George Hagman – författare

Intersubjective Self Psychology: A Primer offers a comprehensive overview of the theory of Intersubjective Self Psychology and its clinical applications. Readers will gain an in depth understanding of one of the most clinically relevant analytic theories of the past half-century, fully updated and informed by recent discoveries and developments in the field of Intersubjectivity Theory. Most importantly, the volume provides detailed chapters on the clinical treatment principles of Intersubjective Self Psychology and their application to a variety of clinical situations and diagnostic categories such as trauma, addiction, mourning, child therapy, couples treatment, sexuality, suicide and sever pathology. This useful clinical tool will support and inform everyday psychotherapeutic work.

Retaining Kohut’s emphasis on the self and selfobject experience, the book conceptualizes the therapeutic situation as a bi-directional field of needed and dreaded selfobject experiences of both patient and analyst. Through a rigorous application of the ISP model, each chapter sheds light on the complex dynamic field within which self-experience and selfobject experience of patient and analyst/therapist unfold and are sustained. The ISP perspective allows the therapist to focus on the patient’s strengths, referred to as the Leading Edge, without neglecting work with the repetitive transferences, or Trailing Edge. This dual focus makes ISP a powerful agent for transformation and growth.

Intersubjective Self Psychology provides a unified and comprehensive model of psychological life with specific, practical applications that are clinically informative and therapeutically powerful. The book represents a highly useful resource for psychoanalysts and psychoanalytic psychotherapists around the world.

Intersubjective Self Psychology: A Primer offers a comprehensive overview of the theory of Intersubjective Self Psychology and its clinical applications. Readers will gain an in depth understanding of one of the most clinically relevant analytic theories of the past half-century, fully updated and informed by recent discoveries and developments in the field of Intersubjectivity Theory. Most importantly, the volume provides detailed chapters on the clinical treatment principles of Intersubjective Self Psychology and their application to a variety of clinical situations and diagnostic categories such as trauma, addiction, mourning, child therapy, couples treatment, sexuality, suicide and sever pathology. This useful clinical tool will support and inform everyday psychotherapeutic work.

Retaining Kohut’s emphasis on the self and selfobject experience, the book conceptualizes the therapeutic situation as a bi-directional field of needed and dreaded selfobject experiences of both patient and analyst. Through a rigorous application of the ISP model, each chapter sheds light on the complex dynamic field within which self-experience and selfobject experience of patient and analyst/therapist unfold and are sustained. The ISP perspective allows the therapist to focus on the patient’s strengths, referred to as the Leading Edge, without neglecting work with the repetitive transferences, or Trailing Edge. This dual focus makes ISP a powerful agent for transformation and growth.

Intersubjective Self Psychology provides a unified and comprehensive model of psychological life with specific, practical applications that are clinically informative and therapeutically powerful. The book represents a highly useful resource for psychoanalysts and psychoanalytic psychotherapists around the world.

In The Psychoanalysis of Aesthetic Experience: Self, Relationship and Culture, George Hagman eloquently provides an overview of ideas regarding the aesthetic foundation of human experience and the way in which this aesthetic perspective can shed light on human development, culture, and analytic clinical process.

The book discusses the relationship between the psychology of art and the aesthetics of psychoanalytic treatment. Hagman presents a comprehensive psychoanalytic model of the psychology of aesthetics, creativity, beauty, ugliness, and the sublime, as well as a theory of aesthetics across the dimensions of subjectivity, self, intersubjectivity, and culture. Starting from the point of early childhood development, he argues for the importance of exploring the implications of this important psychological phenomenon for clinical practice, highlighting how aesthetics can shed light on a dimension of the psychotherapeutic process that has thus been neglected.

This book is an illuminating and informative read for all psychoanalysts, and anyone interested in the intersection of psychoanalytic practice, aesthetics, creativity, and culture.

In The Psychoanalysis of Aesthetic Experience: Self, Relationship and Culture, George Hagman eloquently provides an overview of ideas regarding the aesthetic foundation of human experience and the way in which this aesthetic perspective can shed light on human development, culture, and analytic clinical process.

The book discusses the relationship between the psychology of art and the aesthetics of psychoanalytic treatment. Hagman presents a comprehensive psychoanalytic model of the psychology of aesthetics, creativity, beauty, ugliness, and the sublime, as well as a theory of aesthetics across the dimensions of subjectivity, self, intersubjectivity, and culture. Starting from the point of early childhood development, he argues for the importance of exploring the implications of this important psychological phenomenon for clinical practice, highlighting how aesthetics can shed light on a dimension of the psychotherapeutic process that has thus been neglected.

This book is an illuminating and informative read for all psychoanalysts, and anyone interested in the intersection of psychoanalytic practice, aesthetics, creativity, and culture.

For the past century psychoanalysts have attempted to understand the psychology of art, artists and aesthetic experience. This book examines how contemporary psychoanalytic theory provides insight into understanding the psychological sources of creativity, Modern Art and modern artists.

The Artist’s Mind revisits the lives of eight modern artists including Henri Matisse, Marcel Duchamp, Jackson Pollock and Andy Warhol, from a psychoanalytical viewpoint. It looks at how opportunities for a new approach to art at the turn of the twentieth century offered artists a chance to explore different forms of creativity and artistic ambition. Key areas of discussion include:

Through the examination of great artists’ lives and psychological dynamics, the author articulates a new psychoanalytic aesthetic model that has both clinical and historical significance. As such this book is essential reading for all those with an interest in the origins and fate of Modern Art.

For the past century psychoanalysts have attempted to understand the psychology of art, artists and aesthetic experience. This book examines how contemporary psychoanalytic theory provides insight into understanding the psychological sources of creativity, Modern Art and modern artists.

The Artist’s Mind revisits the lives of eight modern artists including Henri Matisse, Marcel Duchamp, Jackson Pollock and Andy Warhol, from a psychoanalytical viewpoint. It looks at how opportunities for a new approach to art at the turn of the twentieth century offered artists a chance to explore different forms of creativity and artistic ambition. Key areas of discussion include:

Through the examination of great artists’ lives and psychological dynamics, the author articulates a new psychoanalytic aesthetic model that has both clinical and historical significance. As such this book is essential reading for all those with an interest in the origins and fate of Modern Art.

Art, Creativity, and Psychoanalysis: Perspectives from Analyst-Artists collects personal reflections by therapists who are also professional artists. It explores the relationship between art and analysis through accounts by practitioners who identify themselves as dual-profession artists and analysts. The book illustrates the numerous areas where analysis and art share common characteristics using first-hand, in-depth accounts. These vivid reports from the frontier of art and psychoanalysis shed light on the day-to-day struggle to succeed at both of these demanding professions.

From the beginning of psychoanalysis, many have made comparisons between analysis and art. Recently there has been increasing interest in the relationship between artistic and psychotherapeutic practices. Most important, both professions are viewed as highly creative with spontaneity, improvisation and aesthetic experience seeming to be common to each. However, differences have also been recognized, especially regarding the differing goals of each profession: art leading to the creation of an art work, and psychoanalysis resulting in the increased welfare and happiness of the patient. These issues are addressed head-on in Art, Creativity, and Psychoanalysis: Perspectives from Analyst-Artists.

The chapters consist of personal essays by analyst/artists who are currently working in both professions; each has been trained in and is currently practicing psychoanalysis or psychoanalytic psychotherapy. The goal of the book is to provide the audience with a new understanding of psychoanalytic and psychotherapeutic processes from the perspective of art and artistic creativity. Drawing on artistic material from painting, poetry, photography, music and literature, the book casts light on what the creative processes in art can add to the psychoanalytic endeavor, and vice versa.

Art, Creativity, and Psychoanalysis: Perspectives from Analyst-Artists will appeal to psychoanalysts and psychoanalytic psychotherapists, theorists of art, academic artists, and anyone interested in the psychology of art.

Art, Creativity, and Psychoanalysis: Perspectives from Analyst-Artists collects personal reflections by therapists who are also professional artists. It explores the relationship between art and analysis through accounts by practitioners who identify themselves as dual-profession artists and analysts. The book illustrates the numerous areas where analysis and art share common characteristics using first-hand, in-depth accounts. These vivid reports from the frontier of art and psychoanalysis shed light on the day-to-day struggle to succeed at both of these demanding professions.

From the beginning of psychoanalysis, many have made comparisons between analysis and art. Recently there has been increasing interest in the relationship between artistic and psychotherapeutic practices. Most important, both professions are viewed as highly creative with spontaneity, improvisation and aesthetic experience seeming to be common to each. However, differences have also been recognized, especially regarding the differing goals of each profession: art leading to the creation of an art work, and psychoanalysis resulting in the increased welfare and happiness of the patient. These issues are addressed head-on in Art, Creativity, and Psychoanalysis: Perspectives from Analyst-Artists.

The chapters consist of personal essays by analyst/artists who are currently working in both professions; each has been trained in and is currently practicing psychoanalysis or psychoanalytic psychotherapy. The goal of the book is to provide the audience with a new understanding of psychoanalytic and psychotherapeutic processes from the perspective of art and artistic creativity. Drawing on artistic material from painting, poetry, photography, music and literature, the book casts light on what the creative processes in art can add to the psychoanalytic endeavor, and vice versa.

Art, Creativity, and Psychoanalysis: Perspectives from Analyst-Artists will appeal to psychoanalysts and psychoanalytic psychotherapists, theorists of art, academic artists, and anyone interested in the psychology of art.

Creative Analysis: Art, Creativity and Clinical Process explores the dynamics of creativity in psychoanalytic treatment. It argues that the creative process of the analytic interaction is characterized by specific forms of feeling, thinking and most importantly, relating that result in the emergence of something new – therapeutic change. The artistic aspects of psychoanalysis and various features of creativity in analytic treatment are explored. Clinical examples are discussed at length.

George Hagman presents a new model of the psychology of creativity and art that helps us to better understand the clinical process. The book explores and develops several important implications of Hagman’s main thesis: the psychodynamics of art, the creativity of the brain, aesthetic aspects of the treatment relationship, the creativity of the analyst and analysand.

Change in analysis is driven not just by the analyst’s interventions but the patient’s own motivation and capacity for self-transformation. This change is depicted here as a depth psychological process which explores the sources of the patient’s resistance to self-actualization and identifies hidden potential, unrealized capacities and strengths. Creative Analysis: Art, Creativity and Clinical Process reformulates psychoanalytic therapy as a form of art that can help patients realize their potential which may have been blocked, inhibited, denied or derailed. The book will be of interest to psychoanalysts, psychotherapists, graduates and students, including the educated public interested in art.

Creative Analysis: Art, Creativity and Clinical Process explores the dynamics of creativity in psychoanalytic treatment. It argues that the creative process of the analytic interaction is characterized by specific forms of feeling, thinking and most importantly, relating that result in the emergence of something new – therapeutic change. The artistic aspects of psychoanalysis and various features of creativity in analytic treatment are explored. Clinical examples are discussed at length.

George Hagman presents a new model of the psychology of creativity and art that helps us to better understand the clinical process. The book explores and develops several important implications of Hagman’s main thesis: the psychodynamics of art, the creativity of the brain, aesthetic aspects of the treatment relationship, the creativity of the analyst and analysand.

Change in analysis is driven not just by the analyst’s interventions but the patient’s own motivation and capacity for self-transformation. This change is depicted here as a depth psychological process which explores the sources of the patient’s resistance to self-actualization and identifies hidden potential, unrealized capacities and strengths. Creative Analysis: Art, Creativity and Clinical Process reformulates psychoanalytic therapy as a form of art that can help patients realize their potential which may have been blocked, inhibited, denied or derailed. The book will be of interest to psychoanalysts, psychotherapists, graduates and students, including the educated public interested in art.

Honoring the centennial of Sigmund Freud’s seminal paper Mourning and Melancholia, New Models of Bereavement Theory and Treatment: New Mourning is a major contribution to our culture’s changing view of bereavement and mourning, identifying flaws in old models and offering a new, valid and effective approach.

George Hagman and his fellow contributors bring together key psychoanalytic texts from the past 20 years, exploring contemporary research, clinical practice and model building relating to the problems of bereavement, mourning and grief. They propose changes to the asocial, intra-psychic nature of the standard analytic model of mourning, changes compatible with contemporary psychoanalytic theory and practice. Arguing that the most important goal of mourning is often to preserve, rather than give up the relationship to the deceased, this book provides a more positive, hopeful model. Crucially, it emphasizes the importance of mourning together, rather than alone.

New Models of Bereavement Theory and Treatment: New Mourning will be the go-to resource for researchers, clinicians and interested lay people seeking a clear, accessible overview of contemporary mourning theory, useful in their daily lives and in clinical practice. It will appeal to psychoanalysts, psychotherapists, grief counsellors, as well teachers, undergraduates and advanced students studying in the field.

Honoring the centennial of Sigmund Freud’s seminal paper Mourning and Melancholia, New Models of Bereavement Theory and Treatment: New Mourning is a major contribution to our culture’s changing view of bereavement and mourning, identifying flaws in old models and offering a new, valid and effective approach.

George Hagman and his fellow contributors bring together key psychoanalytic texts from the past 20 years, exploring contemporary research, clinical practice and model building relating to the problems of bereavement, mourning and grief. They propose changes to the asocial, intra-psychic nature of the standard analytic model of mourning, changes compatible with contemporary psychoanalytic theory and practice. Arguing that the most important goal of mourning is often to preserve, rather than give up the relationship to the deceased, this book provides a more positive, hopeful model. Crucially, it emphasizes the importance of mourning together, rather than alone.

New Models of Bereavement Theory and Treatment: New Mourning will be the go-to resource for researchers, clinicians and interested lay people seeking a clear, accessible overview of contemporary mourning theory, useful in their daily lives and in clinical practice. It will appeal to psychoanalysts, psychotherapists, grief counsellors, as well teachers, undergraduates and advanced students studying in the field.