Vado il novembre a Meknes per psentare una relazione su queso argomento, spero in un dibattito molto tempestoso. Mi piacerebbe.
Proposition de communication
Mon communication voudrait etre centré sur le probleme du dèrive interpretatif. Le defi le plus importante pour l'hérméneutique c'est d'etablir une limite de l'interpretation. J'ai choisi pour ce recherche d'analyser l'economie de l'interpretation dans le religion et psychose, analysant tous ces deux experiences comme experiences essentiellement interpretatfs, en mettant entre les paranthes leurs possible reference ou manque de reference.. Je veux souligner les limites interpretatifs au de là du quel la religion en niant sa propre origine, celle de donner sens et unir les existant devient fanatisme et devient plus semblable avec le delire psychotique. On cherche le moment dans laquelle la plenitude du sens donée par un vecu religieuse –lecture des signes hierophanique dans le monde, analogie entre l’ame et monde, puisse se transformer en delire interpretatif, en perte du sens et angoise. On voit aussi le consquences de ce type de derive sèmotique quand le jeu avec les signes se transforme en cauchemare cmme das le roman le pendule du Foucault de Umbero Eco. On souligne les rassemblance entre fanatisme et psychose tel l’immaginaire apocaliptique, angoissant, la laceration du monde en psincipes dual opposée, le mepris pour le corporalité., l’elitarisme, le refus de l’Autre et du monde simple, en soulignat la difficulté du mantenir le sentiment religieuse de l’etre sans tombe en exces et sens idolatriser une certain sens ou ne verité considere assolue.
Notice bio-bibliographique
Je suis Teszler Lucia,
j'ai ottenu en mars mon PhD en Philosophie et Hermeneutique philosophique a l'Universitè du Turin avec une thèse intitulè Experiences religieuse et experience psychotique chez C.G. Jung.
Mes interes du recherches sont l’experience numineuse et l’identitè, hermeneutique de l’experience religieuse, philosophie et psychiatrie, intereligiosité
Questo è il convegno
http://www.fabula.org/actualites/article29264.php
lunedì 27 luglio 2009
martedì 21 luglio 2009
martedì 7 luglio 2009
Evidenza
Cos'è l'avidenza naturale?
Una buggia, una illusione cosi come ci sembra tutta la vita e tutti i poccoli piacerid ella vita quando gli guardiamo in seguito a una trauma, a un shock? la filosofia che commincia il suo pensare proprio dal incontro con il male con l'inspiegabile ha visto spesso questa parte del mondo, la parte oscura,il deserto devastato che rimane quando svaniscono tutte le vanità. Nella psicosi poi si parla chiaramente della perdità dell'evidenza naturale (Blanckenburg) e allora? Allora l'uomo vede in modo diverso le cose, vive un disinvestimento libidinale, che gli sembra più vero di tutti i fardelli del mondo visti fin'allora.
Una buggia, una illusione cosi come ci sembra tutta la vita e tutti i poccoli piacerid ella vita quando gli guardiamo in seguito a una trauma, a un shock? la filosofia che commincia il suo pensare proprio dal incontro con il male con l'inspiegabile ha visto spesso questa parte del mondo, la parte oscura,il deserto devastato che rimane quando svaniscono tutte le vanità. Nella psicosi poi si parla chiaramente della perdità dell'evidenza naturale (Blanckenburg) e allora? Allora l'uomo vede in modo diverso le cose, vive un disinvestimento libidinale, che gli sembra più vero di tutti i fardelli del mondo visti fin'allora.
venerdì 12 giugno 2009
Il sottostrato mitico della mente umana
L'ho preso in prestito dalla biblioteca, avevo già sentito bene di questo libro.
sabato 23 maggio 2009
My great sister, Music as Therapy
What Music therapy means to me and to my clients.
Monica Szabo - Psiholog
Scoala Speciala nr. 1, Oradea
- 2007-Jan-25 -
music therapy
http://www.impreuna.arts.ro/articole.php?limba=2§iune=2
I enjoy using music therapy with children with hesitating behaviour. It has happened to me to stand in front of the mirror and play the small drum. I was standing with my back to the child who was avoiding me and I was singing while observing him in the mirror. My position underlined `indifference`, nevertheless suggesting him cooperation only through music and through that interesting `never-explored` instrument.
`Last year, `Music as Therapy` initiated a contest, inviting all Romanian work partners, who develop music therapy programmes in different centres, to respond to the following question: `What does music therapy mean to me and my clients?` The received high-quality letters were studied by the members of `Music as Therapy` from the advisory group of Music Therapists. The hard decision was made and the following specialists were awarded with musical instruments: Seitamet Seian from the Neuropsychiatrical Recuperation and Rehabilitation Centre Techirghiol and Zina Costin from `For You` Day Centre won the 3rd and 2nd places, and the first place was won by Monica Szabo from the Special School no 1, Oradea.\\`
Alexia Quin, Director of `Music as Therapy`
On November 2004 `Music as Therapy` sponsored the participation of 20 persons at `Together through Art for Disabled Persons` Conference.
Composing a song, singing is a communication of personal inner vibrations, of the way in which events, memories, emotional states reverberate at the level of our body. The way in which a child plays the drum spontaneously provides us significant pieces of information regarding the relationship between the Ego’s states - speaking from the transactional perspective: how much freedom the `genuine child` has, how much the `critical parent` intervenes etc.
Therefore, we can observe in a few minutes of spontaneous singing at a percussion instrument the temper, the rhythm, the psychological strength, the repressed or exteriorized hostility, the self-control degree, the conformity degree, the capacity of movement coordination, the anxiety. All these features guide me in my work of empathic closeness to the child. My answer consists both of the client’s reverberations’ characteristics and their resonance produced in me. Hence I communicate to the child that he is understood, that I pay great attention to him, to his way of being and that I accept him as a person. In a secure environment I offer him freedom of expressing the new-born resonances in his inner being.
Music therapy has the advantage of giving the opportunity to simultaneous communication both with the conscious and the unconscious. The use of musical metaphors permits to experience and express vividly various emotional states. The musical metaphors can constitute the first step in identifying, understanding the states of emotional tension and their associations.
I enjoy using music therapy with children with hesitating behaviour. It has happened to me to stand in front of the mirror and play the small drum. I was standing with my back to the child who was avoiding me and I was singing while observing him in the mirror. My position underlined `indifference`, thus suggesting him cooperation only through music and through that interesting “never-unexplored” instrument.
This is how the first two sessions took place. At the third one the child came closer, first to the drum, then to my hair. At the beginning he was playing the drum in a shy and hesitating manner, each time drawing back from this action. Gradually this type of interaction became our first game, and today we use it as an introductory part of our meetings. These children usually prefer routine. For that reason using as musical anchor a song, they will be able to foresee the scenarios that follow and will be less anxious at the change of the game, of space positions, of instrument.
An essential step in therapy is the one when a child with whom I have worked individually starts to collaborate with another child. Even though at first the child won’t know how to interact to him, through different musical games he will learn communication rules, he will learn how to feel comfortable amongst the others.
To school, to me, to the children who attend to our school, music therapy becomes a new hope, a new method of human togetherness, but it could as well be a source of relaxation between colleagues.
Contact Special School from Oradea: t/f 0259 437 891
Monica Szabo - Psiholog
Scoala Speciala nr. 1, Oradea
- 2007-Jan-25 -
music therapy
http://www.impreuna.arts.ro/articole.php?limba=2§iune=2
I enjoy using music therapy with children with hesitating behaviour. It has happened to me to stand in front of the mirror and play the small drum. I was standing with my back to the child who was avoiding me and I was singing while observing him in the mirror. My position underlined `indifference`, nevertheless suggesting him cooperation only through music and through that interesting `never-explored` instrument.
`Last year, `Music as Therapy` initiated a contest, inviting all Romanian work partners, who develop music therapy programmes in different centres, to respond to the following question: `What does music therapy mean to me and my clients?` The received high-quality letters were studied by the members of `Music as Therapy` from the advisory group of Music Therapists. The hard decision was made and the following specialists were awarded with musical instruments: Seitamet Seian from the Neuropsychiatrical Recuperation and Rehabilitation Centre Techirghiol and Zina Costin from `For You` Day Centre won the 3rd and 2nd places, and the first place was won by Monica Szabo from the Special School no 1, Oradea.\\`
Alexia Quin, Director of `Music as Therapy`
On November 2004 `Music as Therapy` sponsored the participation of 20 persons at `Together through Art for Disabled Persons` Conference.
Composing a song, singing is a communication of personal inner vibrations, of the way in which events, memories, emotional states reverberate at the level of our body. The way in which a child plays the drum spontaneously provides us significant pieces of information regarding the relationship between the Ego’s states - speaking from the transactional perspective: how much freedom the `genuine child` has, how much the `critical parent` intervenes etc.
Therefore, we can observe in a few minutes of spontaneous singing at a percussion instrument the temper, the rhythm, the psychological strength, the repressed or exteriorized hostility, the self-control degree, the conformity degree, the capacity of movement coordination, the anxiety. All these features guide me in my work of empathic closeness to the child. My answer consists both of the client’s reverberations’ characteristics and their resonance produced in me. Hence I communicate to the child that he is understood, that I pay great attention to him, to his way of being and that I accept him as a person. In a secure environment I offer him freedom of expressing the new-born resonances in his inner being.
Music therapy has the advantage of giving the opportunity to simultaneous communication both with the conscious and the unconscious. The use of musical metaphors permits to experience and express vividly various emotional states. The musical metaphors can constitute the first step in identifying, understanding the states of emotional tension and their associations.
I enjoy using music therapy with children with hesitating behaviour. It has happened to me to stand in front of the mirror and play the small drum. I was standing with my back to the child who was avoiding me and I was singing while observing him in the mirror. My position underlined `indifference`, thus suggesting him cooperation only through music and through that interesting “never-unexplored” instrument.
This is how the first two sessions took place. At the third one the child came closer, first to the drum, then to my hair. At the beginning he was playing the drum in a shy and hesitating manner, each time drawing back from this action. Gradually this type of interaction became our first game, and today we use it as an introductory part of our meetings. These children usually prefer routine. For that reason using as musical anchor a song, they will be able to foresee the scenarios that follow and will be less anxious at the change of the game, of space positions, of instrument.
An essential step in therapy is the one when a child with whom I have worked individually starts to collaborate with another child. Even though at first the child won’t know how to interact to him, through different musical games he will learn communication rules, he will learn how to feel comfortable amongst the others.
To school, to me, to the children who attend to our school, music therapy becomes a new hope, a new method of human togetherness, but it could as well be a source of relaxation between colleagues.
Contact Special School from Oradea: t/f 0259 437 891
mercoledì 1 aprile 2009
L'odio
L'odio, la rabbia sono legami molto forti, state a larga da queste. E come una dichiarazione di amore, meglio dire di dipendenza. Cosi come l'amore l'odio ci trasforma piano piano nell'altro, diventiamo in questo caso non come la persona amata ma come la persona odiata.
Gli antichi guerrieri forse lo sapevano, o lo intuivano. Il padre di Temujin, che passò nella storia sotto il nome di GengisKhan, il giorno prima della nascita del suo figlio uccisse sel campo un giovine guerriero tataro, ma prima gli chiese il suo nome, poi diede il suo nome al suo figlio. Perché diventi come la persona che uccidi, o che odi per lungo tempo.
Gli antichi guerrieri forse lo sapevano, o lo intuivano. Il padre di Temujin, che passò nella storia sotto il nome di GengisKhan, il giorno prima della nascita del suo figlio uccisse sel campo un giovine guerriero tataro, ma prima gli chiese il suo nome, poi diede il suo nome al suo figlio. Perché diventi come la persona che uccidi, o che odi per lungo tempo.
martedì 24 marzo 2009
domenica 22 marzo 2009
emozioni
Domani sarà il grande giorno. Domani devo sostenere la mia tesi di dottorato di ricerca. Ho emozioni. Perchè? Mi piace la mia tesi. vorrei presentarla in modo attraente, vorrei colpire con l'originalità del mio lavoro. Tanto in 4 anni sarà la prima volta (ups, scusi, la seconda, la prima è stara questa http://www.istitutobanfi.it/XVIIConvegnoNazionale.htm ) quando avrò l'occassione di presentare la mia ricerca davanti a un pubblico.
Mi conosco purtroppo come facilmente mi perdo malgrado amo e conosco bene i argomenti della mia tesi. Tutti dicono che passo l'esame, lo dicono per incoraggiarmi ma io vorrei affascinare e non solo passarlo :)))) Come posso essere brillante quando ho emozioni.
E oggi non so cosa fare.
spero di farcela, alla fine questa è una strada che io e solo io la posso percorrere in questo modo
La mia ricerca ha un titolo di per se provocatorio: l'espereinza religiosa ed esperienza psihotica con l'atenuante che parlo di Jung. Jung è un buon appoggio per questo argomenteo perche decissamente ha approffondito bene questa tema, e perche ha le sue risorse in filosofia dell'irrazionale dell'onirico , dei sogni e visioni che siamo, e nel dolore che ci cambia.
Un'altra ideea provocatoria è di per se la doamnda se Abraamo era normale, o magari sbagliamo noi quando nterpretiamo la sottomissione assoluta alle voci come qualcosa di religioso. Eco la differenza di base tra religione e psicosi, dobbiamo saper domare il amre denro, voci, visioni, impulsi che ci assalgono, cavalcare la tigre come dicono i induisti, e non lasciarsi travolgere da queste forze. Integrando cosi il male ci si arriva a un altro livello di identità.
Un'altra ideea che mi piace è quella che Qualsiasi incontro porta a una crescità spirituale personale o sociale. Infatti uno dei aspetti essenziali della mia ricerca è il rapporto con l'altro sotto l'aspetto di pluralismo religioso, sincretismo ma non solo religioso, anche culturale.
Chi si ferma in eltarismo, si sente siccuro con l'ideea che lui sta sulla parte del bene mentre altro sulla parte del male si sente anche in modo paranoico circondato di nemici, e poi si ferma nel suo sviluppo. Importante che Gesu non è stato elitario, lui andava in giro con persone che in quella società erano cnsiderate indegne. La religione crea una trasvalutazione dei valori.
Spero che i spiriti di Jung, Eliade, Culianu, Nietzsche, Freud stiano con me!!!!
Mi conosco purtroppo come facilmente mi perdo malgrado amo e conosco bene i argomenti della mia tesi. Tutti dicono che passo l'esame, lo dicono per incoraggiarmi ma io vorrei affascinare e non solo passarlo :)))) Come posso essere brillante quando ho emozioni.
E oggi non so cosa fare.
spero di farcela, alla fine questa è una strada che io e solo io la posso percorrere in questo modo
La mia ricerca ha un titolo di per se provocatorio: l'espereinza religiosa ed esperienza psihotica con l'atenuante che parlo di Jung. Jung è un buon appoggio per questo argomenteo perche decissamente ha approffondito bene questa tema, e perche ha le sue risorse in filosofia dell'irrazionale dell'onirico , dei sogni e visioni che siamo, e nel dolore che ci cambia.
Un'altra ideea provocatoria è di per se la doamnda se Abraamo era normale, o magari sbagliamo noi quando nterpretiamo la sottomissione assoluta alle voci come qualcosa di religioso. Eco la differenza di base tra religione e psicosi, dobbiamo saper domare il amre denro, voci, visioni, impulsi che ci assalgono, cavalcare la tigre come dicono i induisti, e non lasciarsi travolgere da queste forze. Integrando cosi il male ci si arriva a un altro livello di identità.
Un'altra ideea che mi piace è quella che Qualsiasi incontro porta a una crescità spirituale personale o sociale. Infatti uno dei aspetti essenziali della mia ricerca è il rapporto con l'altro sotto l'aspetto di pluralismo religioso, sincretismo ma non solo religioso, anche culturale.
Chi si ferma in eltarismo, si sente siccuro con l'ideea che lui sta sulla parte del bene mentre altro sulla parte del male si sente anche in modo paranoico circondato di nemici, e poi si ferma nel suo sviluppo. Importante che Gesu non è stato elitario, lui andava in giro con persone che in quella società erano cnsiderate indegne. La religione crea una trasvalutazione dei valori.
Spero che i spiriti di Jung, Eliade, Culianu, Nietzsche, Freud stiano con me!!!!
mercoledì 11 marzo 2009
On Life After Death- E.Kubler Ross (Review)
My review for this book of the famous Elisabeth Kubler Ross about thanatology.
http://metapsychology.mentalhelp.net/poc/view_doc.php?type=book&id=4572
by Elisabeth Kubler-Ross
Celestial Arts, 2008
Review by Lucia Teszler
Nov 18th 2008 (Volume 12, Issue 47)
It's hard to believe that humans appeared on earth hundreds of thousands of years ago, and since then have progressed in the knowledge of the world, has landed on the moon, haven discovered nuclear fusion and the secrets of genetics, but still have not been able to find out the meaning of life, of death, and especially of premature or sudden death. We tend to treat death and mourning as taboos. But Elisabeth Kubler Ross has changed the world, more exactly, has changed the way humans understand themselves from the perspective of death.
We can admire the courage with which this author dedicated her life to understanding this taboo subject: the psychology of the dying, thus, she reverses a prejudice largely spread in the consumer and 'be happy' world, that of denying the existence of death, of considering it a mistake made by others instead of confronting it and preferring to reduce it to silence instead of listening to the confessions of the dying. However, there is no better teacher than a dying person. (p. 21)
Elisabeth Kubler Ross became famous because of her book Death and Dying where, as a result of her clinical observations, establishes stages in the elaboration of our own death, stages which we can find in any trauma. There in a time of denying, when we continue to plan our lives as if we hadn't heard the diagnosis, or when, after the funeral of our beloved, we are waiting for them to come home, there is a time of rage, a time of negotiations, there is a time of sadness and resignation, and still, there is a time of acquiescence, especially if there is help in the elaboration of these stages.
We can sometimes talk about death without any fear even in front of children, for example when a mother knows that she is dying, she will tell her children, so that they can say goodbye, the mourners must be able to share their pain. Nothing is as painful as silent suffering and the lies with which one tries to hide a grievous event. That is what the fourth chapter of the book deals with.
The book is a collection of four essays on the theme of life after death. It stresses the conclusions the writer has reached in her career, sitting near the dying.
There is no death, says the author. Death is similar to the moment when a butterfly comes out of its cocoon, just like when the soul leaves the body that it gave birth to. Thus, death is the beginning of eternal life, a kind of birth to a higher self conscience.
The arguments she brings in favor of her plausible hypothesis about immortality are the results of the testimony of 20,000 people all over the world, of all cultures, religions and ages who have gone through clinical death.
According to the testimonies in the first moments of death there is an extra sensorial perception, that of leaving the body accompanied by an awareness of body completeness. For example blind people are able to see people around the operation room, and can give details regarding colors, deeds, but when they return to their bodies, they become blind again. So all our senses are entire, we are in a perfect shape.
It is important to know that nobody dies alone because in the moment of our death we are welcomed by those who have died previously, those who preceded us in death even if by little time. Interestingly, the dying often didn't even know about the death of that relative. How is that possible if not through the existence of our soul even after death?
All the patients speak of serenity, of equanimity, of being welcomed by more love on the other side. Then comes the experience of passing through a tunnel or over a bridge, the experience of a place dedicated to passage, accompanied by the recollection of everything we had done, said or thought during our life. And we see things both from our point of view and from those who are around us: how much joy and consolation and how much suffering we have caused. It is important that there is no other judge than ourselves, we are the ones who blame ourselves for not giving the joy when we had the chance to do it. At the other end of the passage a bright, dazzling light is waiting for us and it is perceived as the unconditioned love that created us and to which we return after learning the lesson of life. Those who were in clinical death did not go further this light, but they felt the unpleasant feeling of being put back to their bodies.
What can we learn from these testimonies for our life? The meaning of death as an experience is serenity, peace, trust in an experience of unconditioned love which is waiting for us as a fulfillment on the other side; and probably that's why many readers who were mourning expressed their relief and equanimity after reading it. Man has a choice to become a Nazi monster if he wants, or a comforting soul as Mother Theresa from Calcutta. The way we live our life, the degree in which we give unconditioned love and consolation will be remembered in the moment of our death, where we will be our own judges.
Another conclusion of the book is that we must not fear death because fear hinders us from loving unconditionally, from learning everything we need to understand this life. When death comes by itself it is a passage to a higher state of conscience where there is perception, smile, love, happiness. And our sufferings are meant to help us grow.
And, above all, the meaning these experiences have for life is that one should not be afraid to love, to love unconditionally, without expecting anything in return, one should try to bring as much love and consolation to those around one as possible. Do not postpone it, do not be afraid, love!
© 2008 Lucia Teszler
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