Film studies inspired by the theories of British psychoanalyst Donald W. Winnicott are scanty. Although this may be partly explained by Winnicott's own somewhat unenthusiastic attitude toward cinema, it should be fruitful to approach film, in both its form and content, by taking into consideration the relevance of some of his ideas. These include in particular the concepts of mirroring and transitional space, especially in relation to the idea of a bridge space connecting external reality to its filmed representation, as well as the latter to reality as perceived by the viewer's gaze. Winnicott's developmental model of mental processes could prove useful for an understanding of the structural and functional characteristics of cinema, as well as for providing original interpretations of individual films.
Much has been written about Sartre’s views on artistic creativity as communication, but it has less often been remarked that the potential for not-communicating was inscribed from the outset within his theorisation of creation. This article is an exploration of those two apparent opposites, using the psychoanalytic theory of D.W. Winnicott as a counterpoint.
Hamlet as a Material Object
This article challenges A.W. Pollard’s foundational distinction between good and bad quartos, which confuses ethical and bibliographical categories. Some quartos are badly inked, or printed on poor-quality paper. But Q1 Hamlet is a professional, well-made commodity. Zachary Lesser has conjectured that Q1 sold poorly, and has claimed that the similarity of the title pages of Q1 and Q2 supports that hypothesis. But both title pages are typical of Ling’s books, and their similarities are no more remarkable than those in Ling’s different quartos of Michael Drayton’s poems. Q1 Hamlet apparently sold more quickly than Q2. Using D.W. Winnicott’s theories about the ‘good enough mother’ and ‘transitional objects’, we can identify Q1 as a ‘good enough quarto’.
(Queer) Girls’ Adolescence, Risk, and Subjectivity in Blue is the Warmest Color
read as influencing her anticipation of what life may be and contain and who she may become as she approaches adulthood. For psychoanalyst DW Winnicott, the adolescent is charged with this problem of existing—at the same time as she builds an adult
Demythologizing Girlhood in Kate Bernheimer’s Trilogy
Peter Brooks (1984) , that the act of choosing enables the selector to triumph over death. Again, the hope chest offers both redemption and self-preservation. Following Freud, D. W. Winnicott’s notion of the “transitional object” could also be key to
Wang Zhen, Alfred Tovias, Peter Bergamin, Menachem Klein, Tally Kritzman-Amir, and Pnina Peri
perpetuates Jewish (patriarchal) society. Motherhood is an individual as well as a universal experience. But it is also a fantasy of the perfect and flawless mother, what Winnicott (1971) called the ‘good-enough mother’. Mothering, Education and Culture
Thoughts on Sartre, Lacan, and Contemporary Psychoanalysis
with British object relations theorist D. W. Winnicott, who once observed that interpretations are more likely to serve the analyst’s vanity than the analysand’s needs. Or, as Sartre points out, interpretations, delivered as truth, can reinforce the
Jason Dean and Geoffrey Raynor
Mechanisms .” Journal of Psychotherapy Practice and Research 5 ( 2 ): 160 – 179 . Ogden , Thomas H. 1992 . “ The Dialectically Constituted/Decentred Subject of Psychoanalysis: II. The Contributions of Klein and Winnicott .” International Journal of