Read for a living, not just for fun or learning: Good intentions.

GOOD INTENTIONS

Good intentions

   * Read for a living, not just for fun or learning.

    * Compile a catalog of the platitudes that dull the sound of life; once done, rule them out completely from the receivable sounds.

    * Love writing in a discreet but substantial way, like an ascetic in the desert or like a Zen monk disciplines of the breath.

    * Seeking happiness in idleness and silence.

    * Make sure that no one, in the future, will ever believe that I have lived.

http://cleliamazzini.tumblr.com/post/27505687

to change

Do you know what the most wonderful thing is?

That the change can be so constant that you don't even feel the difference until everything changes.

 It can be such a slow process that you don't notice your life is better or worse as long as it's not different.

Or the change can be radical and everything is different in an instant.

psychotherapeutic field

PROJECT AND DESTINY: pindaric "become what you are" and its decomposition in the psychotherapeutic field

 

It is about "HELPING INDIVIDUALS TO BECOME WHO THEY ARE", paying close attention to the change that

undergoes the 'field' on which the therapeutic action is exercised, as the formula from which we started is multiplied in

other formulas: "BECOME WHAT YOU ARE NOT", "DO NOT BECOME WHAT YOU ARE", "DO NOT BECOME WHAT YOU ARE NOT".

In this sense, it will be necessary to understand well what the motto BECOME WHO YOU ARE implies. A person must be helped to realize one's own nature, rather than to go on to live what seems to us the best form of life.

So, to go back to living 'free-mind' means learning to recognize and accept your own Self as a given. TO this must conform to the true or claimed freedom of the ego. Any possible integration or "repair" of one's own original nucleus will never involve a substantial change or an annulment of that part of oneself which "does not like it". On this theoretical and methodological basis, the initial assertion can then be clarified with expressions popular "BE YOURSELF", "DO NOT BETRAY YOURSELF". The release from drug addiction will coincide, for the rest of the person's life, with the acceptance of their FATE.

"BECOME WHAT YOU ARE NOT", or the possibility of change. Experience has taught us that the PROJECT

overcomes destiny when you feel as possible the transformation of your life under the pressure of ideal goals, however much they are contained by the reality principle. Utopia, exodus, hope are not outcomes denied by psychotherapy. With respect to "become what you are", "become what you are not" is not the opposite of it excludes but as a complementary element. It is about making the two moments in the relationship interact 'free-mind' therapeutic, orienting listening in the direction suggested by the modifications that occur in the 'field' and by 'points of resistance' that emerge.

 "DON'T BECOME WHAT YOU ARE" or limited liberation from conditioning. Both natural conditioning and 

cultural conditioning constitute a determination that hides a more original nature that we cannot exclude being able to achieve in the course of our life. We will not be the ones to suggest this destination to the user as certainly desirable, as it will show itself spontaneously and in unpredictable forms in the therapeutic space.

 The problematic nature of the latter decides on the course that things will take. The other will dislocate 'mind-free' below the careful guidance of the operator.

 "DON'T BECOME WHAT YOU ARE NOT": fidelity to the original datum and perseveration in finite freedom. Only

apparently we have returned to the primitive "become what you are". In reality, the project (to become) adjusts to destiny (what you are) with a movement that we could say centrifugal, while in the original form the movement is, therefore say, centripetal. Here one admits the possibility of becoming "other", therefore of assuming forms, norms, stereotypes and modalities provided by historical models widespread in a given culture, and this possibility is assumed as a risk escape from oneself, as a danger of infidelity to the original datum. However, this possibility, however abstract, entails that freedom without which any imperative would have no sense. It is a finite freedom, a freedom that is, it exercises within conditions, albeit not entirely necessary. The possibility of being oneself takes on value precisely because this finite freedom is preserved. The other will oscillate 'free-mind' within the personal dialectic freedom-necessity.

The breakdown into four moments, starting from the starting formula, is typical of the fundamental problem that opens up the psychotherapeutic field before us: only in this space of constitutive uncertainty do both the authentic possibilities of becoming oneself and not fleeing from oneself, and the fruitful risks of transformation of the original data and the change of direction.

Songs freely drawn and adapted from

MARIO TREVI, Psychotherapeutic work. Limits and Disputes, THEORIA 1993

IN http://www.gabrielederitis.it/?p=590

Chesil Beach

Ian McEwan - Chesil Beach from frailibri by francesca g. through Shared elements by Clelia Mazzini

Einaudi * Supercoralli * (2007), 136 pages, € 15.50

 

mcewan_chesil.jpg The passion for Ian McEwan 

came suddenly, when "Courtesies for guests" gave me called from the shelf of Feltrinelli in Largo Argentina. It was love at first reading; that soft style of hers and enveloping catches from the first page and the story of that newly married couple on vacation didn't leave me for long after I finished reading. The protagonists of his latest novel, "Chesil Beach" are still a newly married couple who, unlike their "predecessors", appear alone in the story: Edward and Florence, starting from their first, very first wedding night.

In the historical period in which the novel is set (early 60s), marriage had a lot of social significance forte: “They were still times, destined to end at the end of that famous decade, in which being young was a social encumbrance, a mark of irrelevance, a condition of slight embarrassment for which marriage it represented the beginning of a therapy. Roughly strangers, there they are, strangely together on a new peak of existence, glad to think that their recent status allowed them to push them on the radiant path of one endless youth: 

Edward and Florence, finally free! "

A couple of individuals seem to take off for a new life, with long hopes and expectations - a career sparkling in music she, fame as a history writer he - and in the short term - a freedom that is not only social, but it is also sexual; the possibility of freely granting one another out of any judgment.

Precisely the naturalness of a first relationship between husband and wife is the cause that breaks the serenity (as it was success in "Courtesies for guests", in which the cause was "external" to the couple). That sun that seems to illuminate the characters of the novels in the first pages, slowly takes on the glacial glow of doubt, ambiguity, of suffering.

Florence doesn't want to indulge in Edward, she has no interest in sex, she even feels repulsion in front of a, so carnal act.

 It delves into the past of the couple to try to know and understand them, through families, childhood. It follows then the evolution into a future beyond a sliding door that opens onto two possibilities and several opportunities. Edward and Florence, coherent and proud, made little free from their own convictions and firm in their positions, pass beyond the "door", without even looking at the "ifs" it offers and go straight to their streets.

Only once will they look back and see each other in their own lives they will ask themselves “what if…”; and it will be

 - maybe

- too late.

 Perhaps less "anxious" novel than "Courtesies for the guests", far from the thrillers that make you shiver at the back, plays on the tenderness and the apparent "linearity" of the characters, who find themselves complex and unsettling as we proceed to dig into the past, but above all to follow them in this post-wedding that is the backbone of the novel.