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Phantoms of the mind and delusion in the Literature Antonio De Lisa

Roberto Ferri (Taranto 1978)
"Deposition."
oil on canvas 50 x 70
year 2010

What are the ghosts of the mind? What are the obsessive ideas, taken outside the framework of a strictly psychological? Before responding, it should be noted that the perspective from which to look at these phenomena is admittedly a philosophical perspective. But the ideas that will provide us with working materials are not strictly philosophical: they are literary, artistic, cinematic, mythopoeic at large.
Dante and the Minotaur The Minotaur

(Μινώταυρος) is a figure from Greek mythology. It is a monstrous and ferocious half-man half-bull. He was the son of the Bull of Crete and Pasiphae queen of Crete. His real name is Aster or Asterion. The Minotaur
also appears in The Divine Comedy. Precisely in the twelfth canto of the Inferno (vv. 11-13):

'E' n on the tip of the broken chasm

the infamy of Crete was stretched

that was conceived in the fictitious cow "

is the guardian of the circle of violence and it is here that Dante and Virgil meet him. Despite initially trying to bar their way, Virgil is able to remove him, and then the minotaur begins to wriggle around like a bull.
allegorically, the Minotaur is set to guard the circle of violence, because in the greek myth it symbolizes the very instinctive and irrational side of human mind, that we share with animals (the "mad bestiality") and makes us unaware. The violent are just the sinners who have sinned by yielding to instinct and have not been the reason. For Christian theology is a major sin, because while the animals can not give any guilt, because they do what is necessary to survive and nothing more, we would use reason to refrain from acts of sheer cruelty. The scene of Virgil, who won the Minotaur allegorically represents the triumph of reason over instinct.
In the Divine Comedy is also an allusion to Pasiphae, the mother of the Minotaur, in the twenty-sixth canto of Purgatorio, dedicated to the defect of the lustful. Pasiphae is mentioned twice, as a symbol of animality of the sin of lust with an eloquent summary Dante calls it "the one who takes it the imbestiò 'mbestiate splinters" (cf. Purg. Xxvi, vv. 41-42, 86-87 ).
Jorge Luis Borges is the theme of the Minotaur in the story The House of Asterion. The Argentinian writer says taking inspiration from a painting by George Frederic Watts, 1896, entitled The Minotaur.
A nice note: looking at the content of my Topics, discussions that promote the blog, a friend of mine (who declined to be named) asked me: "Where are you taking, philosophical guide you, your readers? parallel reality in which to accompany you think? ".

Perhaps my friend - that tells me in his astonishment chat on the topics in the Topics section that-was struck by the theme of today, the ghosts of the mind and delusion, with references that will put into play: the Minotaur Oedipus. Moby Dick and Captain Ahab, I listened Abdrej Rubliev ... realized how deep this topic.
Oedipus and the Sphinx his inner

Oedipus is the protagonist of the Theban saga in the literature and mythology of ancient Greece. It is the son of the king of Thebes, Laius and Jocasta, the grandson of Labdaco.

Oedipus arrived at Thebes, where he met the Sphinx. Nestled on the mountain Office, at Thebes, the creature daughter of Typhon and Echidna was a monster with woman's head, the body of a lion, a serpent's tail and wings of bird of prey. It had been sent by Hera to punish the Thebans against Laius angry because he had kidnapped the boy Chrysippus of Pelops. For each loop, the creature exhibited an enigma insegnatole the Muses: "What was being two-legged walking hours, three hours, four hours and that, contrary to the general law, has more legs than shows his weakness?". There was also another puzzle: "There are two sisters, of which one generates the other, and the second of which, in turn, is generated by the first?". But no one among the Thebans, had never been able to solve these puzzles, and the Sphinx devoured them one after another.

One version, perhaps the oldest, told the Thebans that every day they met in the town square, to try to solve the riddle in town, but without success ever, and every day, at the end of that session, the Sphinx devoured one of them.

Now Oedipus, who had passed away, after listening to the riddles of the creature, including what were the immediate responses, the answer to the riddle was the first man, because it walks in infancy, four legs, then two, and then leans on a cane in old age, the second was the Day and Night (the name of the day women in greek, so it is the sister of the night). The Sphinx, annoyed, rushed from the rock on which was perched. Or, Oedipus himself was pushing into the abyss.

Creon, the company met the young hero, and above all to see avenged the death of his son, gave up the throne to which Oedipus married Jocasta. The prophecy was fulfilled to the end: his son had married his mother. From their union were born two sons, Eteocles and Polynices, and two daughters, Antigone and Ismene.
"What you do not want to know does not exist", they cry to Oedipus, but he wants to know, is haunted by the truth
Thebes is contaminated and people whispered that this contamination is due to someone who has made impious, hence the 'el'affanno wrath of the gods of the king who is struggling to find the causes and reasons, responsibilities

We know, as Sophocles tells us repeatedly, that the reasons are written in the destiny of Oedipus who killed his father Laius and Jocasta sleeps with his mother and father and brother are all his children. The interdict, prohibition, walking on the shoulders of unwitting Oedipus and the search for truth, inner truth then, takes the time of the tragedy. He has solved the riddle of the Sphinx and his talent has conquered the city, is now grappling with a conundrum largest and most terrible look to the bottom of his soul, read the signs of his fate. He then began a game of deciphering the enigma - Oedipus bouncing from one part of the scene: there is Tiresias who knows and is the first to be convened, then There is also a servant who knows and will be called, there is also a pastor who knows and Jocasta of Cithaeron. And pieces of truth chase and chase from item to item, especially jumping on the skin of Oedipus, that restless, distressed, distressed and asks desperately afraid to know. The truth he needs to free the city from the plague but it is clear that the path is mostly within, for this most difficult and complex. What you do not want to know does not exist, they say, in the hope that he desist from his purpose, but has challenged the Sphinx and Oedipus, tragic hero par excellence, can not collect this other fatal challenge. The truth finally Oedipus's collapse on him and plummets into the darkness and blindness. The city is safe but the ruin of Oedipus is absolute, as the tragedy it represents.
The story of Oedipus ends up wandering exile. And maybe it does not begin with the famous phrase: "Call me Ishmael," the "Moby Dick" by Herman Melville? "Call me Ishmael" is to say, "Call me an exile, a vagabond." Then there's Don Quixote. Strange! I was addressing the theme of obsession and I find myself with one of the wanderer. It will be a chance? Or there is an intimate connection? The story gets interesting.

Moby Dick by Herman Melville's story an obsession.

Moby Dick (Moby-Dick, or, The Whale) is a novel published in 1851 by the American writer Herman Melville. Ishmael, the narrator decides to put to sea as a sailor and says that his soul dwells in melancholy.

"Call me Ishmael. A few years ago - never mind how long precisely - having little or no money in my pocket, and nothing particular to interest me on shore, I thought I would sail and see the watery part of the world. It's a way I have of driving off the spleen and regulating the circulation. Whenever I perceive to pose a scowling lips, every time I go down like a soul in November wet and rainy, whenever I find myself involuntarily pausing before funeral homes and leave behind all the funeral I meet, and especially whenever my hypos get such strong in me that I need a strong moral principle to prevent me from stepping into the street and methodically on the ground throwing his hat to the people, then decide it's time to get to sea as soon as possible. "

An indescribable longing drives him to take off. This is something indispensable. Everyone has a mysterious attraction which could also constitute a mortal danger. Ishmael is the narrator and through his eyes that this company is seen. At the beginning is actually the main character, but he is primarily an omniscient narrator, who with his weaknesses and his depth sometimes disappears from the scene to tell and then put his thoughts. He shows the auto-known phrase "Call me Ishmael" (Call me Ishmael): The name has biblical origin, in fact, Genesis is the son of Abraham, Ishmael and Hagar the slave, hunted in the desert. Hence, 'Call me Ishmael "is like saying" Call me an exile, a vagabond. "

So begins the voyage of the whaling ship Pequod, commanded by Captain Ahab in search of whales and sperm whales, and in particular the enormous white whale (actually a sperm whale) which gives the title to the novel. However, in Moby Dick is much more of whaling scenes are interspersed with reflections on scientific, religious, philosophical and artistic character of Ishmael, the alter ego of the writer, making the trip at the same time an epic and an allegory epic.

Captain Ahab leads the crew through the whole crazy business of hunting the white whale-leviathan. This persistence is described by Melville as a monomania:

"Roso inside and burned out from the claws of an idea fixed and inexorable incurable. "

Ahab was thirsting for revenge against the white whale, that, after three broken spears, sliced \u200b\u200band devoured him a leg. Moby Dick is described as being bloody and vengeful, destroying boats for pleasure, and before which even the sharks escape. The thirst for revenge, however, Ahab, Melville states, not so much the physical mutilation suffered by the previously acquired aversion. Melville says

"... it was then that the broken body and soul wound bled into each other. "

After the mutilation and the need to return home and developed the monomania

" ... Ahab and anguish lay lying together in the same bed. "

Memorbile the film Moby Dick, directed by John Huston with Gregory Peck, Orson Welles, Richard Basehart, Leo Genn, Harry Andrews, USA 1956.

"Heart of Darkness" by Conrad Jospeph

autumn of 1890 Captain Konrad Korzeniowski, obtained the command of a steamboat up the river Congo. Eight years after the "Blackwood Magazine" in 1899 published the first installment of three episodes of 'Heart of Darkness' (Heart of Darkness). The author is just Captain Korzeniowski, who became a writer under the pseudonym Joseph Conrad.

The novel tells of a captain of a steamer for trade on the Congo River, in Black. Between appearances and disturbing echoes of violence and slavery, an increasingly common name, that of Kurtz, a dealer in ivory, enigmatic and disquieting man personality. A masterpiece of Anglo-Saxon literature, the result of extraordinary creative maturity, 'Heart of Darkness' blends together the concrete dimensions of autobiographical account, social protest and political and symbolic parable and gloomy meditation metaphysics. Through the narrative voice of Marlow, Conrad takes us into the heart of black Africa: the encounter with the terrible reality of exploitation of the Belgian Congo of Leopold II expands to become a reflection general experience of colonialism in its entirety, is intended to shake the certainties of a Eurocentric and evolutionary optimism, in a disturbing confrontation with different and primitive.

Kurtz is described as an intelligent and gifted, in part driven by the ideals at the beginning sincere, but ultimately can not resist the temptation of absolute power that the natives have given precisely because of its undoubted personal skills. For Conrad, then, is the omnipotence of the true "test ordeal" of Western man, that is what it reveals his "heart of darkness" and urges him to judge with "horror".

'Marlow's narrative begins by suggesting that the exploration has transformed an empty space in an area of \u200b\u200bdarkness, and ends by concluding that the exploration of the unknown turned into unspeakable. In fact it could be argued that, instead of bringing the light through the darkness as it proclaims, the mission 'civilizing' reveals the 'darkness' that is in your heart'. Kurtz is the demonstration of the fact that modern Western man turns into a monster when no rule or convention that prevents outside his freedom goes beyond all limits, crowning the big dream (as the fulfillment of metaphysics in the sense of Heidegger) to impose their will power.

the story of Conrad is freely inspired the movie "Apocalypse Now" by Francis Ford Coppola, but set in Vietnam during the war.

E 'then this obsession of Western man: the will to power? To read Conrad would say yes. Will to power in the sense of Heidegger wanted to reduce all things, bodies among other entities, freely manipulated and destroyed. Oedipus wins power so as to accelerate his downfall. And 'this is the tale of obsession West? attempting to nientificare things? Nothing? Http://statidellamente.blogspot.com

Owners Manual For 1987 Fleetwood Wilderness Yukon

Winter Solstice, Christmas, Sol Invictus, Saturnalia, Candlemas: DEATH AND REBIRTH IN SYMBOLS micro and macrocosm

                                                                                           

                                                                                 

                                                                        

Since time immemorial, from the icy forests of northern Europe to warm Mediterranean, from the arid highlands of Armenia to endless plains of Asia, our ancestors expected, with anxiety, this sacred day, the Winter Solstice on 21 December , the day when the light seems to succumb to the darkness of darkness.
Huge fireworks, singing and prayers, is raised to heaven, how to help the star of the day to resume its upward path and raise in the cosmic event, which culminates at the Summer Solstice, with the triumph of light, heat, ; of life.
The imperial Rome evoked the reversal of the sun, in the Saturnalia, the feasts dedicated to the god Saturn, which were reversed during the social roles: the slaves gave orders to their masters, slaves to obey their masters. The pre-Christian Rome celebrating the Winter Solstice as the dies natalis solis, the day of the birth of the sun, which later became the Christian Rome dies natalis Christi, the day of the birth of Christ, New Light emerging.
is, this Solstice, the point at which the leaves, lost the fascinating colors and fan- tasiose geometries, which fell to ruins crumpled, now mixed with Mother Earth the new form humus, ready to feed the tiny seed, which a skilful hand entrusted to the earth. is the moment of pause, reflection, meditation, which will enable man, attracted by the high peaks, like the mythical Apricorn, in which the Sun enters the sign of the winter solstice, and continue to rise, with awareness, the journey into the labyrinth of his inner-Corinth. It is a time of transition from darkness to light is the deva-yana, the way the gods of the Hindu tradition, is the Janua caeli the Roman tradition, the gateway,
ie, the sky, the realm of the transcendent, that which nourishes hope. no coincidence that the winter solstice is identical with the feast of San Giovanni Evangelista , the John who ride the popular tradition, the beloved disciple of Christ , which, spreading her story, offered the world to the eternal flame of hope . This is what we conjure up the lights turned on ' fir.
After December 21 the "light" begin to increase, albeit still not very noticeable on the day will grow; This phase marks the transition from black to white , by attention to practical problems and materials to the psychological or spiritual individual.
From December 21 onward, however, the sun begins to broaden his path in the sky, this amounts to a symbolic rebirth, as well as the seed prepares to break the clods to emerge into the light and the day begins to gain ground on the night just begins to increase the inner light of one who has embarked on her spiritual journey.
The slow transition from black to white, as well as the lengthening of the day, be seen as an initial preparatory work on what will be the great cleansing of the unconscious which will come at Candlemas, February 2 and at The Celts took the name of Imbolc.
What does this work?
The Hermetic philosophers called it in several ways: mixed essence, blackness, putrefactio, etc.. and depicted as an old body (Saturn senex, lead) which began to decompose to become in a young man, or rather, in two young (Apollo and Diana, the Sun and the Moon).
Lead, Saturn (the feast of December 21 was in ancient Rome called "Saturnalia") is the symbol of the unconscious weighted, closed on its hard shell, but that is beginning to be more fluid like the seed that sprouts, which breaks the integuments that enclose to be born as a new plant.
Similarly in order to be purified must "open up" the unconscious individual who until now has been filled by a ' core activities, instinctive, unconscious, which is intended only to replicate itself in a closed circle and eternally identical . 'Man can not produce that Man, as required by the law of the Snake, that the mere sexual reproduction Substance Black Saturnalia is the equivalent of "initiatory death" that the neophyte should try to receive enlightenment and knowledge, but what we really see, as philosophers have repeatedly said, is only the "negrezza superior" or the astronomical event of the Solstice with the longest night of the year.
Janus (Janus Bifrons) the ancient Italic god, the father of all gods, was placed to guard the solstices that were considered "doors" , the Winter Solstice enter the men, leaving the Summer Solstice of the Gods.
Janus is the god of thresholds ; legend that came alongside a good god Saturn, Wise Man, who taught agriculture and so began the golden age.
The Kingdom of Saturn is so the beginning of the Opera, which, as mentioned above, is when negrezza appears, ie at the Winter Solstice.
It is Janus, the port and the key fact is the key, along with the scepter of power, a symbol of Janus.
the Saturnalia (Yula) the two substances, the noble and the vulgar, are "mixed" and can not be distinguished, even at the beginning seems to be giving precedence to the vulgar "blackness." This explains why during the festivities of the Saturnalia Ancient Rome slaves and masters were placed at the same level, or even the roles were reversed . This custom has survived until the Middle Ages, when the period of the Winter Solstice, from the day of Saint Nicholas (in Latin, Sanctus Nicolaus, who later became Holy of Santa Claus or Klaus), convents was elected a young episcopo jokes and parodies that ran against their superiors that they could only obey.
Another reminiscence of the Saturnalia is the gambling , who despite being banned in the rest of the year was exceptionally permissible during the period of the Winter Solstice.
It is said that the Tarot represent the esoteric world's oldest book, written in the form of card game to ensure that never sets.
Today Janus, the two were replaced John , guarding the doors solstice, but here, in many paintings, check the cup in the hand of the Evangelist, the receptacle, with a note Serpe Art and, in summer, the severed head of John the Baptist marked the beginning of the decline.
Today terms like putrefatio, darkness, glorious death, etc.., May sound macabre, but they derive from the fact, once under the eyes of all, a seed buried in the ground before give rise to a new plant must rot, must decompose the outer skins that surround the embryo of the new plant. The apparent death of the seed is the necessary step to give birth to new life.
stadium of darkness is the Winter Solstice, forty or forty-two days are the distance between the date of the Solstice and Candlemas (February 2 - Imbolc).
Says "Turba Philosophrum mouth of Sirius:
... signs or seed is a fruit of which is similar to that seed, once planted in the ground leave. Then it s'imputridisce (Yula, December 21) and puts out a bud White (Imbolc - Candlemas, Feb. 2 ).... it grows enough to give rise to a tree (Equinox, March 21) and this tree is another seed that can multiply (Beltane - May Day, April 30) to infinity. "

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Fire Prevention Posterrs

music before life of Hugh Council, 2005 (From Vulgo net)

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1.

The most mysterious of the paradoxes, the original coincidence of self and other, the lack of distinction of internal and external, seems to characterize the source of life for every individual, in this strange world-before-the-world is the womb breast. The heartbeat the mother is, perhaps, the first perception of absolute, it is the rhythm, vibration, by which the fetus melts and blends. But in each womb "experience" is pervasive. There is no distinction between fetus and womb, between one and many, including himself and another, between existence and nonexistence. This is a very limited world, from our point of view, but that is enough in itself. It 'the only "memory" of a primitive being to which the child may cling after the traumatic event of birth.
Among the studies that relate to the original report, and so decisive, that is established between the infant and mother (1), we are interested in some particular observations of the Chilean psychoanalyst Ignacio Matte Blanco.
His belief is that the study has opened the door to the unconscious knowledge of a way of being deeply rooted in man, yet difficult to express in words. One way to "think feel to be" themselves and the cosmos as indivisible. This ability to bring all-in-all with us, in fact, from birth, and is opposed to another (and more usual) way of looking at the world the way "heterogenic-divisible," the more "natural", through which we know (in the sense of empirical science) everything apart from the other, classifying it as clear and understandable to us and others, which indicates a precise sense and localizable.
In his research, Matte Blanco has brought the way of being divided in heterogenic-conscious thought, the logic routine based on the principle of non-contradiction, and the mode of being indivisible, the logic of the unconscious, based upon the princes of simmetriaÂS, according to which, for example, "the part is identical to all" and "everything can be included on every side." The logic is not symmetric
"error" of the mind, and also is far from being exploited by a potential little thought. According to Matte Blanco, the two types of logic (ordinary and symmetric) always contribute, although to varying degrees, in the experiences that make the world in one perspective, Therefore, bi-logic. The places to
symmetrical logic (which is, it takes precedence over the ordinary one) are the dreams, hysteria, neurosis, insanity, creation and artistic enjoyment. It is those areas where the non-sense can only rule seems to rise, indeed, are those areas in which psychoanalysis has been able to trace the rules, principles, and thus recover their lost sense.
Among the topics discussed by Matte Blanco, we are interested for the moment to focus on two specific phenomena of the mind, which lie at the edge of conscious thought, on the threshold that divides the conscious from the unconscious:
a) the emergence of consciousness in the infant;
b) the perception of self (ie, the consciousness of being conscious).


a) In the experience of birth is the discovery of self and other, but in an ambiguous way, through a chain of confused exchanges between self and non-self. The coming into being, as the transition from intrauterine to a new situation in which it is naked and helpless, no longer protected, is the first real experience of novelty and therefore the perception of diversity by the newborn. The self is seen as another (the interior is treated as outside) because the actual in-the-belly is just a memory, is something different from what is now. So is the discovery of "Â'nella comparison between the current feeling of grief and its former condition" that now, in retrospect, appears as a state of bliss. (2)
This reflection suggests that the intrauterine world, ie the lost paradise, is the other (which we were) no longer recoverable. All that can in any way to allude to this lost world, we might be seen as the last attempt to return to that condition, and thus to recover the drive with another.
The baby, however, currently unable to appease his sense of pain between the mother's arms, in the act of sucking. During this activity (which is basically the necessary food supply) and seems also to recompose the unity that characterized the indistinguishability intrauterine life. The location, the respiratory activity, the adjustment of the rate of breastfeeding in the mother's heartbeat, alluding to the attempt to restore lost unity. And once again the detachment from the breast-mother gives rise to a feeling of frustration caused by the loss. Once again it is lived experience itself is ironic that something that is detached from himself. The harmonious union of the infant with the breast is broken and the child learns to conceive it as a separate who considered together (self and otherwise): the dawn of conscious thought (as stated Matte Blanco), who knows for division and confrontation. Nevertheless, this act of translation of the original symmetrical (there is only one I-Everything ") in terms of asymmetry (" there is not many and I-I ") arises from a primordial condition of serenity, and will be preserved in us as the truth of some deeper levels (more unconscious) psyche: "the unity of all beings, beyond the individuality of each of them" (3).

b) In the mind of self-perception has to chase itself, move in a paradoxical experience: "thinking of thinking" or, in other words, "be conscious of the fact that they have conscience." Matte Blanco reflects on the question: "When we become fully aware of our being conscious, our consciousness of being conscious becomes blurred. We can become conscious of being conscious only in a tangential way, passing, fleeting, we can not stop and remain to contemplate full extent of our understanding, at least we can not do under normal conditions "(4). The mind finds itself in a deadlock when the object of thought is really thinking. This situation is compared to the situation that is created when a mirror is a mirror to reflect identical to itself. In modern terms we get the same result with a framing camera screen which should contain the image of what "looks" LDZ? Eye-camera: the screen represents himself as the mirror as himself. But it is, to be precise, of an infinite self-representation, because the self-image is contained and repeated countless times, becoming smaller and more subtle. You can not properly define such a representation: it goes beyond a description that does not use the limit concept of infinity.

may be that in fact also happens to consciousness something similar, that is, when represents the act of being conscious (ie itself) are sanctioned by a dizzying experience infinitely self. But think about the infinite is impossible, and that consciousness can not be-conscious-to-be-conscious in a "ring road passing fleeting." Speaking of the relations established between infinite, unconscious and conscious thought, as Matte Blanco points out at more than one case, the logical thinking (heterogenic-dividing) when trying to think what is One, what the unconscious lives as indivisible can not help but share, it ends to divide what can not be infinitely divided.
The One and the infinite would be (in this view) the two ways of thinking about Being, respectively, by the unconscious and conscious thought. Elsewhere
Matte Blanco uses different words to explain the same phenomenon: "We can not think of something and at the same time think that we are thinking that something. In spatial terms, we can perhaps say that we have sufficient size to experience both simultaneously. " Even when we do introspection on our emotions, "we must interrupt our conscious experience of emotion to become aware that we are trying." Again, therefore, "our thoughts can be more aware than one thing at a time. "It follows, therefore, that the unconscious works and thinks in a space with a number of dimensions greater than that of conscious thought. (5)
Conscious thought is not able (by nature, being governed by the principle of non-contradiction) to think the same as two different things. When you try to treat him as something else can not stop. Only the unconscious thought (on the principle of symmetry) can experience the differences in an identity, to bring the multiplicity to unity: what often happens in dreams and aesthetic enjoyment (as examples of non-pathological cases.) Rational thinking tends to locate with some precision the meaning of a sign (action, word, image, etc ...) by marking the limits not to be confused with others. The symmetrical unconscious thought (the thought of emotion) amplifies the semantic value of a sign, to the point that in some deeper levels can also mean something the opposite, in fact there is coincidence and lack of distinction between opposite signs. As in the original state of the baby, everything is themselves and the entire world. In the very depths of all levels can mean everything, anything can stand in place of "anything, but will not involve any sense of confusion, if anything, this disorder is perceived a conscious level, when we think (asymmetrically, ie consciously) that it is unthinkable if not "emotionally" unconsciously.

2.

The poem, in an exemplary fashion in this game can override the limits of the usual meanings, without confusing, but, rather, into a world where the only possible way to communicate is typically unconscious, that is simmetrizzante. The power of words to go beyond the words themselves refers to the ability of conscious thought to overcome himself and look out over the realm of the unconscious.
also logical paradoxes are slits of thinking non-adversarial; conscious thought putting himself in check. One of the oldest and most amusing is the statement of Epimenides, that reformulated, which looks like this: "all men lie."

This simple sentence is a funny paradox, because as soon as we assume that the same is true then it must necessarily be false (because it is saying something true); equally, if we think it is false (it is a lie that "all men lie ' ) instantly becomes true (just because he's lying). The sense of paradox is to destabilize the normal perception of the elements against each other as irreconcilable. Each window is a funny paradox of thought aware that opens onto the realm of the unconscious, where it is possible a different logic, contradictory, homogenizing. That is, the paradox is no longer perceived as such, because the semantic horizons are widened to the point that something can be even the opposite! In the paradox that truth back to the surface of some deeper levels of the psyche: "the unity of all beings, beyond the individuality of each of them."
In mathematics, the De Morgan's paradox represents a relatively coherent reasoning lead to the conclusion that something illogical: that the number 1 corresponds to any other number. Each paradox, even in its linear and logical process, is capable nell'insensato to fall suddenly. Represents the stumbling of logical thought, and this has a strongly humorous connotation.
In many paradoxes is easy to find the "jump" improper that they do and that allows him to surprise so ably common sense, nevertheless, we are interested in the fact that manage to allude to the ineffable, to represent the unthinkable, throwing look beyond the limits of conscious experience, and being able to vibrate the strings of our emotional world, unconscious, symmetrical. In
lithographs and woodcuts of MC Escher, we are faced with the incredible feeling that the figures are perfectly impossible exist. It 'an obvious truism that the device used by Escher's illusion that the two-dimensional graphics, expertly articulated, may cause our perception. But this game has very significant consequences for our emotional thinking.
Sometimes the world represented by the artist turns out to be the condensation of different perspectives and radically clashing among themselves, but on closer examination are the different views of one world simultaneously observable. Opera gallery prints (1956) observe that the whole gallery of paintings is housed in a picture of the gallery itself: internal and external finish to match (just like in some limit-experiences of consciousness!). Again, we can perceive the inner being-being-as something contemporary exterior, the two opposing perspectives find a way to be present together.

In dreams there is a strange experience for which a multiplicity of different elements is contained in one. And 'the work of the condensation process. So it may happen that the characteristic of a person reminds us of that of another person, and again we returned to another characteristic of another person, and this constant metamorphosis is not surprising (at deep levels of the psyche ) and naturally perceive the condensation of a variety of items. Sometimes these multiple elements are intertwined, follow each other back even starting to feature in an impossible circolodi metamorphosis. But basically, this is the circle between identity and diversity that we find paradoxes in logical-mathematical and artistic performance, such as graphics of Escher.

In these experiments the "strange circle" that is triggered between the concepts of self and other (including internal and external) is capable of generating the ambiguous feeling that when we seem to catch one, it escapes and we find ourselves in front of the other. And the leak continues, in an interweaving of opposites intangible (or coincidental?). This last sentence sounds like the definition a cursory of musical art (that of the Escape, in fact) that is based specifically sull'intreccio of "identities". This oxymoron (which etymologically means "acute stupidity") far from fanciful interpretation of the musical, fully describes the essence of music and perhaps some of the music in general. The Canons and Fugues (to quote the most popular forms) play, so varied and amazing with a simple principle: a musical theme is capable of combining with itself or with a reflection of himself (when the subject is translated to melodic to another grade level, or is upside down or flipped, etc. ...). The unity of music and its beauty, the results in such cases, a clever interlocking between an identity and something different but can be attributed to that identity.
tender music of Johann Sebastian Bach are a canon for three voices ("Canon Tonos") that starting from the key of C minor, through a perfect modulation, arrives in D minor, without the listener noticing. Continue through the next tonal regions and therefore more and more away from the initial one, to restore "suddenly" the original key of C minor (exactly an octave higher than at the beginning). (6) The peculiarity of this song is that to create a "Screw tone," in which are no longer at a level only harmoniously interwoven themes identical / different, but it creates a chain of rings in melody that will astonish the listener, because through the subtle movements across all tonal regions before returning to the initial . One has the feeling of constant change without changing anything. Again, therefore, we face the possibility that identity and diversity are the same, creating a magical circularity, just as in the first report with the other-mother, or as in not aware of being conscious, in the condensation of several elements in one only in dreams, in logical paradoxes, and in the Metamorphoses (1939-40 and 1967-68) of Escher.

3.

that music is the bearer of a mysterious modes of being (both "expressive and inexpressive, serious and frivolous, superficial and deep) is convinced Vladimir Jankelevitch. (7) According to this perspective, a profound ambiguity and contradiction is an inherent the very essence of the musical event.
The musical language was the subject of the most varied and interesting studies since ancient times and from many different points of view. The core of the issue in terms of its semantic-evident, which is also clashes with the power strongly suggestive and evocative, equally, it is impossible to deny. Fubini notes that 'since the eighteenth century, states generally that the music has a special relationship with our emotional world, rather than with reason and concepts "(8), in other words, through the lens matteblanchiana,' there is a structural isomorphism between deep emotional musical language and reality '(9). But even Plato, Republic, said that Â'l'educazione music is of extreme importance to the fact that the rhythm and harmony penetrate deeper into the soul [...].

who has been educated properly in this field will know with great acuteness of what is faulty and poorly constructed [...] and impatience with the right praise the good things and accept with joy in eating them will be able to become an honest man, and blame, and rightfully detesterà bad things from an early age, even before able to rationally understand the reason, and once you're the reason the salute with affection, recognizing his great affinity with the upbringing "(10). Plato was convinced that music was extremely influential in the spirit of a person and that he owned, For this reason, a function of ethical and educational (able to talk to the spirit of the children even before the right) came, even to distinguish a music "healthy" by another "Deviant", "songs and melodies we will not need a lot of sounds and harmonies not so complicated [...] manufacturers will keep stingrays, pectidi and all of the tools and policordi panarmonici" and the flutes of Dionysus and Marsyas would prefer the lyre and the harp of Orpheus and Apollo. The music finds its completion, according to Plato, in the love of beauty, and above all, the real music is simple music, not double, or multiple (as the true man can not be double or multiple) (11). Psychoanalysis, however, has shown us that man is by nature double, multiple, and especially that this condition has nothing to do with a problem of a moral nature, but rather existential and structural.
However, what seems clear from the considerations made so far now, is that music is able to establish direct contact with our emotional world. Benedict suggests a real musical isomorphism between language and emotions (ie, between music and "kingdom" of the unconscious).
The ability to broaden the horizon of possible meanings of a word or phrase, as already mentioned, is a property typical of poetry. The painting and other forms of artistic expression are the codes which, very often, a new look each offering a new perspective that amplifies the obvious meaning. Sometimes the impression is that certain works have not yet revealed the full load of meaning that they have.
Of all the arts, music has always been unique, for the failure to refer to anything external, but to be, so to speak, surely tautological. But where they come from his unrestricted semantic power, the ability to potentially alluding to everything that exists, especially to what a rational level remains untold because ineffable (12)? Why is there an essential pleasure in being able to "say" something musically that does not actually say anything? And how did you feel as much pleasure in singing a simple melody note? How does each kind Music, printed literally in the mind of at times, even if you want, can not drive them away? Rather than
groped in vain to give a direct answer to these questions and accurate, we continue to reflect on a central question of our discussion: the ability that music has (probably to a greater extent than the other arts) to live the contradictions without discard. Quality also specifies the size of the unconscious psyche. As work in this world (according to the theories of Matte Blanco) a principle of symmetry which makes it possible to identify different elements in music must be able to find a basic and fundamental element in the same time realize that the differences the unity and distinction.
And there is indeed a very significant phenomenon at the root of the musical event, known as the phenomenon of overtones (or harmonics of the series). The sound produced by an instrument is, in most cases, a sound made up. Do emitted by the vibration of the strings of a violin is not a simple sound (pure), but is composed of a series of elementary sounds, or rather a series of frequencies. Of these, the slowest, that is, the more serious, is that important, and gives its name to the sound made up. Do the sound is made, then, by the following set of frequencies: DO1, DO2, SOL2, DO3, MI3, SOL3, SIb3, DO4, RE4, MI4, FA # 4, SOL4 ...

This means, simply, that every sound is made by a number of different sounds by itself, in other words, what makes it such a sound is a series of simple sounds, other than that, but regardless of what the sound is not would be what it is. The same, therefore, is composed of structurally different. And in every sound echoes this extraordinary truth: that the self and others contribute to a harmonious unity. The other, while simultaneously being together, not in contradiction, the contradiction is not destructive, and the profound paradox, that reveals the phenomenon of harmonics, is not that (if not a logical level-conscious). So if
the music is contradictory, it is also because the contradiction is in its deepest nature, physical acoustics.

4.

Our discussion runs the risk of taking on a dangerously complex. Because, besides the sound element, is the basis of the musical rhythm, and therefore the time. All'insostenibile not to give in depth reflection on the philosophical and musicological time, we will just follow the above-mentioned Jankelevitch illuminating reflections. Which, in the third part of the text to which we have repeatedly referred, said (not transpire without the imprint of Bergson) that "the music should be as objective, penetrates into our privacy, and we live like we live in time: through the enjoyment and participation of all our ontological being "(13). If consciousness is deprived of its light from the night of the unconscious (of the light that distinguishes clearly the contours of objects and people), then the unconscious dimension that belongs to musically define as the "night." And this is not just one of many forms of musical language. In music, the meanings are possible, evocative, as are the shadows of the night. His gait is, in fact, a walking aid at all times a bit 'dreamy and night ... which is called becoming "(14).
" Becoming does not allow the rounding item within its limits body, but rather the dimension along which the object is discarded without rest, is formed, deformed, and then turns reform: the succession of bodily states, namely the change, melts solidified the limits of our subdivisions. The change and metamorphosis correspond perfectly to this relentless regime change which is the regime of music par excellence: the theme [...] vanishes in reincarnation and transformation "(15). You cancel (because it becomes different from itself) and at the same time is omnipresent (as in diversity has always been himself).
intrinsically linked to the temporal scale of becoming (and not to an alleged timelessness static and perfect), "the music develops extreme that ineffable aroma of the memories that crowd and slowly soaked mind from being a drunk-past his past. [...] The event fleeting and irreversible, the evanescent quality, the lack of time spent and the fact that never again will be: these are the privileged objects of sweet melancholy music. [...] In fact, while entirely temporal, is also a protest against ' irreversible and, thanks to the remembrance, a victory sull'irreversibile itself, a way to relive the same in the other. "(16)
He still insists, then, on this extraordinary ability to" live " Typical of the contradictions within the musical experience: to revive the same in the other, a particular event and time, however, lead to a solvent effect against the passage of time, managing to bring back what has been, making the current past. This makes reverse what is irreversible, symmetric asymmetric is precisely what is the main characteristic of the unconscious (17). The question arises once again: where does this fraternal musical inspiration from the event and the deeper reality of the unconscious? Why the music and the unconscious reveal a deep isomorphism? It may perhaps sound implement a process similar to that of the resonance (For which vibrations with a certain frequency to vibrate away string capable of producing similar frequencies) even in the depths of the human soul, which manages to vibrate "at a distance" feelings, emotions, thoughts dormant? Because music has evidently, at least in some cases, privileged access to a region of our being so deep and remote?
Franco Fornari's reflections in The Sane music tries to explain precisely where and when our soul has been able to establish a connection so deep with the sound and rhythm, in a sense originally very primitive. If
earlier words Jankelevitch us even more convinced inevitably means that talking about music (but not only, of course) to allude to the unconscious and its specific way of being, Fornari goes further by inverting the lens (thus implementing a symmetry, that the nature of our discourse now, can only be profitable) and trying to bring the music itself psychoanalytic investigation.
The hypothesis from which the student is that the music only appears to be meaningless, that is, its meaning is not overtly obvious (nor is that of dreams and other phenomena "anomalous" of the mind). In the belief that the essence of psychoanalysis is not to submit any phenomenon to its indisputable opinion, but only to try to open new and unexpected glimmers of meaning in those events that seem to be lacking, Fornari back the general feeling of pleasure that can cause the whole load of music and performances that drags with him to that strange dimension "life before life" which is the intrauterine world.
Freud had already noted that the pleasure derived from the fun of rhyme that the child tries to play with homophony. This is a pure game-rhythmic noise, which makes no sense other than to create a mirror relationship between the sounds, that is to cause a reflection of sounds. Its purpose is to keep company the child himself who sings (18). The theory of transitional objects tells us that an object can acquire a meaning "magic" if you take the function to represent an imaginary object. An external element can then become a sign of the inner world (typical semantic expansion of the sphere of the unconscious mind). Therefore, Games-rhythmic sound engineers of the child, "he needs to recover the original unity through the restoration of an original sound and rhythm, which, while speaking in this world, speak of another world."
Based on some studies, notes Fornari, the baby would be able to recognize, once came to the world, those specific words that were uttered when he was still in womb. So, the baby shows to give meaning to the reflected sound in the sound prenatal postnatal (19). This recognition is manifested in the child with the transition from a state of agitation to one of calm and relaxation, as if, already listened to the sound heard in the prenatal situation after the disaster of the birth, giving the significance of the discovery of a well lost. For this reason, the rhyme symbolically represents the recovery of something that was and is no longer, but nonetheless returns. This recognition of the sound in the prenatal postnatal life represents, according to Fornari, an experience of sound primary mirror.

It still insists, then, on this extraordinary ability to "live" within the contradictions typical of the musical experience: to revive the same in the other, a particular event and time, however, lead to a solvent effect against the passage of time, managing to bring back what has been making the past present. This makes reverse what is irreversible, symmetric asymmetric is precisely what is the main characteristic of the unconscious (17). The question arises once again: where does this fraternal musical inspiration from the event and the deeper reality of the unconscious? Why the music and the unconscious reveal a deep isomorphism? Can he the sound implementation of a process similar to that of the resonance (for which vibrations with a certain frequency to vibrate away string capable of producing similar frequencies) even in the depths of the human soul, which manages to vibrate "at a distance" feelings, emotions , dormant thoughts? Because music has evidently, at least in some cases, privileged access to a region of our being so deep and remote?
Franco Fornari's reflections in The Sane music tries to explain precisely where and when our soul has been able to establish a connection so deep with the sound and rhythm, in a sense originally very primitive. If
recently words Jankelevitch us even more convinced that inevitably means talking about music (but not only, of course) to allude to the unconscious and its specific way of being, Fornari goes further by inverting the lens (thus implementing a symmetrization, that the nature of our discussion, now, can only be profitable) and trying to bring the music itself psychoanalytic investigation.
The hypothesis from which the student is that the music only appears to be meaningless, that is, its meaning is not overtly obvious (nor is that of dreams and other phenomena "anomalous" of the mind). In the belief that the essence of psychoanalysis is to refer all phenomena to its indisputable opinion, but only to try to open new and unexpected glimmers of meaning in those events that seem to be lacking, Fornari back the general feeling of pleasure that can cause the whole load of music and performances that drags with him to this strange dimension of "life before life" which is the intrauterine world.
Freud had already noted that the pleasure derived from the fun of rhyme that the child tries to play with homophony. This is a pure game-rhythmic noise, which makes no sense other than to create a mirror relationship between the sounds, that is to cause reflection of sound. Its purpose is to rejoin the child himself who sings (18). The theory of transitional objects tells us that an object can acquire a meaning "magic" if you take the function to represent an imaginary object. An external element can then become a sign of the inner world (typical semantic expansion of the sphere of the unconscious mind). Therefore, Games-rhythmic sound engineers of the child, "he needs to recover the original unity through the restoration of an original sound and rhythm, which, while speaking in this world, speak of another world."
Based on some studies, notes Fornari, the baby would be able to recognize, once came to the world, those specific words that were uttered when he was still in the womb. So, the baby shows to give meaning to the reflected sound in the sound prenatal postnatal (19). This recognition is manifested in the child with the transition from a state of agitation to one of calm and relaxation, as if, already listened to the sound heard in the prenatal situation after the disaster of the birth, giving the significance of the discovery of a well lost. For this reason, the rhyme symbolically represents the recovery of something that was and is no longer, but nonetheless returns. This recognition of the sound in the prenatal postnatal life represents, according to Fornari, an acoustic mirror of primary.

This process of primary mirror, the original symmetry is essential for the child, who knows the outside world only insofar as it found in reflections or images of something that has already experienced in the situation in utero. The other is known only because it brought back, initially, the identical. In this respect the primary experiences of sound and rhythm are key.
After the birth (as we have mentioned before, about the theories of Matte Blanco) the baby tries to recompose the unity lost ideal that universe, re-establishing a relationship with her mother to look like the most can than intrauterine. In fact, shape the rhythm of feeding on the rate of maternal heart rate, and during suckling has an activity of REM, as if dreaming. The feeding is a deeply complex and multi-dimensional, revealing first the possibility to recreate the extraordinary condition in which internal and external coincided, in which the same and different form one indivisible being. The feeding is so like the dream of something that the child has already experienced!
feeding occurs in "a kind of tautology important prerequisite in the bathroom of sounds and rhythms (postnatal) is the bath of sounds and rhythms (prenatal). As in the tautology is a kind of mirroring the subject in the predicate, we find the relationship of acoustic mirror, which we have linked the deep sense of meaninglessness that is repetitive in the game of homophones and rhymes, which serves to keep the child company ", ie to recover Paradise Lost (20). The frequent frustrations with the dismissal of the breast used to, however, the child to adapt to the prospect that paradise may no longer coincide with his current life.
This is paradise, however, recoverable (at least in hallucinatory form) in some experiments inevitably linked to the affects and emotions. In an extreme way, for example, through its usual is called the experience of trance. The possibility to model their heart rate (and that of body movements) on the basis of a "beating heart" amplified (in the case of the infant is the maternal heart) comes up again, in fact, produced in trance music. In many cases the sound of drums from external element is perceived as internal, and is able to "break" the ordinary consciousness, crossing the threshold of the unconscious, and creating a hallucinatory perception of reality (as if you were dreaming) again, therefore, the external reality is confused and identified with the inner one, in an experience that combines new music and unconscious (21).
In conclusion, the music is able to represent another world, forever lost, but without which it seems we can not live, something that was (perception of a perfect unity) and then it was no longer (beginning of life regulated by the principium individuationis), and yet he left behind him a keen sense of absence and longing, which led him to rediscover the "lost object" as the only one that really counts. In this perspective, Fornari said, music has the same origin which Plato gave Eros.


(1) The reference is bound to the text of DN Stern, The mother-child interactions, Corona, Milan, 1998.
(2) I. Matte Blanco (1975), Creativity and Orthodoxy in dz? Journal of Psychoanalysis', n ° XXI - January-December, p. 266.
(3) Ibid.
(4) I. Matte Blanco (1975), The unconscious as infinite sets. Essay on the bi-logic, Einaudi, Torino, 2000, p. 256.
(5) I. Matte Blanco (1988), Thinking, feeling, being, Einaudi, Torino, 1995, p. 104, 105.
(6) Hofstadter talks about "Canon Eternally Ascending" by inferring from Bach allusion to its appearance potentially infinite. See D. Hofstadter (1979), Gödel, Escher, Bach: undz? Eternal Golden Braid, Adelphi, Milano, 2001, p.11.
(7) V. Jankelevitch (1961), Music and the ineffable, Bompiani, Milan, 1998, p. 1.
(8) E. Fubini, Music and suffering, the report proposed Workshop on "Music and affection", organized by the Permanent Seminar of Philosophy of Music in collaboration with the Department of Philosophy, University of Milan, March 13, 2002. The report concludes with a reflection that is similar to the concept expressed by Di Benedetto, about the music and its isomorphism with the world of suffering: "A sort of language that is prior to language, language that is before the power of the word denoting but which is full of references and resonances, perhaps even in favor of a certain isomorphism with the sounds of the language of feelings and emotions. " On the question of the relationship between music and feelings also refer to the text of Franco Fornari (which is often used as a reference to the location of this article) The Sane music, Longanesi, Milan, 1984, pp. 25-27.
(9) A. Di Benedetto, Before the speech, Franco Angeli, Milano, 2000, p. 90.
(10) Plato, Republic, the third book, vv. 399c, 399 D, 399th, 401d, four hundred and first, the 402nd.
(11) Ibid, v. 397th.
(12) "LDZ? [...] Ineffable is ineffable because on it is infinitely, interminably to say: this is the unfathomable mystery of God, and the inexhaustible mystery of love, the mystery of poetic excellence. Jankelevitch V., op. cit., P.62.
(13) V. Jankelevitch, op. cit., p.82.
(14) Ibid, p. 80.
(15) Ibid.
(16) Ibid, p. 83, italics added.
(17) . Matte Blanco (1975), The unconscious as infinite sets, cit., pp. 42-44.
(18) F. Fornari, Sane music, Longanesi, Milan, 1984, p. 9-10.
(19 ) Of course, the baby recognizes what is the sound, the timbre of the words. The "meaning" to be attributed to the words he is in fact independent of the meaning usually they have for an adult. Simply means that their sound magical world that is the womb and refers to the feeling of being connected to it (See F. Fornari, op. Cit., P. 14).
(20) Ibid, p.
21 (21) Ibid, p. 30. The phenomenon of trance music produced important insights that merit can not be treated here. It refers, however, the main text: G. Rouget, Music and trance, Einaudi, Torino, 1986, in addition to the specific section contained in F. Fornari, op. cit., pp. 28-33, and the important work of M. Schneider, The Meaning of music, Rusconi, Milano, 1970. Http://statidellamente.blogspot.com

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SUPERVISION IN THE COMMUNITY 'TO THE CARE OF EMPLOYMENT AS A PLACE OF PATHOLOGICAL COMPARISON between psychoanalysts and pedagogical William Champion

                                                                                        




1. The need to recover the historical origins of the therapeutic community.

The therapeutic community is a therapeutic device, or teaching in the evolution of treatment and rehabilitation of mental disorders in the second half of the twentieth century. According
E. Pedriali, an Italian scholars pay more attention to our subject, unfortunately passed away recently, the historical merits of the concept of therapeutic community were three: to have brought to the fore the value of the group and reveal the therapeutic potential, have defined a concept team as a means of fragmented understanding of the universe of the patient, he stressed that the sharing of daily life allows you to find answers to the needs of patients by mediating between inner and outer reality.
The therapeutic community has been and remains a "place" of important meetings between people but also between hermeneutic and operational models, such as that between psychoanalysis and pedagogy, psychoanalysis and medicine, psychoanalysis and psychiatry, psychoanalysis and psychology, psychoanalysis and the Arts declination rehabilitation-expression. In Italy
communities for employees have gone through a long period of experimentation led mainly by following a pattern of behavior: on one hand the second The American model (the experience of Carl Ederick founding of Synanon community for drug users in Ocean Park in California in 1958 and that of Daniel Casriel of Daytop Lodge) originated from the practice groupal of Alcoholics Anonymous, 12-step program and so on. and other second behavioral-style Catholic teaching practices more recently merged into the epistemological model of systemic family.
As I noted in other studies (G. Champion, 2007) the story of the relationship of psychoanalysis with drug addiction in some ways mirrors the history of the uneasy relationship between psychoanalysis and pedagogy and the relationship between psychoanalysis and pedagogy. The therapeutic communities for employees born almost thirty years after the founding experience of the psychoanalytic English-style end of World War II, traveled from the time of their birth, not on a parallel track, sharing with the community psychiatric history, and epistemological models. (G. Champion, 2007)
The development of a culture of Italian-psychodiagnostic assessment pichiatrico dependency on the one hand increasing incidence of cases of severe psychotic drug addiction brand but it has also spent 15 years teaching the behavioral model Communities in check, inaugurating a new and fruitful period of reflection on practice and models already in use there. This has assisted
differentiation to a historic first, the result of greater self-awareness: teaching community rehabilitation, therapeutic communities and communities for dual diagnosis.
community housing for dual diagnosis patients of the narcissistic-psychotic was, in my opinion, a historic opportunity to meet with the psychoanalytic roots of the CD.
The idea of \u200b\u200btherapeutic community was founded in fact, historically, in England at the end of World War II by a particular organization of a rethinking of traditional psychiatry department of Military Hospital in Northfield by WRBion.
The community shares, then, with psychoanalysis, and psychoanalysis in particular social group and an 'inextricable relationship is foundational, historical, theoretical and clinical groupality to open, open the "third", introduces the category of supporting the growth and differentiation.
The first historical definition of CT is in fact the analyst Tom Main, the founder of the therapeutic community of the Cassel Hospital: "An attempt to use the institution as an organization run by doctors who want to achieve the best from a technical point of view, but as a community whose immediate goal is the full participation of all its members to everyday life, while the ultimate goal is the reintegration individual in social life. " We need to
Foresti, Ferrite, Vigorelli and Pedriali the most important historical and systematic survey of the phenomenon of "therapeutic community" in Italy but who has the only major shortcoming, however, with regard to therapeutic communities for drug addiction.
According to these authors in England have distinguished themselves as important experiences that Henderson Hospital, Maxwell Jones, community for teens to Winnicott, the Tavistock Clinic, in France, the French experience of the Community Racamier La Villette, in Ville Sassolas to that of Urban and Olivenstein Marmottain the Centre of Paris. In Italy have historically been important experiences of Italian Hospital Day Boldù Palace in Venice, including Basaglia in Trieste, Fabrizio Napolitani, first in Switzerland to "Villa Landegg" and then to "Therapeutic Community" in Rome, the historical experience of Villa Serena and the Community Omega in Milan. Add to this the experience of Eugenio Gaburri hospital in Varese, experiences and Zapparoli Charmet, the experience of Marco Comelli Francesco Sarno and the hospital department of psychiatry Cinisello, Milan.
The community was the birthplace and has developed the culture of the investigation on the establishment and its social and emotional dynamics, its risks, its opportunities along the axis of individual-group-search-family società.fino the birth of the key concept of Institution Total and its analysis by the central authorities as Foucault, and F. Gofmann Basaglia: an institution whose main feature is to seize the time of its participants taking as the sole aim of its exclusive survival, away from the purpose that ab initio, it had set itself, and for which she was born
In a more modern Correale (1999) described the institution as a large field emotional when, on the one hand, are intertwined fantasies, desires, fears, and defensive systems against anxiety and fragmentation, suspicion, attacks, and, secondly, it seeks to confirm and perpetuate itself through self-reference el ' autoconferma.
The community was also the "place" where he developed the clinical psychoanalytic culture on the family, historically, even before Margaret Mead and Gregory Bateson process-relational ecological principles on which the school will come systemic.
The community has finally elected a place of reflection on living and sharing the space in terms of suffering according to coordinates psychoanalytically based (external reality and inner reality, inner world and outer world, inner space and outer space).
E 'then a' chance meeting between Cultures of treatment (psychoanalysis among them) and cultures of the area (the 'architecture of these).

2. The pedagogical model of the traditional Catholic community and the innovative contributions of the psychoanalytic model.

pedagogy, despite a century has passed from the first, Freud's revolutionary discoveries on the functioning of the psyche, remains largely irrespective of the acquisition introduced by the use of psychoanalysis and cognitive models in which the relationship between emotion and thought is completely ignored and there still a hypothesis that takes into account the overall significance of the presence of the unconscious in all its many forms of expression. Key concepts related to the necessary distinction between feelings, emotions and thoughts, or the conflict inherent in the mind-body relationship, or the way in which the mind is free of the frustrations, evacuation or denying it, should be part of the cultural background of each teacher as well as an attitude of listening to "all" the emotional content, entirely non-judgmental moralistic should help patients to have care and respect for their own and others' thoughts. The goal, of course, is not to subvert the rules of the various functions as a therapist and educator. Rather there is a strong belief that a better understanding of psychic reality could allow it to best fulfill its tasks without encroaching on the other in different fields and inadequate to its jurisdiction and the context in which it operates just like a teacher physical education can benefit from a thorough knowledge of the human body, without feeling either in law or in the duty of a doctor. (Ginzburg, 1996)
The psychoanalytic culture as we know, is quite common in centers that deal with mental health, but not always with sufficient clarity of duties, limits, methods, conditions of the setting. This is especially true, in my opinion, in the case of educational and rehabilitation centers, especially a religious setting, where often psychoanalytic culture struggling to assert itself. On the other hand, it is known that the Catholic doctrine precludes the existence of an unconscious dimension and mythical favoring the primacy of the intellect, will and morality. (Drewerman E., Psychoanalysis and moral theology, depth psychology and Exegesis). In a recent essay
Ancona (2006), a Catholic psychiatrist and psychoanalyst in one of his latest works entitled "The church's debt to psychoanalysis" (2006) recounted the complex history of relations between the Catholic Church and psychoanalysis: "In the beginning, and this was war waged without saving shots, from both parties spoke of death, an event that everyone hoped for the other. Then gradually, due to the absence of fundamental respect, the differing positions began to dull. Christian anthropology and religious were certainly inconsistent, but took over a certain distance between them, a mutual ignorance and was eventually the appreciation of individual aspects of the enemy camp, so we started an exchange between psychoanalysts and believers, leading to a meeting today went a long way. The thought of Matte Blanco, in particular, has in fact tried to reconcile the apparently irreconcilable as well as group-Foulkes allowed to see the analytical anthropology overlap with that of his Church. At the point of today make possible the recognition that the institutional Church regardless of the merits of his mystical reality, owes much to Psychoanalysis: is the debtor. "
The spread of psychoanalytic culture by universities and graduate schools in psychotherapy has recently allowed its spread, beyond the more or less rigid ideological approach of rehabilitative institutions, through professional psychologist and a psychiatrist's time is very rare.
The critical point was fundamental to the process - as has been said that the so-called dual-diagnosis (severe psychiatric drug addiction) gradually spread awareness of the nature of the psychopathology of addictive behaviors, and this has also convinced the authorities care to pedagogical more reluctant to adopt psychologists and psychiatrists. It happened then that psychoanalytic interventions could also fertilize and enrich the culture of these institutions, although not openly and systematically, but, as often happens-"closed" meetings of the team. This process has positively
laid the groundwork for a resumption of comparison with the historical-scientific foundations of therapeutic communities, born during World War II as part of psychoanalytic psychiatry in England by Bion, Foulkes, Main and Jones. The
address the relationship with the addict patient with associated psychopathology necessarily entailed a shift from the traditional pedagogical approach-behavior, that perhaps he had also worked with drug-addicts with neurotic, to a setting of clinical- medical and psychological fields best suited to new drugs, more and more borderline pathological narcissism, antisocial, paranoid, always with most frequent disorders of the self. This step could not, in my opinion that the future integration of diagnostic knowledge and processes with a view complementary individual-family, and with an attitude of openness to the comparison of scientific knowledge.

3. The psychoanalytic setting critical super-ego of the educational community.

One of the criticisms of psychoanalysis of the superego at the traditional therapeutic community was-and still is - in fact this: if the disorder is, at deep levels of being, in a narcissistic withdrawal from relationships, focus on the super-ego does not make sense. Setting superga can lead to a pseudo-identification, to an outcome in terms of conformity, in terms dell'iperadattamento rather than a true personal care, or, as they say, a real individualized treatment. From the point of view of psychoanalysis the core of the disorder, as we have seen, is a deadly narcissism, resulting in a lack of concern for the moral value of something else. The inability of many of these patients to conceive of the Other, to have a loving relationship with each other, and locking in a self-sufficient enjoyment in which the other is no longer controllable so powerful, certainly not can only be addressed by censoring and scolding. This seems an important point of encounter between psychoanalysis and pedagogy. How
said Mitchell (1995) "It is believed that today many patients suffer not a childhood passion convertible conflicting with reason and understanding, but also a personal development stunted. The modern psychopathology can now be defined not in terms of conflict, but the patient's experience of poverty. Often the patient's problem is to be able to reinvest the affection and meaning something else, leaving the state in which remains fearful of refuge. The patient needs a revitalization and expansion of the capacity to generate experience real, meaningful and valid (...). What he needs is to be seen, personally involved and basically appreciated and cared for the opportunity to playfully explore and discover their own subjectivity and imagination. "

4. Current status: the cure for all ills intervention on selected subjects in some stages of treatment.

For years, the therapeutic community life and was proposed as a "total strategy" a panacea against all evils, good for all seasons.
Today we start to reflect on the need to transit from one organization to an ideological ' organization providing clinical treatment as a process divided into several phases to be tackled with different techniques and preparatory (G. Champion, 2009). According to Henry
Pedriali the therapeutic community, currently has two possibilities: either the culture fail to express a flexibility that enables it to address diverse needs (and then need to abandon the claim allegiance to a mistaken orthodoxy), or otherwise will have to give to present itself as a method suitable for a large proportion of disease (particularly severe psychotic disorder): in any case you will have to abandon the illusion of a Community setting feasible for all types of users
After decades of experimentation and improvisation in the current situation has reached a sufficient theoretical and clinical knowledge of the EU system in order to define predictors of its effectiveness or ineffectiveness of therapy: second Correale they are linked to the ability to mourn the separation from family before entering and the subjective degree of stability or fragmentation of the self and the therapeutic factors are to be found in the sharing of everyday life, the network of relationships, in the sense of belonging and the possibility of activation of scenes and emotions psychically significant.
.
5. The supervision of the staff of the Community as a place for discussion of psychoanalysis and pedagogy.

I state here are some reflections on my experience as a supervisor of the team of a historic community for therapeutic Milanese, founded about 30 years ago by Cardinal Martini: the community Alisei Ambrosiano Solidarity Centre (CEAS) in Milan.
Supervision is one of the "places" of thought where it is possible the attendance of the psychoanalytic culture even in clinical psychoanalysis as the therapeutic community.
In these services, often, in my experience, operators may find that they lead a job with a high emotional impact, not being able to have tools to be able to develop and understand enough. On the other hand, the pedagogical model-in this not unlike the traditional doctor-who depends on the primacy of intellect and as sources of ethics will exclude affective unconscious motivation of behavior. These professions have, therefore, share the report with the other - inevitably affettivizzata, in negative or positive-working as an object, they share in a very similar repair-depressive unconscious motivations in the choice of profession but paradoxically, at least in part, unaware of everything.
Supervision allows not only to explore the emotional state of the team, as we will see the organization as well as clinical, ethical and professional status, the treatment plan, the connections between the particular and the state of daily general mission of the institution and settlement of the structure. From this point of view represents a fundamental tool for a group, even unconsciously, constantly attracted towards the organization and primitive of the basic assumptions of dependency, pairing and fight-flight (Bion), may be still a working constantly checking its stated goals and its organization to do so.
add that it is an important opportunity for executive directors to acquire instruments to distinguish between not wanting, not understanding and not being able to tout-court-to do their job as an educator and emotional difficulties, cognitive Typical of this role.
Some operators sharing in teams is a source of suffering: the group, in fact, can amplify the emotional fears, exposes the face to face, exposes her to an intimacy to those who need to flee, may reverse at developmental stages that were thought exceeded, often raises questions of overlap and conflict between the professional fields that make the strings resonate more than others, and to ancient and topics ranging from envy and cooperation. Undoubtedly, the current historical and cultural moment seems to favor this kind of mental organization and more oriented to the defense in the division, the experiential awareness of the horizon broader than the work of mentalization promises.
For operators and supervising the group may well also represent opportunities for loss of power, or rather the loss of fantasies of power inherent in a profession, but also personal and professional growth. Admit that we are not as mono dimensional, integer, we do not have any power over us and the patients can definitely upset. Admitting that there is an unconscious dimension (Ours, the patient and that of colleagues) with whom we report, willy-nilly, and that we can influence, is a wound that not everyone can tolerate. The training also made possible thanks to supervise effectively calls into question the self-image, shape and definition of self, identification, and it is essential to tolerate uncertain times in which you navigate with the feeling of having lost the plot.
The supervision group is a job that allows you to connect, compile, share, hybridize and integrate what is split and separated into the dominant culture in the individual mind even before the operators in the minds of patients. It may constitute a reason, then, as one of the possible places - beyond its specific subject-clinical work and construction of shared thinking - just as such - the answer to the inconvenience of living contemporary
addition, the group operators to work in supervision is a perfect size for combining the individual element with the element of collective and therefore raises the border between object and subject of education training. The supervision in the institution is, in fact, an essential tool for personal and professional resources rimobilitare blocked due to heavy patient's projective identifications that could not be found Another possibility of containment and processing. In supervision, therefore, seem to live a training function and a therapeutic function when it becomes necessary to take care of even the affected operators.
From this perspective, supervision is considered to be time critical to ensure quality clinical intervention as well as welfare because it allows operators to structure over time, so constant, a number of occasions to give a conceivability to certain emotions with no name, to stay the proceedings, to observe the interaction intellectual, physical and emotional with the patient and to suspend the need for action and decide immediately.
What emerges clearly from the consistent supervision and that the handling is a core function of the EU system capable of representing an overview of the mental world of fragmentation, contain it and to make sense. The multi-professional composition allows to take charge of different parts of the patients by giving them the dignity of life (even before democracy of affects internal and external). Patients living in fact different parts of himself with various providers (especially with so-called case managers) and is therefore essential to communicate these aspects split into a space as the supervision to reconstruct this kaleidoscope. From these operations, the connection between their emotions, the emotions of colleagues, patients and those assumed as the supervisor may arise, like a puzzle, a mosaic variegated and rich, complex identities of patients, the parties to their conscience scotomize that come in the form of raw emotions in the minds of operators and, as such, are digested, recognized and symbolized (gamma function).
There are two conditions that represent a real risk of transition from therapeutic function of care consistent with that of the "bureaucratic" rules of ensuring Community: on one hand the tendency for operators to strive for a system of intervention less rich, but simpler and less demanding when the boundaries between the individual skills are safer, less rigid and go beyond that and are the preferred options and organizational practices. Across the 'instability thymus and relational aggression and transgression of the rules el' orientation to get everything right away patients.
operators are often so busy trying to mediate between these two opposing positions are difficult to reconcile rationally.

6. operators in symbolic balance between family and natural family.

Despite the operator community is then - as always-Charmet brink of a nervous breakdown, parodying the title of a famous film by Almodovar, in my opinion the community is a social laboratory within which we can understand more than any other place .
From this point of view I agree with Charmet when he says that the therapeutic community is not a cure, but offers unsurpassed in terms of being able to understand.
I think the ability to understand and be understood better from elsewhere depends on your sleeping, eating, decide together the best conditions in order to rebuild its internal divisions and the patient's projections. Contrary to what in fact occurs in the care-as it were outside-where the patient puts in several parts if it interacts with professional (doctor, psychiatrist, psychotherapist, counselor, educator, social worker, nurse, mediator) and social (family, employers, etc.) in common defensive affective these movements occur not only on team unity, but also an anthropological space and logistics community and is the setting that allows to reconstruct like a puzzle in the self-mind of the team-the true self of the patient.
It therefore represents a rare opportunity for the analyst to work in the life actual patient observation and evaluation aspects newspapers (actions speaking, Racamier), emotional-affective aspects of his co-inhabit in relation to others (a "resident emotional," a home for their emotions, where second-Zapparoli - aspects of attachment and caregiving can be seen and cared for through the indirect approach, mediated, the transitional "situations as if" G. Champion, 2009).
Not only that, but in this condition can understand it also coincides with the ability to be better understood: that is to make available to the patient and his group, the true self of the team community, which lives up to the background experience of community. From this point of view this is a team that has a natural tendency to collapse on the functions of the natural family of their own user and not quite get the family to remain symbolic, the family culture. Hence the indispensability of a Psychoanalytic supervision. Because the therapeutic community, when the family is about to become the everyday and to share with the patient, avoiding to become to the extent that the size of the report opens with a unique dimension: namely groupality. Open the third to the extent that any practice of the Community institution become type group. It 's the third reference to the antidote against collapse of the possibility of identification with the family.
So the Therapeutic Community is an institution that thinks in terms of projects of social birth, even if it is true that the actual practice is to performing a reinfoetation mother (Charmet) to take in, but his great hope is to to revive. It does not take in to lust, does not take into on behalf of the resignation, but the possibility of reorganizing the hope of a rebirth, it is seen in the name of someone who, in the name of such values. It seems to me that we can say that the evolutionary aspects of the therapeutic community, the ones who deserve the most serviceable part of the supervisor, are those related to the fact that the therapeutic community is the home where you make an objective of reinfoetation (Charmet)-but-important difference is on a birth and relies on the group of brothers, but brothers working under the auspices of the paternal symbolic function, so from this point of view it seems to me that rebirth can take place at 'shade of the values \u200b\u200bof his father and then as a function of social birth. From this point of view of the therapeutic community can not really become the incestuous family, the father and that of the standard. "(Charmet)
in therapeutic communities-in fact, many patients who come from an experience with a" single parent " (Actually a prevaricating on the other parent is usually absent, abandoned, dependent) may perform rather close relations with both the protective aspects, accuditivi (fusional-symbiotic, female and maternal) with aspects that male paternal symbolic Law and real (the rules, the limit, the boundary, differentiation, separation, detection)) (G. Champion, 2009).
This can happen where there's work to be aware of these issues and therefore from the pedagogical point of view share a hermeneutic epistemological model that agrees to deal with the psychoanalytic.
For my seven-year experience, CT Winds of CEAS in Milan is one of these places.


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