Maternal insightfulness or the capacity to see things from the child’s point of view, is considered to be a crucial construct for therapeutic change. In the present study, we aimed to implement the knowledge gleaned from the studies on attachment theory and maternal insightfulness into clinical practice to create an intervention program for mothers of children-at-risk due to inadequate parental care. We used drama therapy to “practice” maternal insightfulness in more “experiential” ways, because the use of creative expressive (...) means may be accessible and effective for the target population of the study and help improve maternal care. We used a manualized 10-week drama therapy-group intervention, focusing on the core concepts of maternal insightfulness: insightfulness, separateness, complexity, and acceptance. We used various dramatic means to explore and experience these components of maternal insightfulness. Forty mothers of children-at-risk took part in eight groups of parental insightfulness drama therapy. To evaluate the efficacy of the intervention, we used the Insightfulness Assessment interview, which produces 10 scales and a final classification of PI and non-PI. The Child Behavior Check List was used to evaluate a change in children’s behavior problems. The assessment took place at three time points: before the intervention, right after the end of the intervention, and 6 months following the intervention. Results at T2 showed a significant improvement compared to T1 in some of the maternal insightfulness scales, but not in the maternal insightfulness categorical classification. At T3, there was a significant change in the classification of the mothers, from non-insightful to positively insightful. At T3, there was also a significant decline in the children’s externalized and general behavioral problems. The results of this study contribute to an evidence-based practice of using drama therapy in the treatment of mothers and children at risk. (shrink)

Drama therapy has been found to improve various facets of mental health while aging. It provides opportunities for personal growth and creative expression and enhances group relationships. Drama therapy is a widely acknowledged way to explore the life stories in late life. However, only a handful of studies have empirically explored the value of drama therapy for the aging population. This conceptual analysis was designed to address this need by developing a new integrative model (...) of drama therapy. The analysis is based on the review of the results of four studies that explored the integration of life-review and playback theater as a drama therapy approach for older adults. The therapeutic process focused on the exploration of life-crossroads stories, a short unique technique which enables the participants to craft a harmonious view of their life stories in a short-term dramatic creative group process. Combining the four results yielded a multidimensional model which points to three potential transformative routes: the evolution of the life story, the evolution of improvised dramatic expression, and the expansion of social engagement. The transformative routes are described through the lens ofrole theoryin drama therapy. (shrink)

This work is an attempt to decipher the therapeutic essence of the Hellenic theater through the prism of "catharsis", starting with the Athenian orgy, when theatrical performances turned into a tool for collective healing. The article deals with the theoretical views of Aristotle, in whose aesthetics catharsis has become the main concept that testifies to the healing abilities of the Greek theater to purify and harmonize the personality. The author shows how these ideas can be used in modern theatrical art, (...) helping to identify and eliminate the mental problems of today's audience. Dramatic "catharsis", named and analyzed in the theoretical system of Aristotle, in turn, became a theoretical generalization of the healing abilities of the Greek theater. The scientific novelty of this work lies in the fact that the study of the essence and form of healing in the Greek theater can be used as a theoretical basis for the development of modern drama therapy. The work uses an interdisciplinary approach, a cultural-historical method and the principle of comparative analysis in the 70-80s. In the twentieth century, drama therapy began to be explored as a separate discipline that awakened creativity and imagination, contributed to the reunification of people with their inner world, removed the burden of difficult experiences, changed behavior and life circumstances, thus revealing the healing abilities of theatrical "catharsis". The rise of modern theater therapy reflects a new direction in the development of psychotherapy and theater, as well as a return to the ancient traditions of healing and artistic creativity and the development of fresh ideas and new creative ideas based on them. (shrink)

Plato’s Charmides suggests that there are really four notions that are deeply connected with one another, and in order to understand sôphrosunê we need to get a proper hold on them and their relation: these four notions are Knowledge of Ignorance, Self-Knowledge, Knowledge of the Good, and Knowledge of the Whole. My aim is to explore these four notions in two stages. First, I will try to explain Socrates’s notion of knowledge of ignorance, so that the nature and coherence of (...) this Socratic idea will come into focus, and shed some light on its connection to self-knowledge and knowledge of the good. Second, I will turn to explain what I call the origin (archê) or even “truth” of Socrates’s conception of sôphrosunê by examining the idea of the physician of the soul in Plato’s Charmides and Plato’s use of the dialogue form, and thereby make a connection to knowledge of the whole. I will show that seeing sôphrosunê as “whole-mindedness,” connects to Socrates’s description of our in-between state as human beings, and that the study of this “in-between-ness,” is the supremely insightful glimpse into Socrates and his philosophical activity (perhaps the very definition of it). (shrink)

Plato’s Charmides suggests that there are really four notions that are deeply connected with one another, and in order to understand sôphrosunê we need to get a proper hold on them and their relation: these four notions are Knowledge of Ignorance, Self-Knowledge, Knowledge of the Good, and Knowledge of the Whole. My aim is to explore these four notions in two stages. First, I will try to explain Socrates’s notion of knowledge of ignorance, so that the nature and coherence of (...) this Socratic idea will come into focus, and shed some light on its connection to self-knowledge and knowledge of the good. Second, I will turn to explain what I call the origin (archê) or even “truth” of Socrates’s conception of sôphrosunê by examining the idea of the physician of the soul in Plato’s Charmides and Plato’s use of the dialogue form, and thereby make a connection to knowledge of the whole. I will show that seeing sôphrosunê as “whole-mindedness,” connects to Socrates’s description of our in-between state as human beings, and that the study of this “in-between-ness,” is the supremely insightful glimpse into Socrates and his philosophical activity (perhaps the very definition of it). (shrink)

The article is devoted to the study of the history of theatrical therapy in the no-si ritual drama. It is shown that, in general, the ritual elements of the no-si drama can be used in modern drama therapy. In addition, dramatic therapy, which is implied by the author in this article, is somewhat different from the modern concept of psychodrama, since it covers large areas of the human psyche. The author believes that it is (...) not necessary to completely ignore this complex area of human culture, because regardless of function or form, dramatic therapy is closely related to the shamanic ritual of healing. The formation of the Chinese national drama took place in the context of the historical development of China. Having originated in the most ancient forms of shamanic rituals, the theatrical performance has evolved into a unique stage genre. Along with other earliest theatrical forms such as ancient Greek theater and ancient Indian drama, Chinese opera originated several centuries before our era, but unlike them it has survived to this day almost unchanged. Now Chinese traditional opera occupies an important place in the list of intangible heritage not only of China itself, but also of the whole world. One of the most important milestones in the development of theatrical art in China was the ritual drama "no-si", which today the ritual drama no-si in China is called a real "living fossil", because it is the oldest cultural form that has come down to us through the centuries. Archaic religious rituals, reflected in modern theatrical performances, testify to the mixing and syncretization of various religious traditions, including no-rituals and no-si drama, and modernity. The current generation is successfully modernizing the tradition of its ancestors in accordance with the times, preserving it in the centuries-old cultural memory of its people. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Master" versus "Servant":Contradictions in Drama and Theatre EducationShifra Schonmann (bio)Mr Jourdain: You mean to say that when I say "Nicole, fetch me my slippers" or "Give me my night-cap" that's prose?Philosopher: Certainly, sir.Mr Jourdain: Well, my goodness! Here I've been talking prose for the last forty years and never known it, and mighty grateful I am to you for telling me!—Molière, Le Bourgeois Gentilhomme1My basic claim is that (...) our young field—drama and theatre education—feels old. Are we being stifled by applied drama and theatre, so that it has put real obstacles in the way of broadening the horizons of the field? I know that by asking this question I risk setting myself up as a living target for all those who maintain that applied theatre is the "hot" and the appropriate concept in the field. For more than twenty-five years now, we have been working with our students in teacher education departments and with children in schools in the manner of applied drama and theatre, but we have named it differently. It is as if we had been speaking the language of applied drama and theatre for twenty-five years—and we did not know that this was the case. (It reminds me of Moliere's Monsieur Jourdain who suddenly discovers that he has been speaking prose for the past forty years.) I would like to make it very clear from the outset that my claim is not against applied drama and theatre; it is a claim for another proportion (balance) between the instrumental function and the artistic-aesthetic function of our drama and theatre work in education.Is this a new claim? Not at all. But in the midst of our intensive endeavors in the field, it strikes me again and again that we have been running after our own tails, doing almost the same things over the past twenty-five [End Page 31] years. I have tried to understand why we are wandering around, surrounded by the same basic circles and experiencing a feeling of déjà-vu. What, really, is our problem? As a result of asking myself these questions, I began to analyze programs of the major conferences of the last ten years in drama and theatre education: Exeter (Researching Drama and Theatre in Education), AATE (American Alliance for Theatre and Education), IDEA (International Drama/Theatre and Education Association), and IDIERI (International Drama in Education Research Institute). These are considered to be the main international professional gatherings in the field (most of which I have attended). I have been looking into the headings that express the topics that were discussed. My data show that the majority of the topics were concerned with the by-products that drama and theatre can produce but not with the artistic and/or the aesthetic dimensions of the field. Sometimes I wonder if we fail to see the wood for the trees.In the Dictionary of Developmental Drama, written by Richard Courtney, an attempt was made to clarify the terms of drama used in a variety of practical fields.2 In this dictionary, we cannot find the applied theatre entry or process drama entry, but we can find entries such as developmental drama, drama in education, drama therapy, dramatic activity, educational drama, educational theatre, forum theatre, and many others. The terminology used among drama workers, leaders, and researchers is not precise. When drama educators and researchers meet, we engage in extensive discussion, often exchanging experiences and successful strategies. Quite some time can pass before we realize that our concepts of drama education differ considerably. These concepts range from completely spontaneous activities, such as improvisational exercises, to very carefully planned work, such as staging written scripts. Courtney's dictionary is the only one that I know that tries to define the basic concepts in our field: It is necessary but not adequate or up to date.In the "Drama Way" Project, a comprehensive work by Jouni Piekkari et al., coordinated by the University of Turku in Finland, I found a good attempt to set up a "mini" dictionary.3 The "Drama Way" Project identified a number of... (shrink)

"Meeting strangers" is a metaphor for the increasingly common experience of working with diversity in family therapy. This book offers a model of cultural family therapy for working with families across cultures, particularly immigrants, refugees, and minorities in mainstream society. -/- The author draws together several emerging trends in therapy and the human sciences: narrative approaches, transcultural psychiatry, studies of autobiographical memory and the distributed and saturated self, translation theory and sociolinguistics. He offers an understanding of the (...) "situated nature" of human problems and tools for translating the family's culture and idioms into a common language in a culturally responsive and collaborative way. -/- Each chapter is both theoretical and practical, far-reaching and grounded in the experiences of families in therapy. The chapters of Part I, Meeting Strangers, introduce themes of cultural family therapy, a synthesis of family therapy and transcultural psychiatry that reframes the presenting issue in therapy as the "presenting culture." Here DiNicola both critiques family therapy's unexamined use of cultural concepts and introduces fresh conceptual tools, such as spirals, masks, and roles, that facilitate the therapist's engagement with the family culture. -/- Part II, On the Threshold: Language, Identity, and Cultural Change, introduces a number of "changelings," "liminal people," and "orphans." Between or on the thresholds of two or more cultures, they struggle with issues around language and translation, identity and cultural change. The overbearing influence of Western concepts is seen in DiNicola's examination of the psychological, social, and cultural implications of the myth of independence. -/- Part III, Families as Storying Cultures, demonstrates in extended cases the power of narrative and of metaphor to transform experience. The final chapter is a moving memoir of the author's fascinating journey to Brazil to meet his father for the first time. -/- The author's aim is "to open space for people who have been treated like minor characters in the drama of family therapy." In doing so, he puts onto center stage all sorts of strangers in society, families of diversity, and their human predicaments, inviting his readers to engage in the full richness and complexity of culture, families, and therapy. (shrink)

The Mirror Game (MG) is a common exercise in dance/movement therapy and drama therapy. It is used to promote participants’ ability to enter and remain in a state of togetherness. In spite of the wide use of the MG by practitioners, it is only recently that scientists begun to use the MG in research, examining its correlates, validity and reliability. This study joins this effort by reporting on the identification of scale items to describe the nonverbal behaviour (...) expressed during the MG and its correlation to measures of attachment. Thus, we explored the application of the MG as a tool for assessing the embodiment of attachment in adulthood. Forty-eight participants (22 females, mean age = 33.2) played the MG with the same gender-matched expert players. All MG were videotaped. In addition, participants were evaluated on two central measurements of attachment in adulthood: The Adult Attachment Interview (AAI) and the Experience in Close Relationship questionnaire (ECR). To analyse the data, we developed the “mirror game scale” that coded the nonverbal behavior during the movement interaction, using 19 parameters. The sub-scales were reduced using factor analysis into two dimensions referred to as “together” and “free”. The free factor was significantly correlated to both measurements of attachment: Participants classified as having secure attachment on the AAI, received higher scores on the MG free factor than participants classified as insecure (t (46) = 7.858, p =.000). Participants who were high on the avoidance dimension on the ECR, were low on the MG free factor (r (48) =-.-285, p =.007). This is the first study to examine the MG as it is used by practitioners and its correlation to highly standardized measures. This exploratory study may be considered as part of the first steps of exploring the MG as a standardized assessment tool. The advantages of the MG as a simple, non-verbal movement interaction demonstrate some of the strengths of dance/movement and drama therapy practice. (shrink)

Depression experienced by older adults is proving an increasing global health burden, with rates generally 7% and as high as 27% in the USA. This is likely to significantly increase in coming years as the number and proportion of older adults in the population rises all around the world. Therefore, it is imperative that the effectiveness of approaches to the prevention and treatment of depression are understood. Creative arts interventions, including art, dance movement, drama and music modalities, are utilised (...) internationally to target depression and depressive symptoms in older adults. This includes interventions led by trained arts therapists as well as other health and arts professionals. However, to date there has not been a systematic review that reports effects and examines the processes (why) and mechanisms (how) of creative arts interventions are used to address depression in this older age group. This systematic review of studies on creative arts interventions for older adults experiencing depression examined: outcomes of four creative arts modalities (art, dance movement, drama, and music); with particular attention paid to processes documented as contributing to change in each modality; and mechanisms considered to result from these processes. Our analysis of 75 articles (17 art, 13 dance, 4 drama and 41 music) indicates mostly significant quantitative or positive qualitative findings, particularly for interventions led by creative arts therapists. Mechanisms of change gleaned from the studies that were common across modalities include physical (e.g. increased muscle strength; neurochemical effects, such as endorphin release), intra-personal (e.g. enhanced self-concept, strengthened agency and mastery; processing and communication of emotions), cultural (e.g. creative expression, aesthetic pleasure), cognitive (e.g. stimulation of memory) and social (e.g. increased social skills and connection), that were all considered to contribute to reduced depression and symptoms. Recommendations for future research include a stronger focus on testing of processes and mechanisms. (shrink)

This article discusses the transpersonal functions of masks in ritual and in drama therapy as expressed in the creative path of NohKiDo. NohKiDo, whose main components include the Prism of Consciousness , the Rainbow Method, Action Meditation techniques , and Therapeutic Noh Theater, is a therapeutic system developed by the author through the redefinition and interpretation of a set of transpersonal concepts based on Zeami’s original Noh formulation for Therapeutic Noh Theater. The most significant concepts of Ma , (...) Mushin-no-kan , Ichu no kei , and Riken no ken pertain especially to the transpersonal functions of masks. The main aim of a Therapeutic Noh Theater performance is to heighten the consciousness of its actors, as well as the members of its audience, to a transpersonal level; a Therapeutic Noh Theater performance of Born from Good Angel’s Tears is discussed as an example. The creative path of NohKiDo is introduced here as a lifelong journey to the spiritual, within and without, via masks, the arts, and creativity. (shrink)

Volume 13 provides valuable examples of the very type of clinically grounded theorizing that represents progress in self psychology. The opening section of clinical papers encompasses compensatory structures, facilitating responsiveness, repressed memories, mature selfobject experience, shame in the analyst, and the resolution of intersubjective impasses. Two self-psychologically informed approaches to supervision are followed by a section of contemporary explorations of sexuality. Contributions to therapy address transference and countertransference issues in drama therapy, an intersubjective approach to conjoint family (...) therapy, and the subjective worlds of profound abuse survivors. A concluding section of studies in applied self psychology round out this broad and illuminating survey of the field. (shrink)

This paper provides an explanatory rationale within a theoretical philosophical framework for the Philosophy Plays project as a call to public philosophy, conceived as a way of life and a form of communal therapy for the mind. The Philosophy Plays aim is to introduce philosophy to the general public through philosophical presentations by professional philosophers incorporating drama. Like Plato’s dialogues, the Philosophy Plays, that combine dialectic with rhetoric seek to engage their public audiences in a realistic and shared (...) lived experience, rendering philosophy a practical and meaningful applied activity for all participants, conceived as a way of life. (shrink)

We present experimental evidence that an interpretation was accurate. Current wisdom notwithstanding, we could interpret from the text alone because its information is redundant: repetition provides internal checks. Knowing neither dreamer nor their associations we made falsifiable predictions that we tested by subsequently gathering information about the dreamer. Predictions were supported. Results were repeated with seven additional dreams. Each dream was tightly crafted, used humor, drama or hyperbole to penetrate the dreamer’s defenses, and furthered the emergence of personality. Our (...) experiment compliments fMRI and statistics because it studies a whole text as a unique narrative: one iteration identified healing steps during therapy; another confirmed the psychological meaning of a myth. Our experiment might generate a body of objective knowledge about interpretation and make interpretation itself more accurate. In the US 20% live with mental illness. Our experiment supports talk therapy against pressure from the drug and insurance industries. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Philosophy, Psychiatry, & Psychology 8.1 (2001) 39-40 [Access article in PDF] Remembering Feminisms:A Response to the Commentary Erica Burman I am grateful to Gwen Adshead for outlining the broader arguments surrounding feminist critiques of science and their relevance for mental health, particularly in forensic contexts. As she highlights, the debates about the status of accounts of memory hinge upon contested concepts of objectivity and the problem of discursive and (...) provisional (but also necessary) claims to external reality, these being debates to which feminists have actively contributed. There are four additional points I would like to make in response to her comments.Firstly, while I am in general agreement with her presentation of feminist positions in relation to scientific theory and method--and this does largely reflect a current consensus within feminist approaches--it is important not to overstate this consensus. Feminist debates about science, method, and claims to truth are precisely debates. There is no unitary feminist approach. Key arguments between feminists concern, for example, whether to lay claim to (forms of "strong") subjectivity rather than objectivity (see Harding 1986, Hollway 1989, Griffin et al. 1998) or whether to re-work criteria for objectivity to takeaccount of well-known gender biases (Eichler 1988).In my analysis of feminist approaches to "false memory syndrome" (FMS), I wanted to highlight the diversity of feminist positions in order to indicate something of the interconnections between feminist and other political, theoretical, and cultural analyses--ranging from the modernist and empiricist to the postmodernist and constructionist. Hence, while I agree with Adshead that much feminist analysis seems unremarkable since its impact on cultural practice has been so great, I would argue that her account glosses over the many different feminist positions mobilized within the debate around "false/recovered memories." There are widely different views, for example, about the status of evidence/science. Another key area of debate is the role of psychiatric diagnosis between those who subscribe to and those who reject the "terms of art" of psychiatric diagnostic categories.This may sound like a mere effort to attest to the rigor and rationality of feminist scholarship, including feminist re-workings of these terms. However, to come to my second point, there is a material consequence of this closer attention to the conditions for, and reception of, specific feminist analyses. For the debate about "false" or "recovered" memories goes beyond questions about the circulation of the roles of victim versus perpetrator that surround claims of credibility, legitimacy, manipulation, or gullibility. [End Page 39]Thus, Laura Brown and I (1997) and Jan Haaken (1998) have suggested that in order to understand how the current debates surrounding (women's) reported memories could have come about, we need to analyze what has happened through, and what the stakes have been in, the (limited) institutionalization of feminism within models and practices of therapy. This involves attending to the particular forms of feminism that have been included and excluded: For example, how far do therapeutic models accept, and how far do they problematize, the forms and functioning of families? We also need to consider the broader societal response (or backlash?) to a feminized/therapeutic culture, including consequences of the confounding of the therapeutic with the feminized. In particular, Haaken draws attention to the gender essentialism that pervaded second wave (1960s and 1970s) U.S. feminist therapies. This essentialism, she argues, has fueled a failure to interrogate power dynamics (including therapeutic dynamics) between women that make possible displacements of transferential dynamics to an outside party, whether past or present.My third point concerns the ever closer relationship between the therapeutic and legal arenas reflected within the career of FMS. Adshead's reference to a film narrative to highlight competing versions of legal knowledge puts me in mind of how FMS--as a potent cocktail of psychiatric labeling, familial conflict and abuse, and litigation--is the U.S. television courtroom drama writ large. It may be the case that, as Adshead argues, I fail adequately to address the complexity of legal process, with its assumptions about what makes certain accounts more credible or legitimate than others... (shrink)

Tough Decisions presents many of the complex medical-ethical issues likely to confront practitioners in critical situations. Through fictional but true-to-life cases, vividly described in clinical terms, the authors force the reader to choose among different courses of action and to confront a range of possible consequences. A two-year-old has been diagnosed with a malignant brain tumor. Who should be allowed to make decisions about the child's surgery and subsequent therapy, and on what basis? A family history of Huntington's disease (...) emerges when a fiancee seeks genetic counseling. Who should be informed? An elderly patient suffers a cardiac arrest. Should "do-not-resuscitate" orders always be followed? How should legal liability affect medical decisions? Other ethical issues considered include surgical complications, patient autonomy, rights of the retarded, informed consent, euthanasia, and the fair allocation of finite resources. Each case presented conveys the drama and pressure of weighing alternatives, and the realistic consequences of the choices made. The authors show that ethical decision-making is not limited to "matters of life and death", and that it is not the decision but the ethical process by which it is made that gives the decision moral integrity. With realistic detail, Tough Decisions brings to life and makes the student share in the many complexities of ethical decision-making when the health and lives of patients are at stake. (shrink)

This book is a study of Wittgenstein's descriptive, improvisational, and performative art of philosophical investigation. In addition to clarifying the nature of Wittgenstein's grammatical investigations, this study highlights several neglected aspects of his work: its humour and playfulness, its collaborative nature, and its emphasis on the imagination. These aspects often become distorted under the pressure of theory and argumentation, resulting in interpretations that equate grammatical investigation with confession, therapy, or a common sense view of the world. After presenting Wittgenstein's (...) art of investigation in part one, this study challenges these dominant and influential interpretations in part two. The volume examines Wittgenstein's mottos, forewords, and dedications. It looks at the art of his philosophical and grammatical investigations, linking it to drama and improvisation. The book discusses the complexity and subtlety of Wittgenstein's response to Augustine in the opening of the Investigations, and Wittgenstein's response to Moore's defence of common sense in On Certainty. The book also examines three kinds of therapeutic readings: those that compare Wittgenstein's philosophy to psychoanalysis, those that compare his philosophy to therapy generally, and those that describe philosophy itself as an illness or as the cause of illness. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Notes on Psychodramatic Treatment of a Person with SchizophreniaJonathan D. Moreno, PhD (bio)I have enjoyed reflecting on Mr. Chapy’s account of work in psychodrama with a patient with schizophrenia.Although at one time many years ago I was interested in phenomenological psychiatry, and especially the writings of Ludwig Binswanger and Medard Boss, I am not an authority on dasein-analysis, so I have nothing to add to the discussion. I should (...) say, however, that my father had little interest in this approach, which was far too abstract for his taste. He proceeded from the standpoint of the theater, of action and enactment. He believed that the drama itself provided the insight.For the purposes of this response, I take it as a given that the patient in question has been accurately diagnosed, although in the description of the scene with his father he does not exhibit the usual symptoms, such as auditory hallucinations. People with schizophrenia often find it difficult to manage the voices they are hearing without substantial preparation for a psychodrama. According to psychodramatic method, one way to prepare them is to externalize the voices, allowing a different therapist to take the role of each one as the protagonist instructs them how to play that role. Chair may be set up so that each “voice,” personified by an auxiliary ego, can sit in each chair in an array. This preparation may require a number of sessions. If the scene is to be enacted with a significant other, like the father in this instance, the patient may not be able to warm up to a direct encounter, especially with all the different voices competing for his internal attention. So he may be directed to observe each voice in the encounter with his father, preferably played by a therapist of his choosing and trained for the role, usually by giving the father-player certain lines so that they can learn something about the father and the way he addresses his son.Or consider the patient whose illness manifests itself as delusions, often of a megalomaniac character. They may be a messiah, for example, or the rightful heir of a royal line whose identity is being suppressed by governmental forces. The patient might be invited to choose key therapists to play the roles of key members of their circle, [End Page 225] enacting critical scenes like the sermon on the mount or speeches to their oppressed followers. In this way the patient’s “act hunger” may be to some degree satiated and have a calming effect on their anxiety and irritation with the frustrating world around them that refuses to accept their “authentic” identity and belief system.In these ways, psychodrama therapy can take advantage of one of the remarkable advantages of this method for such patients, who are generally recalcitrant to talk therapy alone and for whom medication is at best modestly effective. Still, these disorders are among the most challenging for psychotherapists. Although the process of treating them may open up insights into the nature of the human mind, as Chapy has pursued in this paper, we await the neuroscience that can affect the kind of long-term remission they and their families so desperately wish. [End Page 226]Jonathan D. MorenoUniversity of Pennsylvania [email protected] D. Moreno Jonathan D. Moreno is a philosopher and historian who specializes in the intersection of bioethics, culture, science, and national security, and has published seminal works on the history, sociology and politics of biology and medicine. He is an elected member of the National Academy of Medicine.submitted on January 27, 2023Accepted on January 30, 2023Copyright © 2023 Johns Hopkins University Press... (shrink)

The article explores the connection between enlightenment and comedy, as well as its importance for German Jewry. Following Hegel, whose thoughts on ancient drama as well as modern society have shaped the German discourse on comedy until today, this article demonstrates that questions of self-formation, emancipation, and historical self-location are central to comedy. In Carl Sternheim’s comedy The Snob, the idea of self-formation resonates with the historic concept of “civic improvement” through “Bildung”: Jewish emancipation in Germany stood at the (...) end of an educational project that outlasted Jews’ achieving legal equality. The Snob is a comedy about Jewish acculturation and bourgeoisification and embodies Marx’s understanding of comedy as ambivalent: on the one hand, comedy helps people to part cheerfully from their past that was characterized by inequality, but, on the other, it indicates that a world-historic fact like Jewish emancipation may be prone to repeat itself as a farce. Sternheim’s comedy develops a poetic that embraces ambivalence, but also opens the genre of comedy to the question of therapy and healing. It depicts the struggle between autonomy and social formation – the dialectics of German “Bildung.”. (shrink)

From the publication of _Growing Up Absurd_ in 1960 until his death in 1972, Paul Goodman had the ear of the young radicals of the New Left, pouring forth books and articles on education, technology, decentralization, and of course, the war in Vietnam. Yet Goodman saw himself primarily as an artist rather than a political thinker or sociologist, and many of his books, even during the 1960s, were works of poetry, drama, and fiction. He had also practiced as a (...) psychotherapist and joined with Frederick Perls and Ralph Hefferkine in producing a new synthesis in psychological thought, Gestalt therapy, which has since become an international movement. In an age of specialization, few writers have taken on so braod a range of concerns. _Crazy Hope and Finite Experience_ is the final summing up of the thought and life of a self-described "old-fashioned man of letters." This book brings together for the first time five personal essays, all written near the end of his life, in which Goodman discusses his sense of the world and how he was "in" it, his politics, his spiritual and religious attitude, his sexuality, and his calling as a literary artist. For those already familiar with one or another aspect of his work, Goodman's self-assessment will provide new insight into the credo that underlies his whole career. For those learning about him for the first time, it offers a vivid sense of the man and his perspective. And for psychotherapists - especially Gestalt therapists - the book will fill in the picture of Goodman as a theorist whose work was crucial to the development of a new approach to therapy. (shrink)

Edward Erwin's clear analysis addresses some of the fundamental questions on behavior therapy that remained in 1978, when this book was first published.

In the modern day, it is understood that the role of the teacher comprises aspects of therapy directed towards the child. But to what extent should this relationship be developed, and what are its concomitant responsibilities? This book offers a challenging philosophical approach to the inherent problems and tensions involved with these issues.

Drama and Feeling makes a case for placing educational drama firmly within the curriculum and provides drama educators with new insight into the dramatic art form and process.

An introductory text describing the author’s approach to epistemology in terms of self-referential argumentation and self-validating proofs. The text emphasizes a skill-based, rather than content-based, approach to the study of epistemology. The book is a simply stated, basic text whose purpose is to introduce students to the technical approach to epistemology developed by the author in other publications. ●●●●● -/- 2022 UPDATE: The approach of this book has been updated and developed further in the author’s 2021 book _Critique of Impure (...) Reason: Horizons of Possibility and Meaning_. The book is available both in a printed edition (under ISBN 978-0-578-88646-6 from Barnes & Noble, Amazon, and other booksellers) and an Open Access eBook edition (available through Philpapers under the book’s title and other philosophy online archives). (shrink)

One of the greatest dramatists of all time, Shakespeare, recognized that dramatic action was not limited to the stage. Now, in Drama and Intelligence, a work firmly rooted in developmental drama, Richard Courtney is the first to examine dramatic action as an intellectual and cognitive activity. Courtney explores the nature of those experiences we live "through" and which involve us in what is termed "as if" thinking and action.

Major depressive disorder is not only the most widespread mental disorder in the world, it is a disorder on the rise. In cases of particularly severe forms of depression, when all other treatment options have failed, the use of electroconvulsive therapy (ECT) is a recommended treatment option for patients. ECT has been in use in psychiatric practice for over 70 years and is now undergoing something of a restricted renaissance following a sharp decline in its use in the 1970s. (...) Despite its success in treating severe depression there is continued debate as to the effectiveness of ECT: in some studies, it is argued that ECT is marginally more effective than sham ECT. In addition, there is still no clear explanation of how ECT works; among the range of hypotheses proposed it is claimed that ECT may work by harnessing placebo effects. In light of the uncertainties over the mechanism of action of ECT and given the risk of serious side effects that ECT may produce, I contend that the process of informed consent must include comprehensive accounts of these uncertainties. I examine the possible consequences of providing adequate information to potential ECT patients, including the consideration that ECT may still prove to be effective even if physicians are open about the possibility of it working as a placebo. I conclude that if we value patient autonomy as well as the professional reputation of medical practitioners, a fuller description of ECT must be provided to patients and their carers. (shrink)

The Epicureans, Skeptics, and Stoics practiced philosophy not as a detached intellectual discipline but as a worldly art of grappling with issues of daily and urgent human significance. In this classic work, Martha Nussbaum maintains that these Hellenistic schools have been unjustly neglected in recent philosophic accounts of what the classical "tradition" has to offer. By examining texts of philosophers such as Epicurus, Lucretius, and Seneca, she recovers a valuable source for current moral and political thought and encourages us to (...) reconsider philosophical argument as a technique through which to improve lives. Written for general readers and specialists, The Therapy of Desire addresses compelling issues ranging from the psychology of human passion through rhetoric to the role of philosophy in public and private life. (shrink)

Philosophy underwent a corresponding theatrical shift in the modern era, most importantly through the work of Kierkegaard, Nietzsche, Sartre, and Camus.

Conceptual therapy seeks to eliminate from our vocabulary of concepts those that are conceptually pathological. The very use of such concepts—which is much of the time—brings about dysfunctional thinking: thought, that is to say, that leads us astray, paving the way for beliefs and claims to knowledge that are fundamentally nonsensical. A therapy for such concepts may be likened to holding a selective sieve and pouring the ideas with which we attempt to make sense of the world through (...) it, allowing the sieve to filter out those that would otherwise infect our thinking with meaninglessness. -/- Conceptual Therapy: An Introduction to Framework-relative Epistemology was written by the author as an introductory text for university classes in applied skills in epistemological analysis. (shrink)

En el siguiente artículo, nos proponemos indagar sobre la personalidad drámatica que Platón imprimió a alguno de sus personajes, a través del análisis de sus discursos. Junto a ello, se manifestará la aparición diferenciada del filósofo, y de cómo es que este elude los problemas dramáticos que envuelven a los no-filósofos, a partir del distinto interés, comportamiento y comprensión. Sostendremos nuesta interpretación sobre la base de que todos los discursos que conforman el Banquete son verdaderos, donde “verdad” será entendida tal (...) como Heidegger la comprendió dentro de su interpretación de la filosofía de Platón y Aristóteles, esto es, en tanto desocultamiento. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Drama on the Run:A Prelude to Mapping the Practice of Process DramaPamela Bowell (bio) and Brian Heap (bio)In the current educational climate prevailing in a number of countries, increased emphasis is being placed on the concept of "the artist in schools." Funding is being channeled to support a range of initiatives and schemes that are designed to bring arts professionals from all the art forms into the classroom (...) where they place their artistic talents, knowledge, and insights alongside the pedagogic skills of the teacher.We see exciting projects in which artists work with children in school—visual artists to create murals, musicians to compose and perform operas, dancers to choreograph new ballets, and actors and directors to devise plays. Many of the outcomes are of high quality, and the children who have been fortunate enough to be involved have enjoyed the experiences and have gained a great deal from them. This would seem to be a state of affairs to be applauded unreservedly, as such projects surely enrich the lives of the pupils and schools in which they take place. In one sense, of course, this is undeniably true, and we have no intention of suggesting otherwise. However, in reality, this is a much more complex situation. It raises a number of key issues for us as educational practitioners who work in the field of applied theatre, sharing with others, as Judith Ackroyd describes, "a belief in the power of the theatre form to address something beyond the form itself."1The most critical issue is the perceived separation of the artist from the teacher that can sometimes be encouraged by artists in schools projects. We sense a dangerous precedent here. It becomes all too easy for two erroneous assumptions to be made, namely that teachers cannot be considered to be artists in their own right, while artists on the other hand can be accorded [End Page 58] the status of teacher. In our own experience too, the nature of educational funding can be extremely volatile, subject to all kinds of shifts in the prevailing political and economic climate, as well as adjustments to the ways in which funding is applied according to the social and educational priorities of the time. Too frequently, education falls victim to what might be described as "the-flavor-of-the-month syndrome."Those who are involved with teacher education, both pre- and in-service, make superhuman efforts to respond with alacrity to the new demands as courses are reviewed and reorganized accordingly. The trainees of the next generation find themselves with a new "party line" to toe as their courses conform to the new priority. This is all well and good—until the priority changes and gaps suddenly appear in the knowledge or skills or understanding of teachers. What was received wisdom becomes a deficit model as focus changes, and the circle is now expected to be squared.Under these circumstances, it would seem a more prudent policy to train teacher-artists who would have the ability to meld their pedagogical understanding and skill with an aesthetic craft and sensibility than to rely on visiting artists as the "natural" or "normal" providers of arts education. This would ensure not only that teachers would make better, more informed use of visiting artists but also that children's expertly guided engagement with the arts would be a permanent and enduring aspect of their regular schooling rather than a "special" event subject to the vagaries of arts funding or policy. This might seem an easy statement to make for people such as ourselves, who have spent whole careers working as teacher-artists within the field of drama in education. But it might seem an altogether more daunting prospect for teachers, or intending teachers, who are not specialists in the arts.Having spent a great deal of our respective careers working in teacher education, we are very conscious of this possibility. To this end, our research collaboration has been centered on exploring and coming to understand more fully, clearly, and precisely how the teacher functions as an artist within the particular genre of applied theatre known as process drama. Embedded within the increase of our... (shrink)

_Therapy & the Counter-tradition: The Edge of Philosophy_ brings together leading exponents of contemporary psychotherapy, philosophers and writers, to explore how philosophical ideas may inform therapy work. Each author discusses a particular philosopher who has influenced their life and therapeutic practice, while questioning how counselling and psychotherapy can address human ‘wholeness’, despite the ascendancy of rationality, regulation and diagnosis. It also seeks to acknowledge the distinct lack of philosophical input and education in counselling and psychotherapy training. The chapters are (...) rooted in the Counter-Tradition, whose diverse manifestations include humanism, skepticism, fideism, as well as the opening of philosophy and psychology to poetry and the arts. This collection of thought-provoking essays will help open the discussion within the psychological therapies, by providing therapists with critical philosophical references, which will help broaden their knowledge and the scope of their practice. Therapy & the Counter-tradition: The Edge of Philosophy will be of interest to mental health professionals, practitioners, counselling and psychotherapy trainees and trainers, and academics tutoring or studying psychology. It will also appeal to those interested in psychology, meditation, personal development and philosophy. (shrink)

The motif of the ‘drama of being’ is a dominant thread that spans the entirety of Levinas's six decades of authorship. As we will see, from the start of his writing career, Levinas consciously frames the tension between ontology and ethics in a dramatic form. A careful exposition of this motif and other related theatrical metaphors in his work–-such as ‘intrigue,’ ‘plot,’ and ‘scene’–-can offer us not only a better appreciation of the evolution of Levinas's thought, but also of (...) his proper place within the western philosophical tradition. Levinas accuses western philosophers of being exclusively attuned to what he calls the ‘drama of existence.’ And even then, philosophers have eluded the implications of the tragic fatalism that define this drama. Philosophers are generally unaware of an ‘other scene’ that radically alters the fatalistic logic of the ontological drama. Levinas calls this other scene the ‘ethical intrigue.’. (shrink)

Although it might be argued that the social drama is a story in [Hayden] White's sense, in that it has discernible inaugural, transitional, and terminal motifs, that is, a beginning, a middle, and an end, my observations convince me that it is, indeed, a spontaneous unit of social process and a fact of everyone's experience in every human society. My hypothesis, based on repeated observations of such processual units in a range of sociocultural systems and in my reading in (...) ethnography and history, is that social dramas, "dramas of living," as Kenneth Burke calls them, can be aptly studied as having four phases. These I label breach, crisis, redress, and either reintegration or recognition of schism. Social dramas occur within groups of persons who share values and interests and who have a real or alleged common history. The main actors are persons for whom the group has a high value priority. Most of us have what I call our "star" group or groups to which we owe our deepest loyalty and whose fate is for us of the greatest personal concern. It is the one with which a person identifies most deeply and in which he finds fulfillment of his major social and personal desires. We are all members of many groups, formal or informal, from the family to the nation or some international religion or political institution. Each person makes his/her own subjective evaluation of the group's respective worth: some are "dear" to one, others it is one's "duty to defend," and so on. Some tragic situations arise from conflicts of loyalty to different star groups. Victor Turner is professor of anthropology and a member of the Center for Advanced Studies at the University of Virginia. His many publications include Schism and Continuity in an African Society, The Forest of Symbols, The Ritual Process, and, with Edith Turner, Image and Pilgrimage in Christian Culture. (shrink)

Abstract: The argument for interpreting Wittgenstein's project as primarily therapeutic can be extended from the domain of intellectual pathologies that form the core of the Philosophical Investigations to the topics in On Certainty , carrying further Hutchinson's recent argument for the priority of therapy in Wittgenstein's project. In this article I discuss whether the line Hutchinson takes is extendable to the work of the Third Wittgenstein. For example, how does Wittgenstein's discussion of Moore's "refutation of idealism" in On Certainty (...) work as therapy when we think of it in "practice" terms? What practice? I suggest a further, but more tentative, step applying the therapeutic idea to seemingly insurmountable practical problems, where method is also at issue. (shrink)

This article examines the technological construction of political power, as well as resistance to political power, by means of an "ideal-typical" model called a technolog ical drama. In technological regularization, a design constituency creates artifacts whose features reveal an intention to shape the distribution of wealth, power, or status in society. The design constituency also creates myths, social contexts, and rituals to legitimate its intention and constitute the artifact's political impact. In reply, the people adversely affected by regularization engage (...) in myth-, context-, or artifact-altering strate gies that represent an accommodation to the system or a conscious attempt to change it. A technological drama, in short, is a specifically technological form of political discourse. A key point is that throughout all three processes, political "intentions," no less than the facticity and hardness of the technology's "impact," are themselves constituted and constructed in reciprocal and discursive interaction with technological activities. Technology is not politics pursued by other means; it is politics constructed by technological means. (shrink)

Hamilton explains why "drama" is a category of literature rather than of theater, even though it is appropriate to describe many theatrical performances as "dramatic." Consideration of the possibilities of theatrical performance are especially important to this category of literature, but need not be (and often are not) decisive in constraining interpretations of dramatic works.

The Epicureans, Skeptics, and Stoics practiced philosophy not as a detached intellectual discipline but as a worldly art of grappling with issues of daily and urgent human significance. In this classic work, Martha Nussbaum maintains that these Hellenistic schools have been unjustly neglected in recent philosophic accounts of what the classical "tradition" has to offer. By examining texts of philosophers such as Epicurus, Lucretius, and Seneca, she recovers a valuable source for current moral and political thought and encourages us to (...) reconsider philosophical argument as a technique through which to improve lives. Written for general readers and specialists, The Therapy of Desire addresses compelling issues ranging from the psychology of human passion through rhetoric to the role of philosophy in public and private life. (shrink)

Scrutinizing the critical tendency to label texts or writers as "postmodern", scholar Stephen Watt argues that "reading post modernly" merely implies reading culture more broadly. In contemporary drama, Watt considers postmodernity less a question of genre or media than a mode of subjectivity shared by both playwright and audience. 6 illustrations.

The Epicureans, Skeptics, and Stoics practiced philosophy not as a detached intellectual discipline, but as a worldly art of grappling with issues of daily and urgent human significance: the fear of death, love and sexuality, anger and aggression. Like medicine, philosophy to them was a rigorous science aimed both at understanding and at producing the flourishing of human life. In this engaging book, Martha Nussbaum examines texts of philosophers committed to a therapeutic paradigm--including Epicurus, Lucretius, Sextus Empiricus, Chrysippus, and Seneca--and (...) recovers a valuable source for our moral and political thought of today.The Epicureans, Skeptics, and Stoics practiced philosophy not as a detached intellectual discipline, but as a worldly art of grappling with issues of daily and urgent human significance: the fear of death, love and sexuality, anger and aggression. Like medicine, philosophy to them was a rigorous science aimed both at understanding and at producing the flourishing of human life. In this engaging book, Martha Nussbaum examines texts of philosophers committed to a therapeutic paradigm--including Epicurus, Lucretius, Sextus Empiricus, Chrysippus, and Seneca--and recovers a valuable source for our moral and political thought of today. (shrink)

Gustav Aulen's starting point in this book is that God can only reveal himself in the form of symbols; in himself he remains beyond our comprehension. The symbols we use will determine our image of God. A bewildering variety of such images is to be found in modern literature, but the Christian image of God is inseparably linked with the drama of Christ.

Considering the overwhelming amount of media products that we are subjected to in the 21stcentury and the way in which those inevitably influence our perception of reality, this research pays specific attention to the role of the media in the construction and enhancement of stereotypes in everyday life, via the language or, more specifically, specialized languages. In particular, this paper aims to investigate an American legal TV series in order to analyze the way in which legal English is used in (...) dialogues. The major research questions are: to what extent such a kind of specialized discourse may be really understood by the greater audience? How does legal drama participate in the shaping of stereotypes relating to the legal environment in the country where it is produced, and cross-culturally, bearing in mind the prominence of “made in the USA” products in the television programming across the world? Ultimately, in the light of the previous questions, should the growing field of research in audiovisual translation extend its investigation into the area of legal English? Taking into consideration the seminal work of Pedersen and Diaz Cintas in the field of Audiovisual Translation, the study will examine the subtitling techniques employed for this atypical genre. Through the analysis of a corpus comprising several dialogues from a collection of episodes of the legal show Reckless, the paper will mostly focus on gender representations and their most common linguistically enhanced stereotypes. (shrink)

An important strand of current experimental philosophy promotes a new kind of methodological naturalism. This chapter argues that this new ‘metaphilosophical naturalism’ is fundamentally consistent with key tenets of Wittgenstein’s metaphilosophy, and can provide empirical foundations for therapeutic conceptions of philosophy. Metaphilosophical naturalism invites us to contribute to the resolution of philosophical problems about X by turning to scientific findings about the way we think about X – in general or when doing philosophy. This new naturalism encourages us to use (...) resources from psychology that can empirically vindicate precisely some of the most controversial aspects of Wittgenstein’s conception of philosophy: They can establish the need, and provide key tools, for something worth calling ‘therapy’, in philosophy. As ‘pudding proof’ this chapter shows how methods and findings from psycholinguistics motivate and facilitate a therapeutic approach to a characteristically philosophical problem: ‘the problem of perception’. (shrink)

To discern the ethical issues involved incurrent gene therapy research, to explore theproblems inherent in possible future genetherapies, and to encourage debate within thescientific community about ethical questionsrelevant to both, we surveyed American Societyof Human Genetics scientists who engage inhuman genetics research. This study of theopinions of U.S. scientific experts about theethical issues discussed in the literature ongene therapy contributes systematic data on theattitudes of those working in the field as wellas elaborative comments. Our survey finds thatrespondents are (...) highly supportive of thepotential use of somatic cell gene therapy tocure serious diseases in adults and children aswell as prospective offspring. A clearmajority, however, believe that using suchgenetic techniques for enhancement purposes isunacceptable. Delineating the line betweendisease/disorder and improvement/enhancementposes a problem not easily resolved and oneconducive to the growth of slippery-slopeapprehensions. The majority of respondents alsoadvocate germ-line therapy, in theory at least,and under similar restrictions, but theyrecognize the roadblock that the existence ofunanticipated negative consequences currentlypresents. Another complex matter involvestrying to determine appropriate reasons forchoosing target diseases for research, forwhich the dichotomy between rare single-geneand common multifactorial diseases reveals anongoing dilemma. (shrink)