Introduction

Abstract

The papers included in this issue of Psychiatric Quarterly explore narcissism and self psychology from several points of view. The paper by Allen Dyer explores theoretically and clinically the interplay of narcissistic and Oedipal elements in development and in therapy. The paper by Susan Dyer offers a most lucid account of narcissism-not by recounting the discovery of narcissism in therapeutic examples or even direct observations of children-but by looking at the world from the developing infant's point of view. Carl Mindell, a child psychiatrist and self psychologist, offers some very practical approaches to dealing with failures of empathy and the associated affects of shame/embarrassment in psychotherapy. Bill Grosch, who is a Protestant minister and a psychiatrist, takes a very broad and practical approach to the integration of self psychology into the work of the psychiatrist/psychotherapist. Joel Rosen, a practicing psychoanalyst, expresses some reservations about focusing too narrowly on the issues of self and offers several illustrations of patients whose narcissistic wounds might have obscured Oedipal/drive issues.The issues which these authors wrestle with are issues which all therapists-neophyte and seasoned alike-must carefully consider. Although one might see such disagreements and divergences of opinion as confusing, inconsistent or even contradictory, I prefer to see them as the healthy testing of new hypotheses, capable of empirical verification in clinical work. One of the difficulties of achieving a unified theory is the diversity of experience presented by the patients who come for help (as well as the

The politics of a ‘Poncy Pillowcase’: Migration and borders in Coronation Street’

“…The show first aired only three years after the publication of Richard Class, Hoggart's book is one of the founding texts of Cultural Studies. It was also a best-seller in England, and its influence particularly on the early years of Coronation Street is unmistakable (Dyer et al 1981). The show adopts many of the themes that Hoggart identifies as salient in working-class culture, including the emphasis on the strength of women, the ambivalent class position of pub landlords and others hovering at the boundaries of the petit-bourgeois ('aspirational Britain', David Cameron might say), and, clearly represented in the figure of Ken Barlow, the 'scholarship boy', a figure from Hoggart's text who finds himself (and it was certainly a he for Hoggart) alienated from his own culture (Dyer 1981, p.4).…”

Yeni queer sinema Öncesi ve sonrası

“…Anaakım sinemada eşcinsellerle ilgili basmakalıp yargıların çoğu, lezbiyen vampir, sadist ya da nörotik eşcinsel erkek gibi küçültücü ve çirkin tiplemelere dayanır. 4 Karakter oluşturmanın amacının, genellikle gerçeğe uygun kişiler yaratmak olduğu düşünülür. Ancak pratikte çoğu kez bunun tersi gerçekleşir.…”