ABSTRACT

This paper describes the psychoanalytic treatment of a woman patient during the first six months of the COVID-19 pandemic, when the setting was profoundly disrupted and was transferred from in-person psychoanalysis to telephone sessions. Drawing on Bleger’s formulations on the construction of the analytic frame and on André Green’s on the function of the framing structure in the construction and elaboration of phantasy life, the case study shows how, in the absence of the physicality of the setting, the most primitive anxieties about the symbiotic relationship with the mother were expressed and contained in the transference and countertransference in the analysis. The author offers some considerations about the notion of “background of the uncanny”, derived from Yolanda Gampel, which draws attention to the challenges when both patient and analyst are inserted into the same traumatic wider context. It is suggested that the production of an art object by the patient during this period represents a step in the elaboration of the work of mourning and towards symbolization.

摘要

本文介绍了在COVID-19大流行的头六个月中对一名女性患者进行的心理分析治疗，当时这种情况已被彻底破坏，并从面对面的心理分析转移到了电话会议。案例研究借鉴了布莱格（Bleger）关于分析框架构建的表述以及安德烈·格林（AndréGreen）关于框架结构在幻想生活的构建和阐述中的作用的案例研究，展示了在缺乏环境物理性的情况下，如何最原始的表达了与母亲的共生关系的焦虑，并包含在分析的迁移和反迁移中。作者对Yolanda Gampel派生的“不可思议的背景”这一概念进行了一些思考，当患者和分析人员都被置于相同的创伤性大环境中时，这引起了人们对挑战的关注。建议患者在此期间制作艺术品代表着哀悼和象征化作品的拟定步骤。