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Uncertainties, Mysteries, Doubts: Romanticism and the analytic attitude, by Robert Snell
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What is it to listen? How do we hear? How do we allow meanings to emerge between each other?
'This book is about what Freud called "freely" or "evenly suspended attention", a form of listening, a kind of receptive incomprehension, which is fundamental and mandatory for the practice of psychoanalysis and psychotherapy. The author steps outside the usual parameters of psychoanalytic writing and explores how works of art and literature which elicit and require such listening began to appear in Europe, in abundance, from the late eighteenth-century onwards.
Uncertainties, Mysteries, Doubts is a timely reminder, in the present era of audit and manualisation, of some of psychoanalysis's deep and living cultural roots. It hopes- by immersing the reader in the emotional, critical and contextual worlds of some artists and poets of Romanticism- to help psychotherapists, psychoanalysts, and counsellors in the endless challenge of staying open to their clients and patients, faced as we all are, therapists and clients alike, by multiple pressures to knowledgeable closure.
- Published on: 2012-10-16
- Original language: English
- Number of items: 1
- Dimensions: 9.25" h x 6.25" w x .75" l, .0 pounds
- Binding: Hardcover
- 232 pages
Review
"In championing a Romantic psychoanalytic attitude, Robert Snell has given us a book whose effect is like that of a pebble in a pond: whatever attitude we bring of our own, questions and ever larger questions ripple out. It will send us back to Baudelaire and the rest, invite us to bring alternative or additional texts and works of art – an invitation accepted in my own references to Swift and Pope – and in its Keatsian way teases us out of thought. It is a book to be read, reread and savoured." - Ken Robinson (Psychoanalyst, British Psychoanalytic Society), BJP, May 2014
"Robert Snell is an analytic psychotherapist and his book is a timely reminder in these days of brief, economically driven therapy of the need to stay true to the basic psychoanalytic stance of respecting the client by maintaining an ‘evenly suspended attention’ – an undirected, actively receptive listening that involves bearing not-knowing and not foreclosing." - Gillian Ingram, Therapy Today, May 2013
"This is not an easy book. It is a book of immense scholarship and refined sensibility, and may be 'above the heads' of many wouldbe readers. But for those who are up to it, this is a real treat, treating us like the sophisticated adults we hopefully are." - John Rowan, ACP North London Magazine, May 2013
"The book, thoughtful, erudite and accomplished, makes a real contribution to the psychoanalytic literature. Its writer has a double professional identity. As a psychotherapist, he focuses his interest here on the particular sort of open, intense therapeutic listening which is the fundamental and difficult basis of effective clinical practice." - Melanie Hart (Analytic Psychotherapist), LCP Reflections (London Centre for Psychotherapy 'Audiences with Authors', October 27th 2012)
About the Author
Robert Snell is an analytic psychotherapist, a member of the London Centre for Psychotherapy, and an Honorary Senior Research Fellow in the Centre for Therapeutic Education at Roehampton University. He has a doctorate in art history from the Courtauld Institute. He is the co-author, with Del Loewenthal, of Post-Modernism for Psychotherapists (2003).
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Introduction to Negative Capability
By John Rowan
"I mean Negative Capability, that is when man is capable of being in uncertainties, Mysteries, doubts, without any irritable reaching after fact & reason..." (Keats, 1958: I, 193) This quotation, from a letter to his brothers, is the source of the title of this book. Negative capability is now a very popular idea in psychotherapy: last year I examined a dissertation entirely based upon it. It is very much in line with the relational ideas which are now so popular in many different fields. What Snell points out is that it is a Romantic notion.
What has Romanticism got to do with psychoanalysis? - I hear you ask. Well, the long first chapter of this book is entitled: `Psychoanalysis and Romanticism: crisis, mourning and the mysteries of the ordinary', and it is mostly about Freud. "It has long been acknowledged that Romanticism was an integral part of Freud's own cultural and linguistic heritage." As the chapter goes on, we become more and more convinced that Freud and Romanticism were by no means the strangers we might have thought. It can be seen at once how original this book is, leading us into fields we never knew existed.
We then proceed, in the second chapter, to examine the analytic attitude of free-floating attention. It turns out that this is far more subtle, and far more difficult, than is usually taught. "A British post-Romantic sensitivity to the aliveness of nature and landscape, to pastoral and agricultural metaphor, to art and a certain spirituality or mysticism, has led to a style of practice that is characteristic of the Independent school." (p.53) Again this is a long chapter, and contains a wealth of information from many difference sources and languages, showing that free-floating attention is a complex and deep notion, meriting deep and extensive study.
Chapter 3 is entitled - "Goya and the dream of Enlightenment" - and it lays more stress on the negative aspects of experience, and of therapy. Again it is enormously illuminating about aspects of psychotherapy which are more often passed over or ignored. And the fourth chapter is much shorter, entitled "Holderlin, Novalis, word without end". Again we get unexpected but illuminative comparisons between Romanticism and analysis.
The fifth chapter is all about Baudelaire - again very probing and stimulating - and here he comes out with this marvelous quotation: "The wonderful envelops us and rains down upon us, like the atmosphere. But we do not see it." (p.127) This is argued to be part of the Romantic attitude, and also a part of psychoanalysis, not often remarked upon.
In Chapter 6 we come at last to Keats. And here is a powerful quote from the book, in which the author become more specific about links between poetry and psychoanalysis: "There is an art which elicits and requires an analytic attitude in the viewer, which frustrates a search for meanings based on logical or discursive thinking, and which instead insists or nudges us into realizing that our attention to it must be free-floating. Only then is there a chance for meaning, often surprising and sometimes unwelcome, to emerge." (p.150)
And we end up with a clear plea: "The present book aims to add its voice in counter-warning: to regard immersion in the radical poetry and painting of the post-Enlightenment as interesting but somehow marginal to the serious, `scientific' practice of psychotherapy might be to deprive ourselves of a vital resource in the struggle against all that which, including from within psychotherapy itself, does violence to the complexity of the human." (p.174)
This is not an easy book. It is a book of immense scholarship and refined sensibility, and may be `above the heads' of many would-be readers. But for those who are up to it, this is a real treat, treating us like the sophisticated adults we hopefully are.
John Rowan 2013
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