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a person undergoing psychoanalysis

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Deutsch's dream voice returned first, facilitating the recovery of her analysand voice to replace her "mourner's voice."
Just as there is no Other of the Other--that is, no position outside of language that allows us to discuss language as a whole without having to rely on language itself in our discussion--there is no way in which we can step outside the transference situation and invite the analysand to do so with us in order to discuss what is happening in the transference itself.
enterprise: one between the analyst and the analysand and the other the
(62) The expression is valid solely in the specific situation of an analytic cure whose goal it is to direct the analyst's and analysand's attention to desire.
(10) The sanctuary of this hermeneutic circle for both analyst and analysand is not to be underestimated, and Ferenczi only hints here at the questions it begins to raise.
For Freud, there is no treatment without dialogic exchange between analyst and analysand; for Freud, language is already deeply implicated in all relations, and discourse analysis often yields significant insights into subconscious and unconscious structures made manifest during discursive therapeutic sessions--with dream narratives serving, in his well-known construct, as "the royal road" to the unconscious (Freud 1899).
Clearly, he defined transference as the moments when analysts get lost and take anew their bearings and psychoanalysis as a dialectical experience in which the "ortho-dramatization" of the analysand's subjectivity depends on the analyst's response (184).
Freud maintained that much of this reliving occurred through analytic dialogue in which the analysand told the analyst whatever came to his or her mind without self-imposed restrictions.
In Bion's (1965) terms, it is the aspect of me that is 'becoming the analysand' (p.
The novel's only two scenes, really, are a psychoanalyst's couch and an analysand's neither entirely coherent nor entirely chronological memories, themselves overrun by rage, resentment, bitterness, longing, regret, and desire.
As in the transferential relationship between analysand and analyst, in Romantic narrative meaning does not "unfold at the level of either life or text, but through the differences between the novel and the 'events' or facts that it symbolically transforms or anamorphically deforms" (xx).
He understandably has certain biases, such as his skepticism about the "armchair, long-distance psychoanalyzing" done by some biographers and critics "without meeting the analysand" (119, 101); his disagreement with readings offered by Stoneback (295-296), James Nagel (230), and others; or his skepticism about certain overly theoretical approaches.
Gary Westfahl's project of bringing the matter of early- to mid-twentieth-century science fiction to consciousness, much like the Jungian project of bringing an analysand's personal and collective unconscious material to awareness, blossoms into an unusual and compelling identification and summation of a cinematic genre, the "Spacesuit Film." Westfahl aims to list, summarize, and categorize all of the films in which spacesuits appear between 1918 and 1969.
In contrast, contemporary understanding of counter-transference presumes that the analyst's authority is not infallible; the analyst is capable of, and encouraged to see as inevitable, the same tendency to project primal childhood relationships onto the analysand as the analysand does upon the analyst.
The storyteller becomes the analysand, with the listener standing in as analyst.