychoanalytic treatment but an interchange of words between the patient and the analyst." (Freud 1951:17).
c) Latent meaning, a concealed psychodynamic, might rhetorically "manifest" itself in a behavioral expression. (Freud 1951:17).
2. CARL JUNG
a) Developed active imagination technique. (Allen, p 76)
b) Introduced mandala drawings to modern psychology. (Fincher, p 19)
3. D. W. WINNICOTT
a) Suggested that there is a need for third area of human experiencing that is a combination of "subjective fantasy" as well as "objective knowledge".
b) "If only we can wait, the patient arrives at understanding creatively and with immense joy, and I now enjoy this more than I used to enjoy the sense of having been clever. I think I interpret mainly to let the patient know the limits of my understanding. The principle is that it is the patient and only the patient who has the answers. We may or may not enable him or her to encompass what is known or become aware of it with acceptance." (Winnicott 1971:102.)
4. FRITZ PERL
a) Exposure and self-revelation. "Dare I reveal my true self to the world?"
b) "Take responsibility for your every thought, your every feeling, your every action." (Perl 1978)
5. EDITH KRAMER
a) Used art with institutionalized children. (Allen, p xv)
b) Suggests "that art as a form of therapy has arisen to fill a void created by the depleting nature of contemporary work in tandem with the demise of the participatory folk art tradition and the rise of spectator recreation." (Allen, p xvii)
6. MARGARET NAUMBERG
a) Worked with institutionalized clients. (Allen, p xv)
b) Her sister, FLORENCE CANE, created methods to help her art students access authentic personal imagery, which Naumburg adapted to her own clients with mental illness. (Allen, p xvii)
7. WILHELM REICH (1960)
a) Stressed upon value of catharsis, or the dramatic release of powerful emotions.
I. The Foundation of Art Therapy
A. Reasons for Development.
1. As a means to further psychoanalytical analysis. (Kahn, ¶ 4)
a) Because of the resemblance of aesthetic creations to dreams, art therapy has traditionally fitted well with either analytic psych of Jung or Freudian psychoanalysis. (Reich 1960)
2. As a means to communicate what cannot be spoken clearly by the client. (Ulman, 1961:II)
B. Summary of the History. (Fuller et al, 1984)
1. ADRIAN HILL started art therapy, turned to his own paintings as a release from boredom and stress while in a tuberculosis sanatorium during WWII.
2. The term: "Art Therapy" coined in Britain during 1940’s, in 1980 criteria for the professional training of art therapists were founded.
3. In a state psychiatric hospital, Netherne, first art therapist employed in 1946 was EDWARD ADAMSON.
4. Art therapy gradually moved in direction of psychotherapy in 1970’s, totally separating from art teaching.
5. In 1980, according to the Dept of Health and Social Security (DHSS), art therapy officially separated from occupational therapy.
C. Key Theorists.
1. SIGMUND FREUD
a) "For there is a path that leads back from phantasy to reality- the path, that is, of art." (Freud 1973: 423).
b) "Nothing takes place in a psychoanalytic treatment but an interchange of words between the patient and the analyst." (Freud 1951:17).
c) Latent meaning, a concealed psychodynamic, might rhetorically "manifest" itself in a behavioral expression. (Freud 1951:17).
2. CARL JUNG
a) Developed active imagination technique. (Allen, p 76)
b) Introduced mandala drawings to modern psychology. (Fincher, p 19)
3. D. W. WINNICOTT
a) Suggested that there is a need for third area of human experiencing that is a combination of "subjective fantasy" as well as "objective knowledge".
b) "If only we can wait, the patient arrives at understanding creatively and with immense joy, and I now enjoy this more than I used to enjoy the sense of having been clever. I think I interpret mainly to let the patient know the limits of my understanding. The principle is that it is the patient and only the patient who has the answers. We may or may not enable him or her to encompass what is known or become aware of it with acceptance." (Winnicott 1971:102.)
4. FRITZ PERL
a) Exposure and self-revelation. "Dare I reveal my true self to the world?"
b) "Take responsibility for your every thought, your every feeling, your every action." (Perl 1978)
5. EDITH KRAMER
a) Used art with institutionalized children. (Allen, p xv)
b) Suggests "that art as a form of therapy has arisen to fill a void created by the depleting nature of contemporary work in tandem with the demise of the participatory folk art tradition and the rise of spectator recreation." (Allen, p xvii)
6. MARGARET NAUMBERG
a) Worked with institutionalized clients. (Allen, p xv)
b) Her sister, FLORENCE CANE, created methods to help her art students access authentic personal imagery, which Naumburg adapted to her own clients with mental illness. (Allen, p xvii)
7. WILHELM REICH (1960)
a) Stressed upon value of catharsis, or the dramatic release of powerful emotions.
Monday, February 21, 2005
Revising my view of Freud.
For years, I have held a modicrum of scorn for Dr. Freud. I have been willing to admit that without him, psychology would not be a science and that some of his theories still hold a little water. But I've always considered him someone I would not want to have dinner with.
Last week, I was introduced to a video to his early life history (The Young Dr. Freud) and I have decided that Sigmund Freud was indeed a *gasp* HUMAN!
Not only was he human, but he was a sappy romantic where his wife was concerned. Wrote some of the mushiest loveletters I've ever heard. And her letters were just as mushy. Overbearing, yes. But he did adore the woman in his own way. In fact, it was because he wanted to marry his wife and have a proper life that he gave up being a researcher at a university, studying physics and chemistry, and became a doctor, which lead to his achievements in psychology.
Just think - psychology came into being because a guy wanted to marry his sweetheart. (Yeah, yeah, I know - it wasn't the only thing that lead to it, but it was why a research scientist with a proven record ended up in the right place at the right time.)
And actually, he wasn't as sexist as some of his colleages. He at least believed the women he was treating for hysteria were actually suffering from something and not just pretending to get out of doing their duties and/or to get attention. He at least cared enough to believe they deserved his help and not his scorn on the medical front. I wonder how some of those with influence back then would have reacted to a more enlightened mindset as exists now. I suspect that anyone that "radical" to the time's mores would have been kicked into the street and blocked at every level.
Comparing him to today's standards, I agree - he's repulsive. Comparing him to some of his peers - he actually looks enlightened. You really have to see the enviroment these people lived in to really understand what type of people they really were.
And let's not forget - he pissed off enough people that a lot of what we have now was brought into being in protest of his methods. That should count for something.
So, while Freud will never be a "hero" of mine, I have decided he's not a "villian" either.
Last week, I was introduced to a video to his early life history (The Young Dr. Freud) and I have decided that Sigmund Freud was indeed a *gasp* HUMAN!
Not only was he human, but he was a sappy romantic where his wife was concerned. Wrote some of the mushiest loveletters I've ever heard. And her letters were just as mushy. Overbearing, yes. But he did adore the woman in his own way. In fact, it was because he wanted to marry his wife and have a proper life that he gave up being a researcher at a university, studying physics and chemistry, and became a doctor, which lead to his achievements in psychology.
Just think - psychology came into being because a guy wanted to marry his sweetheart. (Yeah, yeah, I know - it wasn't the only thing that lead to it, but it was why a research scientist with a proven record ended up in the right place at the right time.)
And actually, he wasn't as sexist as some of his colleages. He at least believed the women he was treating for hysteria were actually suffering from something and not just pretending to get out of doing their duties and/or to get attention. He at least cared enough to believe they deserved his help and not his scorn on the medical front. I wonder how some of those with influence back then would have reacted to a more enlightened mindset as exists now. I suspect that anyone that "radical" to the time's mores would have been kicked into the street and blocked at every level.
Comparing him to today's standards, I agree - he's repulsive. Comparing him to some of his peers - he actually looks enlightened. You really have to see the enviroment these people lived in to really understand what type of people they really were.
And let's not forget - he pissed off enough people that a lot of what we have now was brought into being in protest of his methods. That should count for something.
So, while Freud will never be a "hero" of mine, I have decided he's not a "villian" either.
Subscribe to:
Posts (Atom)