Los celos patológicos en el discurso cinematográfico / Pathological jealousy in cinematographic discourse

Realizamos una selección de películas sobre los celos patológicos buscando films de calidad, de distinta procedencia y época de realización.Finalmente analizamos ocho películas procedentes de Estados Unidos (4), México, Italia, Francia y Corea del Sur, de directores muy distintos realizadas desde 1927 a 2005, pero todas ellas nos presentan las características del enfermo de celos, sus desencadenantes y reacciones típicas de ansiedad, acoso, vigilancia, persecución, episodios violentos, en ocasiones ideas delirantes y alucinaciones y un final muchas veces trágico.La visualización y el análisis de estas películas pueden ser útiles para la docencia en ciencias de la salud pudiendo también ayudar a conocer y prevenir situaciones derivadas de los celos enfermizos. (AU)

We make a selection of films about pathological jealousy looking for quality films, from different sources and times of production.Finally, we analyze eight films from the United States (4), Mexico, Italy, France and South Korea, by very different directors made from 1927 to 2005, but all of them present us with the characteristics of jealousy with their triggers and typical reactions of anxiety, harassment, surveillance, persecution, violent episodes, sometimes delusions and hallucinations and often with a tragic ending.The visualization and analysis of these films can be useful for teaching in health sciences and can also help to know and prevent situations derived from unhealthy jealousy. (AU)

La enfermedad de los celos en el cine / The disease of jealousy in the cinema

Objetivo: Estudiar los celos enfermizos en el cine. Diseño: Análisis descriptivo tas revisión sistemática de películas. Método: Selección de films en webs especializadas con independencia del metraje, nacionalidad,género o año de producción. Siendo criterios de exclusión films de animación y series de TV.Análisis de films seleccionados obteniendo variables de interés respecto del tema estudiado. Resultados: 79 películas seleccionadas y analizadas de cuyo estudio se obtiene como informaciónmás relevante: la mayor parte de los films proceden de Estados Unidos y Francia, realizados en lasdécadas de 1940-50. Pocos films basados en hechos reales. Suicidio como desenlace mayoritariodel celópata. Irrelevancia de la clase social o profesión del celópata. Escasa patología concomitante.Prevalencia de una celotipia estrictamente sentimental. Violencia generalizada del celópata enforma de agresión física como signo más evidente del comportamiento celotípico. Discusión: Rara conciencia de enfermedad del celópata que convierte en irrelevante su condiciónsocial. Violencia y maltrato que desembocan en el asesinato de la persona amada. Comorbilidadpor abuso de alcohol por ser una droga de fácil acceso. Ausencia de violencia de género vicaria.Prevalencia del hombre como paciente celópata por su rol familiar preponderante. Ausencia defactores de riesgo en el desarrollo de personalidades celotípicas. (AU)

Objective: To study unhealthy jealousy in the cinema. Design: Descriptive analysis after a systematical review of films. Method: Selection of films on specialized websites regardless of the footage, nationality, genreor year of production. Being exclusion criteria animation films and TV series. Analysis of selectedfilms obtaining variables of interest regarding the subject studied. Results: 79 films selected and analyzed from whose study the most relevant information isobtained: most of the films come from the United States and France, made in the 1940s and 1950s.Few films based on real events. Suicide as the majority outcome of the cellopath. Irrelevance ofthe social class or profession. Little concomitant pathology. Prevalence of a strictly sentimentaljealousy. Generalized cellopathic violence in the form of physical aggression as the most obvioussign of celotypic behavior. Discussion: Rare awareness of cellopathic disease that makes their social status irrelevant. Violenceand mistreatment that lead to the murder of the loved one. Comorbidity from alcohol abusebecause it is an easily accessible drug. Absence of vicarious gender violence. Male prevalence as acellopathic patient due to his preponderant family role. Absence of risk factors in the developmentof zealotypic personalities. (AU)

Amadeus: A Psicologia da Inveja e sua função no processo criativo: um estudo da Psicologia Simbólica / The psychology of envy and its role in the creative process: a study of symbolic psychology / La psicología de la envidia y su función en el proceso creativo: un estudio de la psicología simbólica

O autor analisa a peça de teatro "Amadeus" e estuda a função da inveja na relação de Mozart e Salieri. Caracteriza a inveja como uma função estruturante normal da maior importância no desenvolvimento da consciência. Chama atenção para a dificuldade de se compreender este fato devido às nossas concepções psicológicas se acharem ainda dominadas pela obra repressora-puritana da Inquisição. Afirma que na apresentação da peça a patologia mental de Mozart é ainda maior que a de Salieri. Relaciona a inveja patológica de Mozart com um complexo paterno negativo e a de Salieri com a prostituição de sua Anima. Explica a deterioração progressiva das personalidades de Mozart e Salieri: ao não assumirem sua inveja normal, esta se tornou cada vez mais sombria e patológica, ultrapassando o dinamismo neurótico e atingindo o psicótico. Descreve a função estruturante normal do ciúme para melhor discriminar a inveja e exemplificar o ciúme patológico com a peça Otelo, de Shakespeare. Finalmente, diferencia a função estruturante normal do ciúme e da inveja nos ciclos arquetípicos matriarcal, patriarcal, de alteridade e cósmico. ■

The author describes envy as a normal structuring function in the development of personality. Envy constellates symbols for development and helps to discriminate the Ego from the Other (the I from not I) in the construction of identity. When envy is not given proper attention it becomes part of the Shadow, which may lead to neurotic and even psychotic behavior. An example is given in the relationship between Mozart and Salieri such as it was represented in Peter Shaffer's play "Amadeus". Envy constellated the symbol of Mozart in the development of Salieri's personality as an expression of his betrayed creativity. Since early youth, social ambition had led Salieri to create for fame instead of for his own Self. The betrayal of the Anima formed a powerful symbol of prostituted creativity in his pathological Shadow, which was constellated through envy when he met Mozart. Unable to attend his envy creatively by confronting his Shadow, Salieri acted out his envy destructively by destroying Mozart, his own Anima and himself. Envy constellated the negative father complex in Mozart's personality when he met Salieri. The prodigious child soon surpassed his father. Lack of appropriate protection, affection and loving guidance developed a negative father complex in Mozart's personality. This prevented social adaptation due to a compulsive aggression toward authority figures expressed through defensive irony, ridicule and overall irreverent behavior. Marriage and fatherhood activated the father role and strongly intensified these defenses. As an Italian musician successfully serving the Viennese monarchy, Salieri stood for an extraordinary example of social adaptation and success. Envy constellated the negative father complex through the symbol of social unadaptation present in Mozart's Shadow. By defensively humiliating Salieri through his creativity, Mozart greatly intensified Salieri's defenses against his own genuine creativity. Plotting against Mozart's efforts to support his family through music lessons and court services, Salieri significantly strengthened Mozart's defenses against social adaptation. Such complementary defensive behavior prevented envy from further creative development and established a neurotic symbiotic relationship. The creative forces of both personalities were so powerful, however, that neurotic defenses were insufficient to express their pathological Shadows. Psychopathic aggression and psychotic megalomaniac dynamism took over Salieri's personality, while paranoid, persecutory delusion had and irreversible effect on Mozart's career. The author further clarifies the role of envy in normal and pathological development by comparing it with jealousy as expressed in Shakespeare's Othello. Envy is predominantly active, Jang and revolutionary. It stimulates growth through greed. Jealousy is predominantly passive, Yin and reactionary. lt stimulates the maintenance of the status quo through the threat of loss. Envy functions predominantly through the power drive and favors Ego development by limiting omnipotence through self-humiliation and competitive performance. Jealousy functions predominantly through the erotic drive by rejecting the Ego's narcissistic self-assurance through doubt. Both are archetypal structuring functions indispensable for the symbolic development of Consciousness from its very beginning. While envy discriminates the Ego from the Other through delimitation of the Ego's power, jealousy discriminates the Ego from the intimate Other by introducing a threatening, affectionate foreign Other. The author questions the classical psychoanalytical consideration of jealousy as a later development of envy due to the triangular structure of jealousy as compared to the binary structure of envy. The author argues that jealousy can act through an intimate Other, which is so closely fused with the I that, psychodynamically speaking, jealousy can function in the primary binary relationship as much as envy. The difference, then, lies not in the triangular structure of jealousy but on the threat, which the Other holds for the I in jealousy, which is a complementary psychological function of the threat which the I holds for the Other in envy. The paper ends with a brief description of the different structuring functions of envy and jealousy in each of the four archetypal cycles of symbolic personality development (matriarchal-patriarchal, otherness and cosmic). ■

El autor analiza la pieza de teatro "Amadeus" y estudia la función de la envidia en la relación de Mozart y Salieri. Caracteriza la envidia como una función estructurante normal de la mayor importancia en el desarrollo de la conciencia. Llama atención a la dificultad de comprender este hecho debido a que nuestras concepciones psicológicas se hallan todavía dominadas por la obra represora-puritana de la Inquisición. Afirma que en la presentación de la pieza la patología mental de Mozart es aún mayor que la de Salieri. Relaciona la envidia patológica de Mozart con un complejo paterno negativo y la de Salieri con la prostitución de su Anima. Explica el deterioro progresivo de las personalidades de Mozart y Salieri: al no asumir su envidia normal, ésta se volvió cada vez más sombría y patológica, superando el dinamismo neurótico y alcanzando lo psicótico. Describe la función estructurante normal de los celos para mejor discriminar la envidia y ejemplificar los celos patológicos con la pieza Otelo de Shakespeare. Finalmente, diferencia la función estructurante normal de los celos y la envidia en los ciclos arquetípicos matriarcal, patriarcal, de alteridad y cósmico. ■