Dear Psyarters,

I am pleased to announce that the 2011 edition of PsyArt has now published four articles representing the broad range of the journal's commitment to the various unions of psychoanalysis, psychology and the arts.  The authors are in Belgium, Canada, the Czech Republic and Hungary, and the subjects range from trauma in literature to neuropsychology to film and painting.  Here are the abstracts of the articles. You can access the journal by going to The PsyArt Foundation or at

I encourage you to submit articles for consideration, and to spread the word about our new website and new address.

Warm regards, Murray

Post-Traumatic Parataxis and the Search for a “Survivor by Proxy” in Coleridge’s “The Rime of the Ancient Mariner”
by Fred Ribkoff , Karen Inglis  January 21, 2011


In light of works by Primo Levi, trauma theory (Herman),

psychoanalytic criticism (Hartman, White), and criticism

concerned with the poem’s dialogism (Macovski, Wheeler), this

article reads Coleridge’s “Rime” as a post-traumatic, paratactic

narrative mirroring the guilt- and shame-ridden experiences of

trauma survivors.  The Mariner is compelled to repeat his story

of trauma because he lacks an “authentic listener” (Laub)

or “survivor by proxy” (Lifton) capable of internalizing and

reflecting his pain and dislocation so as to integrate it into a

new conception of humanity.  The Mariner’s “crisis of

witnessing” (Felman, Laub) is characterized by dissociation

evident in emotionally charged paratactic gaps and the responses

to them by “false witnesses” (Lifton), including the Wedding-

Guest and the Mariner himself, who judge the Mariner based on

inadequate frames of reference.  The authentic reader—engaged

with the paratactic structure of the poem—does, however,

recognize the Mariner’s post-traumatic humanity and is,

therefore, further humanized.

The Monstrous Brain: A Neuropsychoanalytic Aesthetics of Horror? Joseph Dodds, University of New York in Prague
by Joseph DoddsFebruary 14, 2011


Psychoanalysis touches many aspects of the 'two cultures' which seem so hard to reconcile and some analysts oppose neuropsychoanalysis as a dangerous biologizing of the mind (Blass and Carmeli 2007). It may seem that psychoanalytic applications to art and neuroscience are contradictory and pulling in opposite directions. However, the groundwork for a neuropsychoanalytic aesthetics has already begun (Oppenheim 2005, Holland 2003, 2007). Horror seems particularly appropriate for this interdisciplinary project, as it is prototypically a 'body genre' (Williams 1995) privileging affective bodily participation, and the centrality of powerful basic emotions such as FEAR (Panksepp 2004). Psychoanalysis has always had an affinity with horror (Day 1985, Schneider 2009, Creed 1993, Freud 1919, Jones 2008) but is increasingly challenged by new cognitive science approaches (Hasson et al. 2008, Price 2009). This article seeks to bring findings and methods of neuroscience into psychoanalytic film theory, and proposes a neuropsychoanalytic research programme into (horror) film spectatorship. Based on a presentation made at the tenth International Neuropsychoanalysis Congress, Paris 2009

Are Women Really Focalized?
by Katalin BálintMarch 15, 2011


The aim of this paper is to find a way how a psychoanalytic-feminist abstraction and cinematographic-visual facts can interact each other. The goal is to examine the correspondence between the concept of male gaze and focalization, and to find the link between the structuralist term used by narrative theory of film and literature, and the highly theoretic idea of male gaze.
According to the hypothesis, if a conceptual correspondence can be found between the two ideas, then it is possible to transform the concept of male gaze into a focalization pattern – as a constant combination of a male focalizer and a female focalized object – within a film.
At the level of composition, cinematic techniques of internal focalization (focusing on the point-of-view shots) were analyzed in two films by Hitchcock (Vertigo, Marnie).
Results show the temporal structure of the characters’ focalization. Mulvey’s claims are verified partially. The focaliser-focalised combinations reveal complex relations of the narratives.

The non-duality of self-expression
by Ellen Trezevant March 19, 2011


This article explores the non-dual nature of the creative act in its essentially unitive or unifying aspect, based upon the revelations which can arise from an earnest self-inquiry.  This unifying creative action then is viewed as a response of the self to the entire gamut of human experience, i.e., waking consciousness, dream-state consciousness and deep sleep or meditative consciousness.  The visual vocabularies of realism, symbolism and abstraction - as self projective and self perceptive modalities - are compared and contrasted to the three dimensions of human consciousness.  The denial of the absolute reality of external form which naturally arises from the progression towards abstraction, can't be refuted. Nevertheless, the essence of the spontaneously creative act reaffirms itself through its irreducible yet vibrantly unifying quality, continuing to manifest on varying levels of material existence.