"Call Me by Your Name": The Wrong Action: From Ferenczi to Enactment as a Process.

It is always hard for psychoanalysis to connect free associations and action. With Freud, action could be interpreted only when it referred to the transference; otherwise, action was a resistance to the possibility of free association. Unlike Freud, Ferenczi recognized the importance of the analyst's acting-out as the patient's unconscious request for experiences of trauma to be mobilized. By presenting a clinical case, the author offers the analyst's error as the mobilization of a traumatic block. The error activates a "Process of enactment," whereas if the error is not considered positively, it is simply a mistake, or the loss of a creative opportunity.

"I-ness" and the dissociative process. Working with defensive and creative dissociations in the analytic process.

We suggest that the analytic dialogue develops as a continuous movement that we call "Dissociative Process", and that this process is the continuous oscillation between defensive positions (repression) and creative positions. Dissociation, as a defense, is a Freudian theoretical stance, while Dissociation, as a possibility for new and creative solutions, is a theory emanating from Janet and was adopted, especially, by relational and inter-subjective psychoanalysis. Through a clinical vignette we suggest how the attitude of an analyst, who is attentive to the Dissociative Process, will respect the Defensive Dissociations of the patient. But, at the same time, the analyst will be particularly careful to support potential solutions, never made real before, that emerge as new associative aggregates (Janet's Reaggrégation psychique) deriving from the dissociation of the frustrating or traumatic experience, which we propose calling "Creative Dissociations". The dissociative solutions (defensive and creative) are not sequential but simultaneous.

Authenticity and the analytic process.

In this paper we first make a differentiation between phenomena that can be defined as spontaneous and others that can be defined as authentic. We then attempt to present authenticity as a process rather than an outcome. Finally, we try to understand the location of authentic phenomena in the sensorial and pre-symbolic communicative register. We situate authentic phenomena in the register of sensorial and pre-symbolic communication. The authentic process becomes manifest, step by step in the analytic process (Borgogno, 1999), through the vivid iconic and sensorial elements that happen to cross the analytic field. Through two brief clinical vignettes, we seek to document the progression of the analytic process, in one case through the analyst's capacity for rêverie (Bion, 1962; Ogden, 1994, 1997; Ferro, 2002, 2007), and in the other through the sensorial elements with which analyst and patient are able to tune in to each other.