By Arnold Isenberg
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Extra info for Analytical Philosophy and the Study of Art
Within any single theorist’s writings, the use of the terms transference and countertransference are usually consistent. A central problem, however, faced by the investigator of transference and countertransference, is that authors define these terms to the advantage of their theory. Thus, Davis (1987) notes that some Freudian writers in the early years of psychoanalysis defined transference as centrally useful, yet reviled countertransference as anathema. At the same time, other writers sought 52 Jungian Crime Scene Analysis: An Imaginal Investigation to focus psychotherapists on the centrality of their own experiences but eschewed the term countertransference.
Dilthey, as perhaps best represented in his 1900 essay “The development of hermeneutics” (1900/1976), gave later writers the opportunity to address what had troubled their philosophical sensibilities. Almost all human projects contain implicit understandings of the creator/subject/self, the world, and the audience/ object/consumer. However, these understandings were and are often unarticulated. Dilthey thought this absence was partly due to the inadequacy of previous methodological approaches. He hoped to offer some means for articulating some of the tacit values within these human projects.
In response to this methodological demand, the grounding perspective for this study is the practice of countertransference and active imagination from a Jungian perspective. In examining these practices, the reader discovers nuances not fully articulated by Jung. Other commentators present summaries that speak to the spirit behind his writings. Therefore, two different practices, countertransference and active imagination, can be brought together because they are joined by the commonality of an unfolding conscious/unconscious rapprochement.