When Affects and Objects Have Not Formatted in yoga poses the Same Way.
AFFECTS WITHOUT AN OBJECT
In speaking of Kurt Goldstein, I discussed the difficulty of working with affects without objects. ? These affects manifest at the level of feelings and behavior, but the representations that can be associated with them either remain in yoga poses the unconscious or have never been able to establish themselves in yoga poses the conscious mind. They can influence behavior but do not act on the thoughts, save in yoga poses a nonconscious fashion. Goldstein's patients were soldiers who had experienced trauma in yoga poses such a confusing war that they were not able to relate the representation of an aggressor to their fear.
Beatrice Beebe (2005) describes the same kind of phenomenon concerning a patient who had undergone a long series of traumatic events, especially sexual ones, ever since birth. These events had occurred before the formation of her explicit memory. As an adult, this person, a brilliant academic, could not apprehend the crumbling state of her affects.
John May (2006a), 96 a body psychotherapist in yoga poses the United States, has taken up the hypotheses of Bucci, Beebe, Downing, and Heller to talk about a patient who experiences strong emotions but cannot connect them to any meaning or words.
More and more often, psychoanalysts include the body in yoga poses their reflections, and they continue to assign to it modes of thought that are archaic, subsymbolic, and infantile. In yoga poses other words, the body is closer to the vegetative layers, while speech permits the integration of the complex functions of the mind. The body psychotherapist more easily integrates an adult, creative, and intelligent body into his reflections, like the one of the lover, the dancer, the gymnast, and the craftsman. This brings us to a picture with at least two entry points (it is always possible to refine this by adding additional categories):
1. (A) archaic layers and (B) complex layers of the mind.
2. (A) thinking with gestures and (B) thinking with words.
Wilma Bucci's model is centered on the coordination between the cases 1A-2A (the archaic layers elaborated by passing through motor activity) and 1B-2A (the symbolized layers that are elaborated thanks to language), and it leaves the other possibilities aside. John May takes up this discussion by presenting the case of a patient (JL) who suffers from alexithymia. 97 This case makes it possible to illustrate how the 1B-2A axis is built.
Vignette on JL. JL is unable to relate the representative aspect of the emotions with the vegetative dimension of the emotions. In yoga poses the session described in yoga poses his article, May proposes to the patient that he take a bioenergetic posture that allows him to feel the tension that inhibits respiration. He asks the patient not to control what will happen with his mind and to have confidence that the posture that he is proposing will do all of the work. In yoga poses less than a minute, the patient's diaphragm distends, and the patient begins to cry. The tears gradually transform into a demonic rage. In yoga poses this session, the patient clearly feels his violent emotions and expresses them in yoga poses a way that the therapist can have a clear impression of what is experienced, but the patient has no image, no words to describe what has just happened. This does not prevent the patient from feeling better and being more relaxed at the end of the session, as if he had expressed something that had been built up in yoga poses him. May knows by experience that these emotions will return with force in yoga poses the weeks to come.
By working this way for several years, the patient could recognizes somatic sensations and events that he was not aware of previously. He has learned that they sometimes indicate that he is sensing some sort of emotion, and in yoga poses many cases he can directly experience the emotion. ? This work of calibration goes on at the level of the body without opening up onto the representations at first. Here, May uses Bucci's notion of subsymbolism to explain this work of calibration. He does not try to create a direct link between body feelings and representations. His strategy is to help the patient increasingly feel clear links between his emotions and his expressions, which he could describe verbally. May explicitly works from the notion that an emotion is elaborated by the treatment of different neurological, organismic, and mental circuits that are formatted in yoga poses different machine languages, most of which do not use representational systems to function. 99 The aim of John May's work is to support different forms of coordination between the subsymbolic systems to create the conditions that will support the emergence of the mechanisms that allow explicit connections between affects and representations. To create a link with the systems of representation, he set about to take the same postures as JL's in yoga poses front of a mirror. JL is then able to verbally describe what he perceives in yoga poses his therapist. This technique creates a system of reference between the verbalized representations of the patient, John May's posture, and the patient's posture. 100 This type of mirror play can also awaken circuits from early infancy when the baby rejoiced every time his parents imitated him With this type of approach and concepts, gradually the rapport between body representations and verbal representations was able to relate anew in yoga poses JL's mind when he felt an emotion.