By Luciana N. Momigliano
A set of essays by means of a psychoanalyst who practices in a rustic whose language isn't well-known to nearly all of readers within the Anglo-Saxon international is to be heartily welcomed-all the extra so whilst the writer is as skilled and worldly os Dr. Nissin Momigliano who got here into psychoanalysis within the aftermath of the reorganization within the aftermath of the second one international War.. She has endured to develope her personal principles fairly at the problems with method and perform. during this quantity she proposes to inform readers approximately her personal approach of operating focusing on the surroundings within which analysts and sufferers paintings, and the educating of these who desire to know about the strategy Adam limentani
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Extra info for Continuity and Change in Psychoanalysis: Letter from Milan
I must, however, admit that this does not interest me at all at this juncture. I have i n fact realized that what really mattered to me i n writing these notes was to convey to the reader how pleased and entertained I was i n reading these books, which induced me to look for others and then even more; I followed up every trail that was a potential source of new information for me, looking here and there for unfamiliar curiosities and anecdotes, even if i t sometimes meant indulging i n gossip myself.
T h e s e student-patients, who managed to obtain teaching from the most eminent analyst s (Kardiner) even before training w a s formalized, were of course allowed quite early on to participate i n the scientific meetings of the V i e n n a Psycho-Analytica l Society (Kardiner) or, like Bonaparte, i n the s m a l l fortnighdy meetings that F r e u d , unabl e to s t a n d u p to large meetings after h i s first operations, again began to hold i n h i s waiting-room; 18 CONTINUITY AND C H A N G E IN PSYCHOANALYSIS these included six Viennese analysts who took part regularly and six guests invited by turns.
He considers that this part of the work is, from the very beginning and over a very long period of time, handled and carried out principally by the analyst, and therefore created by the analyst; Di Chiara is perhaps one of the first to realize that the setting is not only the situation described above, b u t basically a mental attitude of the analyst, which he describes i n this way: 'the analytical limits of the setting could be defined i n the following terms: that the analyst should only interpret, that he should interpret behaviour relat ing to the setting too, clarifying its function, and, following Bion's teachings, that he must not be led astray by his own desire/ B u t the most poetic description of the setting that I can remember is the one that Flegenheimer gave us, i n his quiet voice, and w i t h his typical esprit de Jinesse, i n a comment during the October 1986 panel i n the Milan Centre of Psycho analysis: T h e setting is like the darkness i n a cinema, like the silence i n a concert hall.