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In relational psychoanalysis, the term enactment is used to describe the non-reflecting playing out of a mental scenario, rather than verbally describing the associated thoughts and feelings. The term was first introduced by Theodore Jacobs (1986) to describe the re-actualization of unsymbolized and unconscious emotional experiences involved in ...
Psychoanalytic literary criticism is literary criticism or literary theory that, in method, concept, or form, is influenced by the tradition of psychoanalysis begun by Sigmund Freud. Psychoanalytic reading has been practiced since the early development of psychoanalysis itself, and has developed into a heterogeneous interpretive tradition.
Diegesis (/ ˌ d aɪ ə ˈ dʒ iː s ɪ s /; from Ancient Greek διήγησις (diḗgēsis) 'narration, narrative', from διηγεῖσθαι (diēgeîsthai) 'to narrate') is a style of fiction storytelling in which a participating narrator offers an on-site, often interior, view of the scene to the reader, viewer, or listener by subjectively describing the actions and, in some cases ...
Some Character-Types Met within Psycho-Analytic Work is an essay by Sigmund Freud from 1916, comprising three character studies—of what he called 'The Exceptions', 'Those Wrecked by Success' and 'Criminals from a Sense of Guilt'.
Lacanianism or Lacanian psychoanalysis is a theoretical system that explains the mind, behaviour, and culture through a structuralist and post-structuralist extension of classical psychoanalysis, initiated by the work of Jacques Lacan from the 1950s to the 1980s.
Some the most influential psychoanalysts and theorists, philosophers and literary critics who were or are influenced by psychoanalysis include: Karl Abraham – psychoanalyst Nicolas Abraham – psychoanalyst
In literature, psychological fiction (also psychological realism) is a narrative genre that emphasizes interior characterization and motivation to explore the spiritual, emotional, and mental lives of its characters. The mode of narration examines the reasons for the behaviours of the character, which propel the plot and explain the story. [1]
Hollander uses the image of a curve to explain the three parts of a psychodrama session: the warm-up, the activity, and the integration. The warm-up exists to put patients into a place of spontaneity and creativity in order to be open in the act of psychodrama. The "activity" is the actual enactment of the psychodrama process.