Grounded Theory methods in child psychotherapy research

This article considers the place of qualitative research in psychoanalysis and child psychotherapy. It discusses why research methodology for many years occupied so small a place in these fields, and examines the cultural and social developments since the 1960s which have changed this situation, giving formal methods of research much greater significance. It reflects on the different pressures to develop formal research methods which arise both from outside the psychoanalytic field, as a condition of its continued professional survival, and from within it, where its main aim is the development of fundamental psychoanalytic knowledge, It suggests that the conduct of mainly quantitative research into treatment outcomes is largely a response to these external pressures, whilst the main benefits to be gained from the development of qualitative research methods, such as Grounded Theory, are in facilitating the knowledge-generating capacities and achievements of child psychotherapists themselves. The paper describes Grounded Theory methods, and explains how they can be valuable in the recognition of hitherto unrecognised meanings and patterns as these are made visible in clinical practice. Finally, it briefly describes five different examples of completed doctoral studies, all of which have added significantly to the knowledge-base of child psychotherapy, and which demonstrate how much can be accomplished using this method of research.

The Creative Unconscious and the Pictorial Sign

Within The Creative Unconscious and Pictorial Sign I explore the dialogue that exists between social language and personal expression to understand how creativity is mediated. I consider how the involuntary inventiveness of artistic creativity and the structuring function of language come to negotiate what artists can experience and represent. My Doctoral practice attempts to question the influence of orthodox postmodernist views and allow sensual and direct experiences to be located within improvisation and spontaneous approaches to image making. I ask if it is possible for a humanistic and psychological interpretation of creativity to move beyond the copy and quotation that some postmodern theories of simulation and the hyperreal advance; but to retain the communicative function of visual expression and the model of a social form of signification instead of naïvely promoting unintelligible and personal languages.