art therapy handbook - demo

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VARIOUS AUTHORS

Edited by Stefano Centonze

ART THERAPY HANDBOOK BACKGROUNDS, DEFINITIONS, APPLICATIONS, CLINICAL CASES

Edizioni Circolo Virtuoso

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© Copyright 2013 Edizioni Circolo Virtuoso

73041 Carmiano (LE)

www.circolovirtuoso.net

[email protected]

All Rights Reserved

ISBN: 978-88-97521-46-4

Date of publication: 3 April 2013

Graphic Design by Stefano Palma

Translation from Italian to English by Donato Rosario Caloro

http://www.circolovirtuoso.net/

mailto:[email protected]

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Through work we measure the esteem

each has of himself

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TABLE OF CONTENTS

INTRODUCTION pag. 15

THE AUTHORS pag. 17

SECTION I - The global approach to the person in care

1. From humanization of care to the scientific

method

Gianpaolo Pierri and Pierpaolo Proto pag. 27

1.1 Humanization and / or scientific method? pag. 27

1.2 The scientist and the inductivist turkey pag. 27

1.3 The science between research and metaphysics pag. 28

1.4 The pseudo – experiments pag. 28

1.5 The patient's world pag. 29

1.6 Iatrogenic Stigma pag. 29

1.7 Epistemological Paradox pag. 29

1.8 It is possible psychotherapeutic intervention

within a frame of medical-biological? pag. 30

1.9 Psychotherapy as alternative to pharmacotherapy? pag. 30

1.10 Empathy pag. 31

1.11 Global approach to the person who suffers pag. 31

1.12 Rehabilitation as recovery of the human

dimension of care pag. 32

1.13 The meaning of life pag. 33

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SECTION II - Scientific Background

2. Short course of general psychopathology

Giuseppa Pistorio pag. 37

2.1 Historical evolution of Psychiatry pag. 37

2.2 Sigmund Freud pag. 47

2.3 The Depression pag. 74

2.4 Schizophrenia pag. 76

2.5 The Paranoia pag. 80

2.6 Anorexia Nervosa pag. 81

2.7 The acute and chronic alcoholism pag. 84

2.8 The Society and the "mad" pag. 87

2.9 The Psychiatric Institution pag. 91

2.10 Neurosis and Psychosis pag. 94

2.11 Personality Disorders pag. 99

3. Notes of evolutionary and dynamic psychology

Simona Negro pag. 103

3.1 Definition pag. 103

3.2 Early primary relations pag. 104

3.3 The paternal function pag. 113

3.4 Monographic part: adolescence pag. 115

3.5 Some notes about violent teenager pag. 117

3.6 Elements of dynamic psychology pag. 121

3.7 Dynamic Unconscious pag. 122

3.8 The unconscious for Sigmund Freud pag. 123

3.9 The psychic functioning pag. 127

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3.10 The second unconscious for Melanie Klein pag. 127

3.11 Positions pag. 131

3.12 The unconscious for Wilfred Bion pag. 133

3.13 The unconscious and neuroscience pag. 140

3.14 Convergences, divergences, prospects pag. 145

4. Illustrated notes of Neurology

Roberto and Francesco Calamo Specchia pag. 155

4.1 The Neuron pag. 155

4.2 Elements of Functional anatomy of the brain pag. 169

4.3 Areas of the frontal lobe pag. 175

4.4 Areas of the parietal lobe pag. 177

4.5 Areas of the temporal lobe pag. 180

4.6 Areas of the occipital lobe pag. 181

4.7 Areas of the limbic lobe pag. 181

4.8 Mirror Neurons pag. 182

4.9 Neuronal Plasticity pag. 185

4.10 The Neuronal Plasticity in Invertebrates pag. 186

4.11 The Synaptic Plasticity in Mammals pag. 189

4.12 Edelman's neurobiological theory pag. 195

4.13 Modern theories about the function of mind pag. 196

SECTION III - Music Therapy

5. Defining the Arts Therapies, defining Music

Therapy

Stefano Centonze pag. 201

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5.1 The Music that heals. The origins pag. 204

5.2 The Music Therapy Today pag. 205

5.3 Transdisciplinarity pag. 206

5.4 Predominance of musical "fact" pag. 208

5.5 Applications pag. 212

5.6 Purpose pag. 216

5.7 Prevention pag. 217

5.8 Rehabilitation pag. 217

5.9 Therapy pag. 220

5.10 Fields of Application pag. 220

5.11 In conclusion pag. 222

6. The sound-musical psycho-drama

Giuseppa Pistorio and Niccolò Cattich pag. 225

7. Music therapy and body movement. A proposal

for cognitive rehabilitation with music

Christian Tappa pag. 233

7.1 Music therapy and anthroposophy: the beginning pag. 233

7.2 The "Camphill" Movement pag. 234

7.3 The foundation of a true community pag. 235

7.4 Music in the Curative Education and Social

Therapy villages and centers pag. 235

7.5 The individual sessions pag. 239

7.6 The Treatment of "Listening Area" pag. 243

7.7 Some fundamental aspects of the anthropological

model indicated by R. Steiner basing on the

described applications pag. 245

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7.8 The music in the anthroposophical view pag. 248

7.9 The games and rhythmic exercises developed by

C. Baumann pag. 250

7.10 The rhythm and bodily movement pag. 257

7.11 Practical experience: examples of musical

activities carried out to "Loic House" pag. 272

7.12 Breaking considerations pag. 283

8. The receptive Music Therapy

Niccolò Cattich pag. 289

8.1 The Analytical Receptive Music Therapy pag. 289

8.2 First Phase pag. 289

8.3 Reading and analysis of preter pag. 292

8.4 Second phase pag. 296

8.5 Third phase pag. 297

8.6 Considerations pag. 298

9. The Mozart Effect

Antonio Montinaro pag. 301

9.1 The Mozart Effect, or an introduction to Music

Therapy pag. 302

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SECTION IV - Dance Movement Therapy

10. The main application models in Dance

Movement Therapy


10.1 Introduction to Dance Movement Therapy pag. 315

10.2 From dance to Dance Movement Therapy pag. 316

10.3 A possible definition of Dance Therapy pag. 320

10.4 The main models of DMT: Fux model pag. 322

10.5 The music pag. 327

10.6 The words mothers pag. 327

10.7 Primitive Expression pag. 328

10.8 The Importance of Group pag. 331

10.9 Pregnancy of rythm pag. 332

10.10 Relationship with the land pag. 333

10.11 Simplicity of gestures pag. 334

10.12 Repeat pag. 334

10.13 Use of a coded gestures of movements coming

from outside pag. 335

10.14 Using of Voice pag. 335

10.15 "Binaryness" pag. 336

10.16 Trance pag. 337

10.17 Game with transgression pag. 338

10.18 The search for a self-overcoming in the

sublimation pag. 338

10.19 Ritualization pag. 339

10.20 The Primitive Expression of France

Scott-Billmann pag. 339

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11. The prisoner body: experience of Dance

Movement Therapy in prison

Federico Caporale pag. 341

11.1 Dance Movement, Theatre and Art Therapy in

a "Total institution" pag. 341

11.2 Preliminaries pag. 342

11.3 The projects pag. 344

11.4 or Art Therapy "Puppet Theater"? pag. 346

11.5 The beginning impact and first meetings pag. 346

11.6 Users pag. 348

11.7 The dance therapy intervention with prisoners pag. 351

11.8 Design of the project pag. 351

11.9 Articulation of DMT intervention and its

objectives pag. 354

11.10 The establishment of the DMT Setting pag. 359

11.11 Opening and heating pag. 360

11.12 The central part of the session pag. 363

11.13 Output Stage and the conclusion of meetings pag. 368

11.14 Developments and outcomes of the project:

the puppet and his author pag. 371

11.15 The story created by the group of Cassino pag. 372

11.16 The story invented by the group of Frosinone pag. 374

11.17 The exhibitions held in Cassino and Rome pag. 375

11.18 The drama of the Civil Code to Cassino and

Frosinone pag. 377

11.19 A comparison with other DMT interventions

and Art Therapy in prison pag. 378

11.20 Future developments and conclusions pag. 386

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SECTION V - Theatre Drama Therapy

12. The physical expression in the Arts Therapies

Fausto Cino pag. 393

12.1 Introduction pag. 393

12.2 The training of operators pag. 396

12.3 The perception of bodily self: from knowledge

to consciousness pag. 400

12.4 The motor activity as a language pag. 406

12.5 Movement and communication pag. 407

12.6 Our body speaks pag. 411

12.7 The space pag. 420

12.8 The time pag. 422

12.9 The observation protocols pag. 425

12.10 The evaluation pag. 426

12.11 The models of the evaluation pag. 429

12.12 The Legislative evaluation pag. 429

12.13 The policy evaluation pag. 429

12.14 The structure of the tests pag. 429

12.15 Indicators pag. 430

12.16 Descriptors pag. 430

12.17 Objectivity pag. 431

12.18 Reliability pag. 431

12.19 Validity pag. 431

12.20 The evaluation of psychomotor development pag. 431

12.21 Test of imitation of gestures pag. 432

12.22 Psychomotor Examination pag. 434

12.23 Body Expression and psychiatric patients pag. 435

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12.24 Used procedure pag. 437

12.25 Analysis of data pag. 439

12.26 Search Results pag. 444

13. The theater which takes care

Glenda Pagnoncelli, Chiara Bertero, Emanuela

Binello pag. 447

13.1 Routes of Drama Therapy pag. 447

13.2 The break with the ordinary and the gateway in

the extraordinary space of laboratory pag. 448

13.3 The recognition of self and of other in the group pag. 449

13.4 Being the group, only material pag. 450

13.5 Experimentation and sharing of imaginative

experience pag. 451

13.6 Projection and roles pag. 454

13.7 The development of the group experience and

the reference to the personal experience pag. 455

13.8 The conduct pag. 456

13.9 Experiences: the "stalls of emotions" pag. 457

13.10 Acting themselves - second edition: the birth

of a group pag. 459

SECTION VI - Plastic-Painting Art Therapy

14. The Plastic-Painting Art Therapy: General

concepts


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14.1 Progressive Mirror Drawing Method pag. 468

14.2 Method of Sensory Integration in Art Therapy pag. 469

15. Plastic-Pictorial Art Therapy between

innovation and transformation

Ilaria Caracciolo pag. 471

15.1 Outlines for a History of Art Therapies pag. 473

15.2 Elements of theory and techniques of

Plastic-Painting Art Therapy pag. 478

15.3 The use of expressive modalities in therapy pag. 487

15.4 Application of art therapy Plastic Painting in an

educational setting pag. 497

15.5 The laboratory: "re-building" communication

"high-ways" pag. 500

BIBLIOGRAPHY pag. 505

Art Therapy Handbook – A.A.V.V. edited by Stefano Centonze

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INTRODUCTION

We finally! Seven years collecting the notes of a shared

experience that, along the way, has become the method of the

Triennial School of Education in Arts Therapy (Music

Therapy, Dance Movement Therapy, Plastic-Painting Art

Therapy and Drama Theater Therapy) of the Institute of Arts

Therapies and Creative Sciences of Carmiano, in province of

Lecce. An idea, an ambitious project which comes true: telling,

basically, in simple terms, what training should look and

should have the operators who choose to study and to make

their work and lifestyle these fascinating disciplines.

Thus, in a text divided essentially into two moments, on the

one hand the clinic, with all its essential scientific paradigms

and assumptions, and on the other, the application part, with

assumptions, models, cases treated with the Arts Therapies, we

wanted to present to the readers a working method, which is

our model, in which the professional operator is the product of

theoretical and relational skills and scientific knowledge,

appropriately conjugated with the specialized and technical

ones.

Doctors, psychologists, educators, social workers, speech

therapists, rehabilitation, physical therapists, nurses, artists,

volunteers, students, just curious... everyone will benefit from

consulting the first Manual of Arts Therapies, born from the

clinic to make content accessible and largely expendable.

Personally and in the introduction, allow me to express my

highest Thanks to all authors who have chosen to link their


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name to this work, with the only purpose of contributing to the

spread of our profession, and with it, to the growth of the

Institute of Arts Therapies that so brilliantly represents an

important witness in the National panorama.

Without their long experience, professionalism and sensitivity,

it would not be possible to arrive at this result.

Stefano Centonze


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THE AUTHORS

Stefano Centonze from LECCE, music therapist, writer, editor,

theater director, educator, founder and Director of the School

of Formation Circolo Virtuoso and its Professional Institute of

Arts Therapies and Creative Sciences of Carmiano (LECCE),

President of Art.eD.O. - Mediterranean Polo ofArts Therapies

and Holistic Disciplines.

He founded the electronic newspaper "Arti Terapie e

Neuroscienze Online" (Online Art Therapies and

Neurosciences) and "Mappa Terzo Settore Web TV" (Third

Sector Map Web TV). He also wrote Music Therapy and

Alzheimer and was co-author of the Manuale di Progettazione

Sociale (Handbook of Social Planning) and of the text 70

giochi di creatività per la conduzione dei gruppi (70 games of

creativity for conducting the groups) and Progettare un corso

e-learning per disabili (Designing an e-learning course for

disabled) (Circolo Virtuoso Editions 2011).

Gianpaolo Pierri from BARI, Psychiatrist, Psychologist,

Psychotherapist, Director of The Chair of Psychotherapy,

Professor and Coordinator of the Integrated Course of

Psychiatry and Clinical Psychology (Channel A) in the Faculty

of Medicine and Surgery of the University of Bari. Professor of

psychological and psychiatric disciplines. President of

Undergraduate Rehabilitation Courses (Technical Psychiatric

Rehabilitation, Vocational Education and Physiotherapy).


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Former Director of the School of Specialization in Psychiatry

in the University of Bari. President of the Italian Society for

Medical Psychotherapy. President of the Center for

Interdisciplinary Research and Intervention on Human Systems

(CIRISU), School of Specialization in Psychotherapy

authorized by the Ministry of University and Research.

Pierpaolo Proto from LECCE, training Specialist at the

Psychiatric Clinic of the University of Bari.

Antonio Montinaro, from LECCE, Neurosurgeon, former

Director of the Operational Unit in Neurosurgery at the

Hospital "V. Fazzi "of Lecce, freelance at the Clinic Hospital

"Città di Lecce", Musicologist, Vice President of the

Association Amici della Lirica (Friends of the Opera) "T.

Schipa" of Lecce, Member of the Board of Directors of the

Conservatory "T. Schipa", Lecce, President of the Center of

Musical Studies of Lecce.

Giuseppa Pistorio from CATANIA, neurologist, psychiatrist,

music therapist, expert in psycho-dramatic group techniques,

medical officer with the higher functions in the psychiatric

service for diagnosis and treatment of the Hospital Healthcare

Organization "S. Croce and Carle" in Cuneo, Director of Day

Care Center of psychiatric of A.S.L. (Local Health Company)

Rome H - H6 District Anzio-Nettuno, coordinator of the Music


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Therapy Form at the School of Expressive Arts Therapy and

Psychotherapy of Rome, educational director of the Institute

for Arts Therapies and Creative Sciences of Lecce, Magister of

Benenzon's Model of Music Therapy, degree obtained in

Buenos Aires in 2006.

Simona Negro from LECCE, Psychologist, Psychotherapist and

group analyst, has worked with the Chair of Dynamic

Psychology at the Faculty of Psychology of Turin, publishing,

in collaboration with Giorgio Blandino, several articles and

essays about the philosophical roots of psychology. She

currently practices activity counseling in psychiatric

rehabilitation, works as freelance consultant and business

technical advisor in civil and criminal field. She is Professor of

Psychology of the Evolutionary Age, Dynamic Psychology and

Group Dynamics in the three-year training courses sponsored

by the Institute of Arts Therapies and Creative Sciences.

Niccolò Cattich from VERCELLI, neurologist, psychiatrist,

psychotherapist, music therapist, lecturer at the S.A.I.G.A.

School of Specialization in Psychotherapy of Turin, Professor

and Director of the three-years Educational Training School of

the Institute of Arts Therapies and Creative Sciences of

Carmiano.


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Glenda Pagnoncelli from MILAN, Actress, Trainer and Drama

Therapist. Professor at the School of Drama-therapy of Art

Therapies Training Centre in Lecco. Member of the Board of

S.P.I.D. - Italian Professional Company of Drama-therapy.

Founder of the non-profit Organization Caminante Onlus and

of the Studio Program in Drama-therapy of Milan. She is

currently teaching Aid Relationship, Communication and

Drama-therapy in training at Ciessevi - Centre for Voluntary

Service in Milan, in Province of Milan and at public

institutions and companies.

Emanuela Binello from MILAN, Actress and Professor of

Technical Theatre. Graduated at the School of Drama-therapy

of Art Therapies Training Centre in Lecco. Founding member

of S.P.I.D. (Professional Society of Italian Drama-therapy).

Founder of non-profit organization Caminante Onlus of the

Study Program in Drama-therapy in Milan. She works as

Drama Therapist at Day Centers of Psychiatric Unit on the

Italian and Swiss territory and works as a consultant in training

and recruiting company.

Chiara Bertero from MILAN, Group Psychotherapist in

clinical and institutional field. Member of the Confederation of

Italian organizations for analytical research on groups

(C.O.I.R.A.G.). She attended training courses in theater and

dramatic actor type. Founder of the non-profit Association


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Caminante Onlus and of the study for Research in Drama-

therapy in Milan.

Working at health facilities in the territory of Milan. She has

active conduction of workshops and performances in the royal

psychological, physical and social distress.

Federico Caporale from ROME, Artist, Dancer, Percussionist,

Motion Dance Therapist and Trainer in the artistic, educational,

sanitary and socio - rehabilitative field. He collaborates with

Atelier LiberaMente (c / o S.R. Rorschach), Atelier "DMT and

theater techniques for communication" c/o C.S.E.S.I.

(Experimental Inter-University Center for Health Education of

Perugia), the Institute of Arts Therapies and Creative Sciences

of Lecce, Save the Children Italy. Leads groups of dance,

percussion and bodily expression for adults and children since

1993. He lives in Perugia.

Christian Tappa from ROME, musician and Roman composer,

after graduate studies in Medicine and Psychology, he devoted

himself since 1994, alongside his musician and composer

activity, to music therapy through activity which operates

mainly with children and adults with mental handicap. He is

formed through internships in Switzerland and Germany, in the

field of Curative Education and Steiner's social therapy.

Specialized in "Musical Pedagogy and music teaching in

preschool through the piano", qualified in Music Therapy at the

Expressive Art Therapy and Psychotherapy School in Rome,

also follows the diploma of music therapist of Benenzon's


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model. He works since 1994 at the Association Loïc Francis-

Lee Capena (ROME), where he currently lives.

Fausto Cino from LECCE, Teacher of "Animation and

expression" at the University of Foggia in the Faculty of

Medicine and Surgery, Bachelor in Science of Movement and

Sports. professor of Corporal Expression at the Institute of Arts

Therapies and Creative Sciences of Carmiano (LECCE). Actor

and theater director.

Ilaria Caracciolo from TARANTO, Clinical Psychologist and

graduate at the University "La Sapienza" of Rome (with a

dissertation on Theories and Techniques of Group Dynamics),

Plastic-Painting Art Therapist trained at the School of Art

Therapy of Rome, Professor of Art Therapy at the Institute of

Arts Therapies and Creative Sciences of Carmiano (LECCE).

Specializing as an Individual and Analytic Group Oriented

Psychotherapist at the school C.O.I.R.A.G., she carries on

professional activities in clinical and training with particular

attention to the use of the instrument of group.

She propose in institutional contexts intervention models

drawing on integrated areas of Arts Therapies and of Group

Analysis.

Roberto Calamo Specchia from BRINDISI, graduated in

Medicine at the University of Naples, Specialist in General

Surgery, Oncology and Neurosurgery. Within the latter, he has

always cultivated interest for the Neurosciences and also


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published a text "Appunti di Neurochirurgia" (Notes of

Neurosurgery), currently being reprinted for the use of nursing

school.

Francesco Maria Calamo Specchia from BRINDISI, Surgeon,

specializing in Neurosurgery, scholar of Neurosciences.

Salvo Pitruzzella from PALERMO, Drama therapist, Director,

Producer and Professor in the Triennial School of

Dramatherapy in the courses of Higher Professional Education

of the Art Therapies Center of Lecco (Music Therapy, Art

Therapy Plastic-Figurative therapy, Drama-therapy and Dance

Movement Therapy), Professor of Drama-therapy at the three-

year course of training in Drama Theater Therapy of the

Institute of Arts Therapies and Creative Sciences of Carmiano

(LECCE).


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SECTION I

The global approach to the

person in care


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CHAPTER 1 - 1. From humanization of care to the

scientific method by Gianpaolo Pierri and Pierpaolo Proto

1.1 Humanization and / or scientific method?

Moving from a conception of affective and emotional

closeness, like unique and original source of the patient, to the

progressive acquisition of "scientific" notions, the humanitarian

aspect of care is participatory and has become increasingly

redundant, in favor of an aseptic and technically detached

knowledge. The spread of this feeling is shown by the current

guidelines of care, especially in the field of mental disorders.

1.2 The scientist and the inductivist turkey

Karl Popper tells the story of a turkey farm, which brought the

food was always at nine o'clock in the morning. The turkey

noted that, any day of the week, there was the sun or the bad

weather, the food was always brought to him at the same time.

From these observations repeated and identical in all weather

conditions, the turkey applied the inductive method when it

formulated the following theory: "They always give me the

food at nine in the morning." However, on Christmas Eve, the

turkey saw, at its expense, the dismantling of this rule: the

turkey was killed and served at table. Any number of identical

observations can say anything about the universality that the

law seems to express. Since each researcher is a human being,

his mind is not a tabula rasa, but is conditioned by prejudice,

so, any theory that is based on the certainty derived by a list of


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observed cases, and can’t avoid the possibility of one

otherwise.

1.3 The science between research and metaphysics

To verify if the universality of a law is not enough to refer to

the frequency of the events that constitutes the foundation of

this one; on the other hand, we just need a contrary event to

falsify the universal law, which wants to consider such

frequency as eternal.

This finding is known as the principle of falsification.

1.4 The pseudo-experiments

What appears singular is the apparent tendency to construct, on

enumerations of little demonstrated data and findings, equally

evanescent buildings that, over time, surprisingly assume the

value of reality and truth, not really falsified, in a spiral similar

to the paranoid one, for which are true and demonstrated the

consequences of any assumption, forgetting, however, that this

moves from an hypothetical and unproven data. The particular

attention paid by some health workers in the fields of

"neuroscience", finds food in less demanding and more

profitable job opportunities, in less cultural preparation needs

and less humanistic commitment and performance. Moreover,

from more parts many voices began to rise on the emergence of

data related to pseudo-experiments, behind which stich out

Pharmaceutical Industry-related interests.


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1.5 The patient's world

And the patient? Increasingly relegated to a lifeless object size

from spent humanitarian traditions. It declared to be fighting

the "stigma", but this often comes from those people who

create the premises, and with greater responsibility as doctors.

1.6 Iatrogenic stigma

In the traditional therapeutic and custodial process, minimally

oriented interventions in the psychological sense tend to sever

the links of the patient with the world outside and create that

STIGMA not often favored by the disease of the subject but

favored by its treatment or by these experiments that have the

only aim to verify that treatment. Wanting to introduce

psychotherapeutic perspective in the social-health field, it is

necessary, priority and patiently, the patient to re-establish

broken ties with the outside world, socially and

psychologically reconstructing an autonomous image from

which to start for a program that looks towards the future.

1.7 Epistemological Paradox

Considering a psychotherapeutic intervention into an

ideological, health care organization or assistance condition in

general fundamentally oriented in a biological sense, is a clear

epistemological and operational paradox. Every action, in fact,

finds is its usefulness and effectiveness in a setting that gives a

reason, a purpose and a logic that depart from historical and

psychological conditions of the individual and be geared to its


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optimal living conditions. May a psychotherapeutic

intervention be "rehabilitating" in a medical-biological

framework that stigmatize the subject to be rehabilitated?

1.8 Is psychotherapeutic intervention within a framework

of medical-biological possible?

Each therapeutic action, as conceived and applied, is

implemented within an etiopathogenetic concept of mental

disorder. It is certainly difficult, if not paradoxical, to enter a

psychotherapeutic action on a clinical history that, in fact, has

found its logic, its optical treatment in a perspective of

biological treatment only. Therefore, it comes the question

about a fundamentally medical-biological setting may become

purely and simply in a psychotherapeutic setting: you can make

a few references to places, times, the mode of interpersonal

relationships, to the more or less conserved conditions and

welfare relationships with significant ties of the patient.

1.9 Psychotherapy alternative to pharmacotherapy?

Big mistake takes place when means psychotherapy as an

equivalent or alternative treatment to pharmacotherapy,

considering for psychotherapy indications, prognosis, dosage,

effectiveness, tolerability and results. By this perspective,

psychotherapy is the subject of a reductionist approach and,

to some extent, substitute for drug therapy. In fact,

psychotherapy is not to be construed as a treatment, but as a

vision and a conception of personal distress, placed within


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interpersonal relationships dysfunctional and pathogenic. We

want to emphasize the epistemological error of using the

parameter of psychotherapy, like biological therapies, as

addressed to the disease of the subject. Psychotherapy, by

contrast, bases its identity on the concept of context, i.e. on the

area of relationships, emotions and events, within which rises,

develops and maintains a so-called pathological state.

1.10 Empathy

Empathy can be summarized with the following components:

• knowing how to enter the perceptual world of the other;

• continuous sensitivity to emotional and meaning

changes in the other;

• "living" temporarily in the other's life.

In which health context is this ability nurtured and protected,

when the etiopathogenesis of mental disorders is left solely

neurobiological explanations of such a view of which the

person is reduced to an injured function, to an organic substrate

only to chemically manipulating?

1.11 Global approach to the suffering person

Carl Rogers, in 1987, defines empathy as a skill considered

essential in psychotherapy: "In my mind, empathy is in itself an

agent of care. It is one of the most powerful aspects of the

therapy because it emits, confirms, brings back the patient,


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even the more frightened, within the human race. If a person

can be understood, then it belongs". The sense of belonging

that comes from the psychotherapeutic relationship is a source

of security and promotes exploratory behaviors and search for

new meanings in its own weltanschauung, while, in its

negative meaning, suggests the ideological closure of certain

psychotherapeutic orientations, symptomatic of a resistance to

change, behind the mask an alleged scientism. Here I refer to

what we said earlier, about the need to extrapolate, from

various orientations, a paradigm of a psychotherapy re-

orientated towards the whole person and not fragment it into a

maze of neurobiological mechanisms, risking to configure the

same person like an inanimate object.

1.12 Rehabilitation as recovery of the human dimension of

care

In Italy, a few brave people have fought and continue to strive

for a restoration work of the human, social and work dimention

of patients in order to restore their lost dignity, to "rehabilitate"

them. And we must be grateful to colleagues past and present

who are fighting following absolutely scientific principles,

which is not devolved, solely, to some chemicals, properly

invested with magical significance and miraculous, the success

of an occupation increasingly distracted and increasingly

defined "scientific". And with a good peace of our conscience.


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1.13 The meaning of life

"Doctor should be aware of the need for man to give meaning

to his own life. But, to our era, an era of doubt about the

meaning of life, is more necessary than ever that he remains

well aware – and help his patient to take in turn this

consciousness – that life does not stop to have meaning, even in

the midst of suffering, indeed, is precisely suffering to offer the

possibility to realize the more high significance, the highest

possible value".

Viktor Frank


505

BIBLIOGRAPHY


506


507

AA.VV. - L’istituzione carcere nella società post industriale.

Ricerca nell’ambito delle iniziative didattiche e culturali

proposte dagli studenti e finanziate dall’Università “La

Sapienza”, Roma, Tipografia Ecir.

Adorisio A. & Garcia M. E. (2004) (a cura di) - Danza

Movimento Terapia, modelli e pratiche nell’esperienza

italiana, APID, Roma, MaGi.

Ambrosini C., De Panfilis C., Wille A.M. (1999) - La

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