Wool-Gathering or How I Ended Analysis

Gunn, Daniel P.

doi:10.4324/9781315783130

Cited by 4 publications

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“…There are relatively few chronicles of analyses, even fewer authored by lay analysands, and almost none with a focus on the erotic dimension of the transference (Gunn, 2002;Lieber, 2020;Little, 1977). Frances H. Moore (a pseudonym) hopes to remedy this gap with her courageous account of a 5-year analysis, Growing Through the Erotic Transference: An Analysand's Journey (Routledge, 2023).…”

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confidence: 99%

Review of Growing through the erotic transference: An analysand’s journey.

Fishzon¹

2023

Psychoanalytic Psychology

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confidence: 99%

Review of Growing through the erotic transference: An analysand’s journey.

Fishzon¹

2023

Psychoanalytic Psychology

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“…See, for example, Wool Gathering or How I Ended Analysis by DanielGunn (2002), Brunner-Routledge: New York.…”

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confidence: 99%

Psychoanalysis and Ethics in Documentary Film

Piotrowska¹

2023

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Knowledge, Professor Frosh never got tired of sending out search parties when I got lost. I have learnt so much thanks to him and from him during the last three years.I am also grateful to Laura Mulvey for keeping an eye on my film theory and for encouraging me to explore transference outside the clinic, and to Amber Jacobs for her productive challenges. I must say 'thank you' to Bernard Burgoyne, Denise Riley, Noga Wine, Elizabeth Cowie for their generous encouragement and probing discussions, and last but not least, to Mladen Dolar, who somehow has become a friend through the debates about his work and mine. My studies have been supported by a Birkbeck College Scholarship for which I am indebted. The extraordinary intellectual opportunities at the College and at the Department of Psychosocial Studies have been an important invaluable resource. In particular, I am grateful to Lisa Baraitser, Sasha Roseneil and Lynne Segal as well as Anna Strhan for their kind and wise words at key moments. I am also thankful to Polona Curk for her friendship and insightful comments on an earlier draft of the thesis. I wish to acknowledge the generosity and tolerance of my new institution, University of Bedfordshire, and in particular that of Peter Dean, in allowing me the time necessary to complete this work. My family, my husband Stewart Cornes and my son Leo Michelmore in particular, and friends all over the world, have endured the three long years of my obsessing about this work with humour and affection. It is probably unfair to single out anybody and yet I would like to say how grateful I am for the support and love of my two great women friends -not just throughout this research but over the decades of my life, namely to Ania Libertowska and Clare Riley.'There are women producers but sometimes they become more like men' (ibid.: 52). See also Kaja Silverman about female voice and authorship (1988).

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“…Many analysands have granted us access to their experience of being in analysis in the form of a memoir or diary: they range from the patients of Sigmund Freud (Hilda Doolittle [H.D. 1956/1974, and Sergei Pankejeff better known as the Wolf-Man [1989]), to writers and academics (Marie Cardinal [1993], Anaïs Nin [1967Nin [ /1996, Bonnie Friedman [2002], Georges Perec (1999Perec ( [1977), and Eve Kosofsky Sedgwick [1999]), to analysts themselves who have undergone psychoanalytic treatment as a part of their training to become therapists (Dan Gunn [2002], Nini Herman [1985], and Marion Milner [1934/1986). Artists have also put to use in their creative practice the personal and autobiographical material generated from their psychoanalysis (for instance Lygia Clark, Grayson Perry, Barbara Visser, Bettina von Zwehl as well as Louise Bourgeois and Andrea Fraser both of whom I focus on in this article).…”

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Being in analysis: on the intimate art of transference

Morra

2017

Journal of Visual Art Practice

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In this article the author considers psychoanalytic transference in the context of contemporary art. The author focuses on the work of artists who have been in psychoanalysis and have put this personal material to use within their creative practice, and argues that these artworks enact the experience of being in analysis. Using an expanded understanding of transference wherein the fantasy and reality experienced in the 'here and now' of the consulting room is transposed onto sites of cultural production, the author considers the very real and often disruptive emotional and psychological affects that are a part of the viewer's experience of these artworks. In this article, the author asks: When we are with such work, what do we experience? How might we respond and engage with such intimate work? What is being required of us as viewers? Are we being invited to participate in a form of psychoanalytic therapy? Who is the analyst? Who is the patient? If psychoanalysis is a process of transformation, what do these practices and our engagement with them encourage us to risk personally, socially, and politically? It is in considering these questions that we are able to move from the intimate life of the consulting room to an intimately complex psychic, social, and political world. Ultimately, the author aims to find a space in which the individual affects (such as anxiety and crying) experienced while fully engaging with an artwork (through transference) can be dissipated or released, as a form of subjective transformation, and ultimately be mobilized as a form of political and collective action.

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Wool-Gathering or How I Ended Analysis

Cited by 4 publications

References 0 publications

Review of Growing through the erotic transference: An analysand’s journey.

Review of Growing through the erotic transference: An analysand’s journey.

Psychoanalysis and Ethics in Documentary Film

Being in analysis: on the intimate art of transference

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