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The dream element in Alice in Wonderland

In the previous post I talked a little bit of the dream and what Sigmund Freud was a topic that I also analyzed in the thesis of the state, and I had connected the 'argument with the story of Alice in Wonderland. So today I decided to analyze the history, seeing it from the perspective of the dream.

Alice in Wonderland takes place in a dream, but it starts and ends in reality consists of the dream dimension dela protagonist. In the book, expanded sense of time and space is the interior, characteristic of the dream. The story of Alice is the story of a fantastic journey, all doubt ceases when the child wakes up and realizes that it was an invention. The output from the dream of Alice occurs when the protagonist says "You're only a pack of cards!" , the sentence which contains everything in its place and its role, re-establishing the division between animate and inanimate, a phrase that dissolves and destroys the Wonderland. A good part of the logic is not in accordance take too literally the statements, or too little, there is thus an implicit link between mental health and language skills, which makes explicit the Cheshire Cat when the claim of Alice "I do not want to go among mad people!" responds "You can not avoid it because we are all mad. You're mad, too, otherwise there would come" . Madness is a constant that is found in many characters in which Alice encounters, and Carroll (the author) believed that one of its manifestations was not able to distinguish the dream from reality. In the book the two are separated at the end Alice wakes up and discovers he had dreamed the dream and tells the sister.

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What is the dream through Freud's theory

In previous post I spoke of dreams, their interpretation and Freud, so I wanted to learn more. Sigmund Freud is the greatest scholar of the dream dimension, and he believes that the dream is the privileged way of access to the unconscious. According to him the dream work is the fulfillment of unfulfilled desires, which calls you want removed. He says that the dream is the result of intense mental activity: the dream process, thanks to this work on the lining of the symbolic dreams, deepest desires of a person to express themselves freely. All this occurs because the dream occurs at a superficial and obvious, but it has a hidden meaning that must be ricosctruire. Freud discovered the existence of two levels in a dream, a manifest and a latent (hidden). The manifest level is given by the scenes of the film that represent mental activity during dreams, and we ricodriamo to wake up. The latent content, however, contains what hides the manifest content and that interpretation must unravel. This is why the dream should be interpreted.

removed but because the needs emerging during sleep? emerge during sleep because, in this state, the surveillance by the right is reduced and, consequently, the feelings of the past can resurface with greater ease.

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6. The group dimension Atelier-tale

The account belongs to a social group. Talk to the infant child and adult. The story is read and heard in a group, acted as a group, the design is drawn in a group. The psychodrama or role-playing game created by Atelier-tale enables the child to use the structure of the story to talk about him, associate group, use the mirror function of the group and welcoming, containing and detoxifying the adults in the group (if are trained in these techniques). For some children who come from disadvantaged environments is less constrictive of individual therapy, because it is in the realm of fantasy, not the true and the beautiful game and is less guilt for parents, "because the story, you know," they often say. will arise, depending on the experience of practitioners, some theoretical questions: closed group, open group, groups, interlocking, complementary groups, groups of parents in parallel to cause a work of inter-phantasy between two groups? The story is perfect in its potential imperfect in its realization is said to be a broker then open to all creatives. It requires a mental work between the narrator and listeners, and vice versa. This work group is, for the GP and leads to a trans-generational work on the absence or presence of traditional tales in the paternal and maternal lineage, according to regional or sometimes ethnic origins of the participants. Those who use it say that its narrative is a mediator in the laboratory full of potential anti-depressant and a stimulant for the GP dealing with these patients who produce empty, distress and chaos in the thoughts of those who are next.

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5. The secondary processing and the folk tale in the care

The work performed by the system to dominate the psychological tension of the instinctual conflict is called by Charcot, psychological development. The mental preparation induces representations of scripts that prevent short-circuits in the sensory-motor system, and the symptom of the crisis which he described at the hysterical. Freud, Charcot's student, noted that if you want to tell a dream to a real person and if you want to understand him, you are obligated to turn it into an oral history that needs to work on developing a psychic. Hysteria that "somatization," there would be no psychic elaboration. The secondary processing (defined by Freud in speaking of the dream Narcissism: An Introduction, 1914), is a type of overhaul is intended to present the dream, (often odd) in the form of a relatively coherent story to be transmitted and understood the other which is transmitted. The secondary elaboration necessarily choose, he adds, complaint for better intelligibility of the receiver. For the GP is interesting to know the parameters that affect the environment consciously or unconsciously on small changes that the narrator is allowed to do on the basic structure and it is interesting to know the secondary elaborations of children or adults who are invited to get together and create, timely complementary therapeutic of this type of work (play, drawing, word etc. ..). Contamination, the additions, especially infiltration and associations that emerge are essential. We must know how to accept and work, knowing the family background, trauma, real or associated imaginary, by the group or child. The invasion-contamination of television pictures or video games, need a "savoir-faire" that must be differentiated from censorship educational environment. My experience of the narrative in-studio and studio-tale role-playing game is identical to that of educators. (Adam: The Acting, édition PUF, 1984). Children less than six years may not develop a well-structured story with the initial situation, progress, final state and taking into account the emotional impact on those who listen. Psychotics we can never late or a few, so they tend to slice into the washer without apparent connection narratives that can produce quite confused at times in their inner world, always very chaotic and distressing. You can talk about the function of organizing this kind of folk tale because, with a well established technique, based on reception of "controlled drift association" and is achieved through the practice of the traditional story (seminars and adjustments), appeared to me that with small children, autistic and psychotic children confused, but also children without reassuring familiar figures in their environment, our techniques for marking sequences representability of the collective unconscious conflicts in the diachrony of sessions worked as a real incentive to organize "Remember-screen" positive, that is an advantage on the thinking and to remove up to that time unknown by the patient. We see these kids play so gradually interested representations of scripts and use attractive for their clarity and their poetry. These life experiences in the group fantasy adult / child perspective enabling them positive anticipation about real or imagined injuries are impossible to remove or empty representations expressed so far. With the use of this mediator is possible to arrive at a particularly interesting: the work that makes the group for its ability to recycle, reuse the experience of confrontation with the archaic anxieties chosen from the story. The wonderful story is a good "plug" to represent and think about the conflicts of orality (The Wolf and the Orc are interesting archetypes) of the analyte and to a lower level of the genitalia, which belongs rather to the field of burlesque tales . As in the institutional group, to propose additional laboratories (Laboratory stories, writing workshop, puppet workshop, laboratory or moraine psychoanalytic psychodrama, workshops of musical expression, dance, etc.) to facilitate the re-use, recycling, internalization of conflict that the story developed? How many sessions of individual psychotherapy difficult, with connections to the setting, should be managed by therapists capable of content and information on the representation by analogy destructive projective identification in the seat and in the stories? The development of meaning in a story already worked in a group can help the child in the use of a category as possible to think and play: the make-believe or expression of violence "for fake" certain sequences of folk tales, could facilitate the acceptance and metabolism of these difficult moments of impulsive acting out, unlike what happens when you end the session. In these extreme cases, the allusion to a story has a value of interpretation and is more easily accepted by the child "out of him" with respect analysis of transference to continue to think together. See "containers of thoughts" in a situation of distress is more useful instead of the vacuum representation of the short passage or all'attoimpulsivo

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4. The representability of great pictures the story

Freud had already shown the way by a ' Comparative analysis of the quality of the dream and the story. In both cases, there is displacement, condensation, censorship, and representability of large images and so on. What we are interested in the care, is the great representability in the images of folk tale (now at the bottom are the images that mark the daily lives of children and Adult: advertising, images, videos, television.) The story has always inspired the illustrators, and children, before being able to read, mark the sequence with a finger pointing interesting illustrations that speak to them. In the laboratory, the three houses of the T 124, (The Three Little Pigs), is an interesting illustration of the concept of 'i-skin Anzieu . The game and children's drawings, which on this issue and protective, are a mine of information to help those who can not make good enclosures that protect the erogenous zones makes them metaphorized in containers of thought-communication group. Finally, this has led certain artistic productions representability such as dance, film, music, theater to spread in the media and entertainment world. Walt Disney before the Second World War was a major promoter of the renewal of the story. The image as the design and dramatization in the laboratory can serve as a symbolic mark if you want to work on the hypothesis of the return of the Freudian concept of "memory and screen 'technique in our laboratory narrative therapy.

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3. The family group in the folktale

is not the royal family but, according to the beautiful expression of Kaes, the "family of the interior of the factory" (Conte et divan, Dunod).. We the initial situation of Tom Thumb and Hans and Gretel: Children lost in the forest. Psychotics to which these two tales are told often say, "We're telling the same story." At first, we thought, "I'm psychotic, so confused, so confused." Absolutely not. Going to see the international classification, the initial situation in these two stories is that they had found common: the specter of being abandoned, the reality of having to unravel, become automatons of the stories in this forest where he lost and where it meets systematically 'aggressor. The words "once upon a time" offers a category, that of the fictional story that supports the notion of a mental space for the ghost, which is different from that of reality or delusion. Surrealism said that the story was a wonderful guard for delirium. Petit Poucet deviendra grand, Petite Bibliothèque Payot 2002, is the essence of the theory and practice of this method of treatment. None of the psychotic children who have benefited from these workshops , (but also taken other medications associated), has developed delusions that would have prevented the socializing, often protected, allowing them their encysted psychosis. These traditional tales deal with the fantasy life and are well assimilated by the normal child as "not true, good to think" why are stories that are not realized in the life everyday: losing your child in the forest, (Tom Thumb), send your child (Little Red Riding Hood) in the same forest where there is a wolf that could attack, shows that these situations early folk tales of everyday life situations would be reported the court. The parents, in the stories in question, parents are imaginary, always unjust, destructive, abusive or absent. The images of parental projections of these fantastic tales paradoxically facilitate access to treatment by parents, followed by order of the court. In fact often say: "These stories are much worse than what happens to us" and this facilitates their ability to talk about it. In the story represented the extremes, the binary oppositions. The good mother is always dead or has been replaced by a fairy, the wicked mother is jealous stepmother, the witch or persecutor, devourer of children, punished more severely in the final situation. Kaes (Conte et divan) has described the story perfectly content with his potential, as "Prêt-à-porter" possible to think about. The family to which you are working with the child in the game, the drawing is "the family of interiority," which is constructed to identify the hero. The hero is the way, but on his way he meets the aggressor. The binary opposition attacker / attacked is easy to find the confused child. The father wrong, old, submissive, and the absent king, old, outdated, let all projections around the image of the oedipal father and the post-oedipal neurotic child. The story of the parents is just containing the sibling rivalry of attainment, etc. ... The references that suggests they are good to know, their representations easy to find and confirm, in particular, in the pictures, when they are attractive and quality.

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2. The structure of the narrative in the stories of the oral tradition

In his morphological analysis of Russian stories, (The morphology of the story) Vladimir Propp has shown that these stories, and probably those of all nations are to take place within 31 functions. Logical necessity and aesthetics, each function follows from the above. A large number of features are collected for couples (prohibition / transgression, query / information, fight / win, night / day, attacker / attacked, etc.).. The dependence of the protagonists, which are subject to the constraints of their function, form a chain of invariants to which the narrator can not derogate from: the aggressor attacks, the hero wins, the villain is punished. At least everything is clear and free of confusion for drivers, psychotics and children without restraint from the environment. These invariants and these constraints diachronic organization, starting from an initial situation (lack), followed by a course of events that dramatized script close enough to the basic conflicts of family therapy and ending in a final situation, in general a lack of repair or a return to equilibrium state. The fortunes of this work of Propp is unknown. Levi-Strauss has drawn the idea of \u200b\u200bstructuralism. Much research on the semiotics of the stories (Greimas, Courtes, Belmond in France), are generated by the accounts of the oral tradition. It is interesting to compare "normal" children in their development, with autistic and psychotic children, often very confused in how they communicate, when they have the pleasure to know this "tack" of the story, (the word is in Belmond). Children without disease have already internalized, depending on their age, metaphorical unconscious movements that contain the stories of the oral tradition. This gives the psychotic that, classically, have a disturbance in the process of "removal," an unexpected access to a model encoded representations with its own rhythms, invariant chains, references to which to cling to, when they lost in the mists of confusion psychotic thinking . This model is not an educational or behavioral. It is a canonical structure that acts as the trigger of the possibility of representing thinking and perhaps internalize the archaisms and the anxieties of aging with acceptable solutions for the group concerned. For example, Little Red Riding Hood, the structure of the story is fixed and is pending in the same way that the child listens to: the little girl meets a wolf in the forest, talking to him but does not recognize him as the aggressor if not inside the house where he was lying disguised as a grandmother who has devoured. You can not edit this diachrony that follows by a description of the story chosen. If the wolf eats the girl, now met in the forest, that's another story that we can wish or desire, but the story is not provided in the statement. The coercive force of this type of story is reassuring and organizer for the child without references. He found, on a repetitive basis, then what will help him in his difficulties and internalization of the links at the end of a certain time of practice, may take possession of a possible association unknown until then.

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1. The archaisms in the oral histories

The oral histories are full of archaic forms, which are present in the collective unconscious of so-called primitive societies, gained from pre-history: stories are very structured, they are available for topics in International Classification (Aarne-Thomson) and, therefore, are comparable in the production of peoples geographically far away. What is narrated in these stories is aimed at adults as to children in their existential problems. These stories are easily stored and transmitted to the representability of great images and the fascinating power of poetry. Three times have become classics in our practice: telling, role playing, drawing, or group of words, for older children. Thus, the workshop trained with GP-tale becomes a "mother in maternal reverie" in the sense of Bion . Accepts the elements of the engine, the self aspects of archaic and bizarre violence and destruction associated with the maturation of the erogenous zones and their representations consciously or unconsciously. The work of the GP with this mediator is to welcome the archaisms, select it, metabolize, give them the possible limits, categories of emotions recognized and shared in an acceptable conduct for the life of the group.
use in the treatment of the story is also a good exercise counter-depressant for treating, and this is important at a time when the equipment is reduced and where there is a return to treatment reducing chemical pulse pathological . In our experience of parental support, this indication causes less drag than other psychotherapeutic techniques or re - education proposals normally. The parallel event with parents is an important tool to work with the entire family-fantasmizzazione, revealed through these stories that parents have more or less "live" before, in parts of healthy children.
Folk tales are stories that were transmitted orally in the mists of time. Served as the myths and religions, to give meaning to the existential questions facing human beings. Freud has put the hypothesis of the analogy between individual development and that of humanity, this idea is found in others as Propp (Historical roots of the fairy tale). This would suggest that the archaic thought, devouring / being devoured, being left alone, lost in the Forest, being attacked by evil beasts, to confront the destructive maternal images (witches) or too Kindergartens (do), present in the stories, do better than echo the hidden anxieties of children and adults who listen to them. We can therefore identify these anxieties, anticipate, identify symbolically the organizers of sense (for example, the binary oppositions outside / inside, open / closed, attacker / attacked) and significantly over effects.
The technique of "branding" symbolic representations of certain sequences of organizing space and thought can create situations - node, which act like real "memory screen-positive" (Freud, 1899, Neurosis, Psychosis and Perversion), very useful for diseases characterized by confusion and inability to understand and secondary processing facility in groups simply neurotic. You must use the three classical times of 'studio-tale (story, role play, drawing and word) to accommodate the projections and make the strangest imaginable in a dramatization of the area of \u200b\u200bchild / adult that works in harmony with the proposal Bion's (making the bizarre elements, beta elements into alpha thinkable and organized into a story that is "already there" in the story told orally to all human societies). The selection of stories can identify representations of conflict, you want to board in the group and that cover every experience of aging. This requires a corpus base for the maturation and a good knowledge of traditional stories, to accompany groups of children produced from these accounts, whatever the technique used: drawings, puppets, clay, role play , music, comics and, for adolescents and adults, including psychodrama (Moreno or psychoanalytic), video-drama, writing workshop, etc ...

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L'atelier-tale treatment. Experience the traditional narration of tales

Browsing the Internet I found some news about Pierre Lafforgue, French psychoanalyst, who has held convegli on the fairy tale. This who said it seemed iportante, so I decided to bring back some pieces ...

"The contribution of psychoanalytic theory and practice has allowed a new understanding of historical events outside of his field-born doctor. If you know of psychoanalytic interpretations of historical facts, social facts, works of art , religions of the novel and the popular fairy tale.
Following the pioneering work of Freud ( the Wolf Man, The disturbing estranietà ) and the famous metapsychological study of Bettelheim (The Uses of Enchantment , use, importation and psychoanalytic meaning of fairy tales), it seems that this mediator has been often used in the therapeutic setting with its capacity, the remarkable fact, to encourage secondary processing predictable and drawn into what might be called the collective unconscious in Jungian sense rather than group.
I would like to talk about my experience with this mediator within the therapeutic workshops that I have practiced for decades in the day hospital, children with autistic and psychotic and neurotic disorders clinic with children.
The folktale is not in itself curative, but the way in which the GP live, work it and use it to receive and digest the normal and pathological anxiety of children, makes it an instrument that has become unusual for those who treat serious condition. Why
the tale of the oral tradition in the treatment? "

This is only the presentation ... the article I will propose to pieces because it is long, so I thought it was better to do it bet ...