Empathie in der Psychotherapie aus neuer Perspektive

Die traditionellen Empathiekonzepte (z. B. Rogers, Kohut), die in der Psychotherapie bis heute maßgebend sind, werden einer gründlichen Überprüfung unterzogen. Dabei ergeben sich drei wesentliche Kritikpunkte: (1) Empathische Vorgänge in der Psychotherapie werden als einseitige Prozesse verstanden; der Therapeut fühlt sich in die Klientin ein, nicht auch umgekehrt. (2) Empathie wird in Cartesianischer Tradition schwerpunktmäßig als kognitive Leistung gesehen; ein körperloser Geist vergegenwärtigt sich die mentalen Inhalte eines anderen. (3) Das traditionelle Empathieverständnis ist individualistisch: Therapeutin und Klient halten sich demnach scheinbar im luftleeren Raum auf. Es sieht so aus, als existiere kein Kontext, der sie umgibt. So einseitig, wie ihre Beziehung gedacht wird, so abgetrennt, wie ihr Körper von ihrem Geist zu sein scheint, so unverbunden sind sie scheinbar mit dem Rest der Welt. Aus diesen drei Kritikpunkten folgt die Notwendigkeit, den Empathiebegriff der Psychotherapie zu erweitern, d. h. (a) Empathie als gegenseitigen Prozess der Beteiligten zu begreifen, (b) ihre tiefe Verwurzelung in der Leiblichkeit des Menschen zu berücksichtigen und (c) ihre Einbettung in die Dynamiken einer gemeinsamen Situation im Rahmen eines kulturellen Kontextes einzubeziehen. Mit Rückgriff auf neuere Untersuchungsergebnisse aus der Entwicklungspsychologie (z. B. Emde, Hobson, Meltzoff, Stern, Trevarthen), der Sozial- und Emotionspsychologie (z. B. Chartrand, Ekman, Goleman, Hatfield, Holodynski), der sozialen Neurowissenschaften (z. B. Damasio, Gallese, Iacoboni, LeDoux, Rizzolatti), aber auch mit Hilfe der Erkenntnisse aus der klassischen (Husserl, Merleau- Ponty, Edith Stein) und der Neuen Phänomenologie (Schmitz) sowie aus symbolischem Interaktionismus (Mead) und aus der kulturhistorischen Schule (Vygotskij) werden diese drei bislang wenig beleuchteten Dimensionen der Empathie betrachtet. ad a) Die Gegenseitigkeit empathischer Vorgänge in der Psychotherapie wird anhand des entwicklungspsychologischen Konzepts des social referencing erläutert und untersucht: Kleinkinder, die in eine unbekannte bzw. unsichere Situation geraten (z. B. im Experiment mit der "visuellen Klippe"), orientieren sich an den nonverbalen Signalen ihrer Bezugspersonen, um diese Situation zu bewältigen. Dabei erfasst die Mutter die Situation des Kindes, versucht ihm ihre Stellungnahme zu seiner Situation zu übermitteln, und das Kind begreift die Reaktion der Mutter als Stellungnahme zu seiner Situation. ad b) Die Körperlichkeit bzw. Leiblichkeit der Einfühlung manifestiert sich in vielfältigen Formen, wie sie von der Psychologie, der Phänomenologie und den Neurowissenschaften erforscht werden. Das kulturübergreifende Erkennen des Gesichtsausdrucks von Basisemotionen ist hier ebenso zu nennen wie die Verhaltensweisen des motor mimicry, bei dem Menschen Körperhaltungen und – bewegungen ihrer Bezugspersonen unwillkürlich imitieren; des Weiteren das unmittelbare Verstehen von Gesten sowie die Phänomene der „Einleibung“, bei denen die körperliche Situation des Anderen (z. B. eines stürzenden Radfahrers, den man beobachtet) am eigenen Leib mitgefühlt wird; und außerdem die Entdeckung der „Spiegelneurone“ und anderer neuronaler Strukturen, durch die Wahrgenommenes direkt in analoge motorische Aktivität übersetzt wird. ad c) Intersubjektivitätstheoretische Überlegungen, Konzepte wie „dyadisch erweiterter Bewusstseinszustand“ (Tronick) und „gemeinsame Situation“ (Gurwitsch, Schmitz) verweisen auf die Bedeutung überindividueller, ‚emergenter’ Dimensionen, die für die Verständigung zwischen Menschen wichtig sind. Sie folgen gestaltpsychologischen Prinzipien („Das Ganze ist mehr und anders als die Summe seiner Teile.“), die mit Hilfe von Gadamers Begriff des „Spiels“ analysiert werden. Am Ende der Arbeit stehen die Definition eines neuen Empathiebegriffs, wie er sich aus den vorangegangenen Überlegungen ergibt, sowie eine These über die psychotherapeutische Wirkweise menschlicher Einfühlung, die durch weitere Forschungen zu überprüfen wäre.

Grotesque in Dickens

Dickens's use of the grotesque in his novels undergoes a variety of changes. For convenience sake, and to better illustrate the developments of the grotesque, I divide the novels into three separate groups. The first group, the period of experiment, included the novels from Pickwick Papers through Barnaby Rudge; the second group, the period of transition, includes the novels from Martin Chuzzlewit through David Copperfield; and the third, the period of a new vision. included the novels from Bleak House through Edwin Drood. Basically, I see the development of the grotesque involving a change in Dickens's conceptions of society, as well as responding to complex changes in society itself; Dickens's vision loses much of its humor in the end, yet it also reflects a definite maturity.

You know how I know you're gay? : masculinity and homophobia in mainstream comedy

You Know How I Know You're Gay?: Masculinity and Homophobia in Contemporary Mainstream Comedy is a three-part senior scholars project that consists of a critical analysis of homophobic humor in contemporary mainstream comedy, an original feature-length comedy script entitled Don 't Be that Freshman, and a DVD of selected scenes from Don't Be that Freshman. The critical analysis first establishes the existence of homophobic humor in mainstream comedy and then links this homophobia to masculine anxiety, applying the ideas set forth in Michael Kimmel's essay, "Masculinity as Homophobia," to contemporary, mainstream, homosocial comedies. The paper goes on to examine audience reactions to this homophobic humor, focusing on audience members who enjoy these movies, yet consider themselves to be accepting of homosexuality and against homophobia. I discuss ways of resistance and the importance of opposing homophobic humor, and finally, I look at comedy as a potentially transgressive medium that could be used to fight homophobia and social inequality. The critical analysis, therefore, leads into Don't Be that Freshman, a film that uses progressive humor to oppose homophobia and expose the potential dangers and pitfalls of conforming to social constructions of gender. Don't Be that Freshman is a film about three pairs of college roommates in their first semester at college who become each other's first friends on campus. It is a character-driven comedy that attempts to normalize non-heterosexual sexual orientation and gender non-conformity, to advocate a type of living that does not conform to problematic social constructions and cultural ideologies, and at the same time to appeal to a mainstream audience. The film version is twenty-five minutes long and consists of ten scenes from the script.

Humor gráfico: o sorriso pensante e a formação do leitor

This research investigates the graphic humor, in particular the political cartoon and the cartoon, texts characterized by mixing visual-oral language, and its contribution in the formation of the reader. Recovers the main theories about the comicality in general and verifies the presence of these concepts into the texts of graphic humor and how they articulate themselves within the process of seducing the reader. Grounded in the studies of Umberto Eco about the cultural industry products and its relations with the literary theories and the aesthetics reception. After analysing texts of graphic humor, the study concludes that the triad, image-word-humor reveal a sophisticated arrangement which allows the reader to practice effectively the political cartoons and cartoons of production, of sense, cooperating in such a singular manner to the formation of a reflexive reader

Legendagem e dublagem: diferenças na tradução do humor

This work aims on an approach concerning on Translation Theories, as well as the translational difficulties, the linguistic barriers with which the translator must know how to deal, the role of the translator as a conscious subject of his work while creating new texts and producing meanings. We will develop a discussion focused on the audiovisual translation practice which means the translation for subtitles and dubbings. It will be shown the translation process on both modalities and also the issue about the translation of humor in each of them, as the translator must use his translational skill, cultural and linguistic knowledge and creativity, not only to circumvent the rules imposed by the audiovisual translation market, but also to be able to create a new language for each character presented in the original material, so that the translation in Portuguese language may contain proper traces of humor from the Brazilian culture. Our main goal is an attempt to explain the reason for so many questions from the public who does not know the rules in the market for subtitling and dubbing translation and sometimes criticize the work of the translator if they realize any ‘loss of information’ or ‘a translation very poorly done’. Theories and arguments which prove that no translation is done badly, but it goes through recreations and modifications whenever it is necessary will be presented. By the explanation of this translation process, citation of translators who work in this area telling about their experiences and selected examples of translations from the ‘Everybody hates Chris’ sitcom, we hope to reflect and clarify such doubts.

A produção e a compreensão do humor por uma criança bilíngue: um estudo de caso

Pós-graduação em Linguística e Língua Portuguesa - FCLAR

Elementos constitutivos do humor em sitcoms: uma análise à luz dos estudos da tradução baseados em corpus

Coordenação de Aperfeiçoamento de Pessoal de Nível Superior (CAPES)

Working Alliance Inventory-Short Revised (WAI-SR): psychometric properties in outpatients and inpatients

The Working Alliance Inventory-Short Revised (WAI-SR) is a recently refined measure of the therapeutic alliance that assesses three key aspects of the therapeutic alliance: (a) agreement on the tasks of therapy, (b) agreement on the goals of therapy and (c) development of an affective bond. The WAI-SR demonstrated good psychometric properties in an initial validation in psychotherapy outpatients in the USA. The generalizability of these findings is limited because in some countries a substantial portion of individual psychotherapy is delivered in inpatient settings. This study investigated and compared the psychometric properties of the WAI-SR in German outpatients (N = 88) and inpatients (N = 243). In both samples reliability (alpha > 0.80) and convergent validity with the Helping Alliance Questionnaire were good (r > 0.64). Confirmatory factor analysis showed acceptable to good model fit for the proposed Bond-Task-Goal model in both samples. Multi-group analysis demonstrated that the same constructs were measured across settings. Alliance ratings of outpatients and inpatients differed regarding the overlap of alliance components and the magnitude of the alliance ratings: The differentiation of the alliance components was poorer in inpatients and they reported lower alliances. Unique aspects of the alliance in inpatient treatment are discussed and a need for further research on the alliance in inpatient settings is pointed out. Overall, the WAI-SR can be recommended for alliance assessment in both settings.

Change mechanisms of schema-centered group psychotherapy with personality disorder patients

Background This study addressed the temporal properties of personality disorders and their treatment by schema-centered group psychotherapy. It investigated the change mechanisms of psychotherapy using a novel method by which psychotherapy can be modeled explicitly in the temporal domain. Methodology and Findings 69 patients were assigned to a specific schema-centered behavioral group psychotherapy, 26 to social skills training as a control condition. The largest diagnostic subgroups were narcissistic and borderline personality disorder. Both treatments offered 30 group sessions of 100 min duration each, at a frequency of two sessions per week. Therapy process was described by components resulting from principal component analysis of patients' session-reports that were obtained after each session. These patient-assessed components were Clarification, Bond, Rejection, and Emotional Activation. The statistical approach focused on time-lagged associations of components using time-series panel analysis. This method provided a detailed quantitative representation of therapy process. It was found that Clarification played a core role in schema-centered psychotherapy, reducing rejection and regulating the emotion of patients. This was also a change mechanism linked to therapy outcome. Conclusions/Significance The introduced process-oriented methodology allowed to highlight the mechanisms by which psychotherapeutic treatment became effective. Additionally, process models depicted the actual patterns that differentiated specific diagnostic subgroups. Time-series analysis explores Granger causality, a non-experimental approximation of causality based on temporal sequences. This methodology, resting upon naturalistic data, can explicate mechanisms of action in psychotherapy research and illustrate the temporal patterns underlying personality disorders.

Lack of concordance between subjective improvement and symptom change in psychotic episodes

OBJECTIVES: Subjective, self-rated improvement in patients with schizophrenia spectrum disorders can carry significance as a first-person account of treatment outcome, and can be of importance for the individual patient's acceptance of further treatment, including psychological treatments. This study assessed the concordance between post-treatment subjective improvement and the observed symptom change after a psychotic episode. DESIGN: Longitudinal study based on daily symptom ratings. METHOD: The study sample consisted of 43 younger, primarily first- or second-episode patients. Observed symptom change was calculated as both pre-post differences and symptom trajectories. Subjective improvement was assessed at the end of treatment by using the 'Emotional and Behavioural Changes in Psychotherapy Questionnaire' (VEV), a retrospective measure of subjective change. RESULTS: The findings indicated no significant concordance between pre-post differences in symptoms and self-rated improvement, nor were final levels of symptoms related to subjective improvement. Higher initial and mean symptom levels for positive symptoms were related to a lower degree of subjective improvement. A shorter duration of an initial trend-like improvement in psychosis was shown to be associated with greater subjective improvement. CONCLUSIONS: Subjective assessment of improvement may differ markedly from symptom change. In psychotic episodes, more severe initial positive symptoms as well as a delayed improvement of positive symptoms may be related to a reduced subjective experience of improvement for the duration of the entire episode. The treatment of psychosis should take a possible discordance between subjective and objective change into account.

Competencies in arts therapies: A rating of importance, training and performance by practitioners and referring professionals in Switzerland

This survey was conducted in developing a final specialized examination for all arts therapists in Switzerland by the Council of Swiss Arts Therapy Associations (CSATA). Forty-eight generic key competencies (GKC) were sent to all 1235 arts therapists in five different disciplines in Switzerland (response 47.5%) and to 384 referring professionals and employers (RPE) listed by therapists (response 42%). The mean importance of GKC was rated high (4 points of 5) by practitioners and RPE. Different opinions on importance of GKC in disciplines included artistic ability and psychotherapeutic relative to medical orientation. The training of competencies was rated lower by practitioners (3.48 points) and different in the eight competence categories and five disciplines. Areas of weak training were identified. The performance of GKC was rated by referring professionals equally to its importance (mean +0.3 points) and showed a good understanding of competencies by RPE. Judging of performance was difficult for RPE in more than 20% of items. The results provide criteria for detailed outcome assessments and the advancement of a final examination for arts therapists in Switzerland.