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Dialogue through images, dialogue through projects Angela Sordano.

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1 Dialogue through images, dialogue through projects Angela Sordano

2 Group inter-subjective relationships tend to be structured through symbolic configurations which characterize the meaning of interpersonal exchanges. In a Junghian perspective these configurations are archetypically and mythologically featured.

3  Structure  Collective imaginary: mythological, archetypical  Emotive knots  The contents

4  Our psychodynamic model does not refer to object relations, but to a “Self model” based on intersubjective (Fonagy, 2001) and Jungian concepts of personality (Lyard D, 1999, Neumann E, 1991). In this perspective, mind is a dynamic field regulated by integrating or deintegrating forces within the individual and the relational context.

5 Undifferentiated self Selbst Bodied self Ego You mother Selbst Psychological self Other Father non Mother Grand father Ego Therapist Selbst Ego You- mother Alienated self Shadow Third father

6  Figurative thinking (dreams, art, imagination) is the main media which allows interaction between affectivity and self structure (Jung. C.G., 1976, Kaes R.,2001,Sordano A. 2006, Arnheim R. 1996, Lucignagni e al.,2007) and between acting and thinking. The failure in working through images is an important diagnostic sign.


8  Opening dream:“I am at the beginning of a wood. It was dark, but I felt the entrance as inevitable, even if I was scared. After a while I saw a fountain. I entered and suddenly I felt drawn into it. I realized to be in an abandoned town where all the buildings were damaged. The place inspired great desolation and everything was grey. Houses did not have doors or windows. After a while a dog came towards me and enjoyed playing with me. It was brown. It looked like my old dog. The one I had at home!”

9  structure: the group constitution  Collective imaginary: separation from home, the entrance into the wood and the wolf meeting  Emotive knots: despair and loneliness  The contents: most of the adolescents confront on experience of abandon and loss, parents’ inadequacy

10  Someone speaks about her escaping from home and forgetting her shoes.  All the members play throwing their real shoes at each other. The leader feels thrown out of the group.

11  Structure: the couples of brothers.  Collective imaginary: meeting the witch and the brothers’ partnership in the wood.  Emotive knots: the transgression experiences  Contents: most of the adolescent speak and act measuring adult limits

12  Opening dream:”I was with my schoolmates at lunch. A boy and a girl were in love and another boy was making fun of a friend of mine-I tried to help her, but in the meantime professors came in and suspended us.”  A real memory:”The teacher knew who stole the pokermon cards, but she wanted me to betray my group class”.

13  Structure: generational differences  Collective imaginery: the defeat of the Giant  Emotive knots: the persecution feeling and invisibility as a protection strategy  Contents: holocaust, repression and conflictual requests from adults

14  Opening dream: “I was on my bed with a girl of this group.Suddenly my mother enters in my bedroom and starts to dialogue with me.She doesn’t see the girl. Probably she couldn’t imagine what I was doing. She thinks I am still a baby”  Real memory:”I am in the kitchen and having dinner with my parents and brother. The television transmits the news in which a 15°year old girl was pregnant and wanted to carry on the pregnancy against her parents will. My brother asks my parents what would they have done if the girl had been me. They become angry and shout at him.”

15  Structure: the genders encounter and the construction of a inner dialogical space  Collective imaginary: the love between Eros and Psyche  Emotive knots: overcoming familiar matrix links and the birth of subjectivity  Contents: the impossibility to avoid examinations and the rituality of sexual initiation

16  Opening : a boy’s dream: two boys are fighting over a girl. The relationship isn’t equal since one is bigger and stronger and the other one looks like a child or a victim.  Ridefinition of transgenerational script: A girl with phobia:” I remember my grandfather and a trip in which he, my cousin and I were traveling in an old open car… he was teaching me how to be free and how to be in contact with nature.  Project: I imagine to stop being Snowhite, I prefer leave the group as a princess to whom the king has left the kingdom”  Question: Do you adults dream like we do?

17  Structure: the passage from diadic relashionships to triadic ones  Collective imaginary: the hero appearance (new ego)  Emotive knots: overcoming victimization, transgeneretional predictions and trauma  Contents: the discover of the “Third” and the birth of new self projects

18  The birth of couples who imitate and tease each other. This kind of partnership is a mirroring form and the key to increase self esteem and self perception through the “other” relation.

19  The necessity to permit a “performance space” in which body can freely express through its objects and games for the passage from acting out to enactment and to dream (Sordano A.,2006- Schechner R.,1984).

20  The connections within dreams, real happening in the group and personal experience through a figurative narration able to translate projections and feelings within a dramatic plot (Sordano A, 2006, Gasca G.,2003).

21  Role playing and free play as promoters of empathy and emotive tuning (Zizzo G.2002).

22  Leader subjectivity, through the ability to swing between the necessity to impose limits and to read the symbolic scene of the group dynamics (Richardz B.,2008).

23  Group cohesion to overcome developmental conflicts between generations ( Evans J,2001-Cramer A.F.J, Richmond L.H.,1989).

24  Triangulating fuction through the group promotes secondary intersubjectivity level (ability to represent the other’s mental state): “Do you adult dream as we do?”(Fonagy P.-Target M.,2004- Lyard D,1999- Neumann E.,2000)

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