Deliri Psichici (Narrativa) (Italian Edition)

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This is a detailed textual commentary from a clinical perspective, noting the points at which material could have been taken up in transference, the clues to the transference in the text and the consequences of not thinking about the session in this way. At the same time the assessor needs to explore the question of appropriateness of different possible treatments, which may necessitate explicitly seeking certain kinds of information, relating, for example, to early experience or to risk assessment.

The various points of view can be felt to be in conflict with each other, and I suggest that different parts of this complex enterprise are unfamiliar to, and may be neglected by different professional groups. These instruments tend to be tightly tied to overt verbal sequences of behavior. In particular, an instrument is needed which can pick up the type of changes sought by psychoanalytically orientated therapy, since these may not show a simple correlation with established self-report or observational measures. A measure is discussed which evaluates the aspects of interaction of which the couple may be unaware, using clinical inference as well as observation.

This form of therapy aims to facilitate change in the relationship between the partners. It focuses not simply on partners as individuals and not only on the conscious and rational level, but also on the interaction between partners that operates unconsciously, which, if not engaged with, can interfere powerfully with the possibility of lasting change. Such assessment requires that the assessor is trained in perceiving unconscious processes, both in themselves and in their patients, and also is accustomed to thinking of couples as a unit in this sense.

It presents some theoretical ideas about couple functioning. Madison, Connecticut, Int. Losso, R. Journal of Applied Psychoanalytical Studies. In New Paradigms for treating relationships; ed. Lanham, MD, Janson Aronson, pp. The problem for any supervisor is in knowing when to intrude and when to be excluded. Mattinson, J. An exploration of the psychological meanings invested in different kinds of work by individuals and couples, it shows how some jobs like some marriages, may be used to contain emotional conflicts.

The loss of work is considered in this context, and the special difficulties of those employed to help the unemployed are discussed. A teaching video has been based on the book.

Collaboratori

Meltzer, D. London, Ronald Harris. Morgan, M. The way projective identification is used to create this kind of relationship is explored. Clinical material is presented and technical issues considered. London, The Family Welfare Association. Morley R E. Journal of Social Work Practice. Psychoanalytic Studies, 2, 2 Morley, E. Morley, E. The influence of sibling relationships on couple choice and development: P.

Coles Ed. Newsletter Morley, E. London, Karnac Books Muir, R. Psycho-anal, 9: Dream and Family, Funzione Gamma Journal, 2, ottobre , www. Playing with dreams: The introduction of a third party into the transference dynamic of the couple,Journal of Applied Psychoanalytic Studies, 5 3 : In: Scharff J. S, Scharff D. New Paradigms for Treating Relationships. Lanham: Jason Aronson, pp. The Family and Psychosis: Transpersonal Pathologies.

A family remembers: transpersonal defences and traumas in the family, International Review of Psychoanalysis of Couple and Family, 1, www. The generational roots of violence in youth, International Review of Psychoanalysis of Couple and Family, 1, www. Novakovic, A. Psychoanalytic Review, Olney, F.

Lawrence and M. Infertility Counselling Oxford: Blackwell Sciences Drawing on joint research with the Royal Free Hospital, this chapter shows how counselling with a couple approach can help partners bear the emotional pain of infertility and sustain the hope of a solution together, instead of these functions becoming destructively split between them. This throws light on the similar splitting which can occur between counsellor and clinician in the treatment team. Pengelly, P. This study found that such couples relied on their own partnership as their main resource for managing stress.

Rosenfeld D. Rosenthall, J. Partners Becoming Parents London: Sheldon This paper describes how both past and prevailing ideology about stepfamilies needs to be rethought especially in the light of the present increase in numbers of complex family arrangements. There is a tendency to either denigrate stepmothers or else in the recent literature to relieve them of responsibilities and point a finger at the first marriage instead.

This paper focuses on the couple relationship whilst keeping the family in mind; it argues that second marriages when they encounter difficulties can be overloaded with negative feelings, more so than first marriages; some of the reasons for this are discussed. It offers a debate about the dilemma that most couples use their GP as their first port of call and yet services are available primarily in the voluntary sector.

In addition more training is needed for this area of work. By using an example from the Balkans, in which people are no longer able to think, but instead use rigid and meaningless categories to describe themselves and others. A link is made with a couple who defensively stay together in a barren way for fear of being separate but cannot manage any relating.

The paper explores some of the possible reasons for this kind of connection — namely an early developmental failure which can leave individuals without a sufficiently developed mental apparatus, described in the literature as a psychic skin. The paper argues that a failure to apprehend this level and kind of difficulty, might not only impede the therapeutic work, but even resulting in the couple constructing as more resilient defensive outer layer. Such a covering is something that we take for granted and which implies that each of us is a separate individual.

However, this paper draws attention to the way that some individuals, who have not developed a robust enough sense of identity, might seek a desperate solution, by partnering with someone who shares their dilemma. The paper investigates how the underlying anxieties are primitive and serious, and the terrors which are being defended against are often in the area of suicide or breakdown so that, although couple therapy can help to loosen this deadly structure, a more containing intensive individual treatment is likely to be necessary to support the process of individuation.

Books Reconsidered: One Flesh, Separate Persons British Journal of Psychiatry This essay offers a contemporary review of a text which, when published in , was the first attempt in Britain to outline the theory and practice of family and marital psychotherapy. The author of the book, Robin Skynner, became a leading figure in marital, family and group psychotherapy. This essay review provides an appreciation and a critique of a now classic text. Ruszczynski, S. Particular attention is paid to the couple relationship. The unconscious forces which may attract a couple to each other and influence the nature of their interaction are outlined.

The second part of the paper addresses the nature of the clinical work with a patient couple. A hypothesis is offered regarding possible diagnostic criteria for choosing whether to work with a couple presenting for couple psychotherapy employing one psychotherapist or a co-therapist pair. Psychotherapy with Couples London: Karnac Books This chapter offers an introduction to the TMSI by outlining its theoretical and clinical work as it has developed since the inception of the Institute in As well as sketching out some of the theoretical concepts underpinning clinical work with couples, the author also refers to the various research and writing projects undertaken in the Institute.

Psychotherapy with Couples London: Karnac Books This chapter focuses in some detail at the therapeutic intervention offered to couples seen for psychotherapy in the Institute. The author shows how psychoanalytic theory is applied to the understanding of, and working with, the intimate adult relationships. Enactments in the transference-countertransference relationship will offer the first clues that, through the unconscious processes of projective and introjective identifications, patters from the inner world of the patient or client are being repeated in the therapeutic encounter.

A selection of passages from the text is included to show something of the nature of the book being reviewed. Narcissistic Wounds: Clinical Perspectives London: Whurr Publishers This chapter examines inevitable oscillation between narcissistic and more mature object relating which is likely to take place in all couple relationships.

Some couples will, of course, be more rigidly structured by less mature iterations. It is proposed that a committed couple relationship may offer the containment for narcissistic traits to be worked through and intergrated, to the benefit of both partners and their relationship. Women, Men and Marriage London: Sheldon Press This paper explores the unconscious connections partners make between their earliest love relationships and the choice and nature of their intimate adult relationships.

Ruszczynski restates the centrality of the unconscious and secret bond which draws the partners to each other and organises their subsequent relating. A suggestion is made that the ambivalence which is at the heart of all couple relationships stems from the inevitable ambivalence experienced towards primary parental figures.

The two are interwoven with each other; true intimacy rests on the recognition of the separateness of the other; true independence rests on the recognition of the need for the other. Sager, C. Schapiro, R. Reiss, J. Richters, M. With Jill Savege Scharff. Edited with Jill Scharff. Lanham MD: Jason Aronson. Scharff David The Future of Prejudice. Northvale, NJ: Jason Aronson. Searles, H. En: Boszormenyi-Nagy, I. Theoretical and practical aspects. Seymour, J. A brief review paper for Current Opinion in Psychiatry focused on the contemporary practice of marital therapy from a wide range of theoretical perspectives as evidenced by English language publications over the past year.

The past year has seen some important papers on research issues within the marital field, which have also illustrated the need for research from the psychoanalytic community. The review underlined the need for greater clarity and definition of both theoretical and clinical work.

Shmueli, A. This reinforces the view that adult functioning is paramount for functioning well as a parent, and implies a need for joint working between child and family services, especially those specifically for adults. Group analysis and family therapy. Stanton, M. Erotic Transference and Countertransference: Clinical Practice in Psychotherapy London: Routledge This clinical paper examines alternative uses of the idea of transference in relationship to primal absence and loss. The case involves a patient who produced a series of sculptures during the course of therapy and the paper explores how these sculptures captured the developing aspects of erotic transference and countertransference.

Stern, D. A view from psychoanalysis and developmental psychology. A unified view of parent-infant psychotherapy, New York, Basic Books. Stierlin, H. New York, Janson Aronson. Sullivan, H. New York, Norton. Tarsh, H. Sexual and Marital Therapy 14 2 This article explores the concept of shared unconscious phantasy in the context of work with a couple. It demonstrates how a couple can be drawn together on the basis of a shared unconscious phantasy and how the partners can defend themselves from conscious knowledge of this phantasy through a mutually defensive projective system, which in this case eventually led to the breakdown of the relationship.

The clinical marital illustrates in detail the therapeutic task of understanding and uncovering the phantasy through working with transference and countertransference relationships. Toman, W. New York, Springer. Vincent, C. Discrepant or anomalous signs may justify the doctor looking behind the manifest medical problem to an underlying relationship difficulty; the professional dilemmas involved in this process are examined.

The consultants identified two frequently encountered presentations. The first was what might be called an excessively paranoid interaction when couples would be fighting each other over some aspect of the divorce process, very often, the children. The second type of case can be described as using a depressive defense to ward off destructive anxiety, most commonly encountered by individual clients, unable or hesitant to proceed with divorce for fear of the destructive consequences to the children involved.

These presentations seemed to call forth a wish for the consultant to offer a magical solution to get round the feared destructive outcome. Effective shifts in therapy happen when those confused states are understood and acted upon so producing a gradual release from the grip of unconscious processes. Clinical examples from couple work are given. The paper discusses the models of consultation used in the project and draws a distinction made by Bridger Malcolm Miller Lecture , AUP between a client-centred and a consultant-centred model of consultation.

The paper also analyses in detail case illustrations of the paranoid and pseudo-depressive patterns of presentation found in the divorcing sample. It is argued that the unresolved classification may help understand these dynamics. The second situation is produced by those couples perspective where there is a sense of non-relating. It is argued that from a couple perspective the attachment system has broken down in the face of mutually contradictory attachment patters between the couple which mirrors the cannot classify more usually applied to the breakdown of the attachment system within the individual.

This study takes each health condition in turn and reviews how sexual health is implicated. The detailed review is framed by a historical overview of how female sexuality, particularly in the second half of life, has been constructed by western society and concluded by examining how current government health policies take account of sexual health concerns.

The author considers in what ways his advice giving might be considered an enactment. The paper also places advice giving within the context of client-centred and consultant-centred consultancy models. Therapeutic strategies with stepfamilies. Whitaker, C. In: Boszormenyi-Nagy, I. Woodhouse, D. A history of organisational and conceptual development. For practitioners and their managers, this book demonstrates how the anxieties and defences of organisations can mesh with those of their clients and patients to impede collaboration between agencies. Based on action research with doctors, health visitors, social workers, counsellors and probation officers.

Zilbach, J. International Congress of Psychoanalysis, Buenos Aires. In: T. Feres Carneiro. Cuidando dos idosos altamente dependentes na comunidade — um estudo sobre cuidadores familiares principais. Estudos e Pesquisas em Psicologia, 8, p. Manual de Terapia Familiar, Porto Alegre, Brasil: Artmed. Paideia USP , 29, 14, p. Estudos de psicologia Natal , 10, p. Estudos de psicologia Campinas , 2, p. Vida familiar, conjugalidade e trabalho. In: Ana G. Hounie; Walter Camargo Jr.. Sao Paolo, Ed. Unimarco, Arquivos Brasileiros de Psicologia, 27, 4, p.

Arquivos Brasileiros de Psicologia, 32, p. Rio de Janeiro: Zahar Editores. Rio de Janeiro: Zahar Editores, p. Psicologia: teoria e pesquisa, 3, 3, p. Psicologia: teoria e pesquisa, 8, 1, p. Temas em psicologia — Sociedade Brasileira de Psicologia, 2, 2, p. Jornal brasileiro de psiquiatria, 44, 2, p. Temas em psicologia, 2, 2, p.

Il gran lombardo

Terapia familiar no Brasil: o estado da arte. Sociedade Paulista de Terapia Familiar, 1, p. Revista de Psicologia Hospitalar, 12, 2, p. Rio de Janeiro: Xenon.

Rio de Janeiro: Xenon Editora, p. Temas em psicologia, 3, p. Scientia sexualis, Rio de Janeiro, 5, 2, p. Rio de Janeiro: Nau Editora, 1, p. Interamerican Journal of Psychology, v. In: Ceneide Maria de Olviera Cerveny. In: Macedo, R. De onde viemos? Psicologia: teoria e pesquisa, v. Revista Brasileira de Terapia Familiar, v. Psicoterapia de casal: modelos e perspectivas. Revista Brasileira de Psicoterapia, v. Psicologia em revista, 13, p. Boletim de Psicologia.

LV, p. Rio de Janeiro: Guanabara Koogan, v. Universidade do Algarve, Psicologia USP. Ano IX, p. Terapia de casal? O que permanece e o que se transforma. Porto Alegre, Brasil. Terapia de Casal? In Levisky, D. LEVY, L. Quando o adoecimento assombra e une o grupo familiar. ISSN: Paideia, 18, p. Psicologia em revista, 10, 16, p. Qualidade conjugal: mapeando conceitos. In: Prieur B. Produtividade em Pesquisa. Rio de Janeiro : Guanabara Koogan S. Revista de psiquiatria do Rio Grande do Sul, 31, 1, p.

Estudos de Psicologia Campinas. Psicologia em Estudo. Rio de Janeiro. Agosto, Rio de Janeiro. Outubro, U. XI, p. Revista do IBMR, Buenos Aires. Tomo II. Tesis de Doctoramiento. Departamento de Psicologia. Abraham, N. Algini, M. Algini a cura di , Fratelli, Quaderni di Psicoterapia Infantile, 47, pp.

Anzieu, D. Anzieu et al, Gli involucri psichici. Dunod-Masson, Milano, Anzieu et al. Artoni Schlesinger, C. Bagnini, C. Balmer, R. Angeli, Milano, pp. Balsamo, M. Una riflessione sul transgenerazionale, Interazioni, 1: Destino, evento, struttura, Interazioni, Baranes, J. Baranes a cura di , La questione psicotica in adolescenza, Borla, Roma, , pp. Faimberg, M. Enriquez, J.

Bria, L. Rinaldi a cura di. Corpo e mente in adolescenza. Bastianini, T. Il faticoso travaglio dei percorsi di soggettivazione, in Centro Psicoanalitico di Roma, Generi e generazioni, Angeli, Milano, pp. Benghozi, P. Trapanese, M. Sommantico a cura di , La dimensione fraterna in psicoanalisi, Borla, Roma, pp. Berenstein, I. Trapanese a cura di , Quale psicoanalisi per la famiglia? Nicolini a cura di , Quaderni di Psicoterapia Psicoanalitica. Borla, Roma, pp. Eiguer, A. Ruffiot, I. Berenstein, J.

Puget, C. Padron, S. Decobert, M. Bernard, M. Bertelloni, G. Bianchedi, E. Ferraro a cura di , La doppia famiglia. Bianchini, B. Una dialettica possibile? Bolognini, S. Bonaminio, V. Bonassi, E, et al. Bonassi, E. Uno spettacolo teatrale di adolescenti migranti, Adolescenza e Psicoanalisi, 1: Borgia, F. Borgogno, F. Bottone, M. Bourguignon, O. Un approccio psicoanalitico, Liguori, Napoli. Braun de Dunayevich, J. Puget, et al. Bruno, G. Brunori, L. Fratelli di gruppo, Borla, Roma. Uno studio sulle relazioni fraterne e la scelta del partner, Interazioni, Brusset, B.

Sommantico a cura di , La dimensione fraterna in psicoanalisi. Bydlowsky, M. Zurlo a cura di , Percorsi della filiazione. Angeli, Milano. Le infertili. Un aspetto della filiazione femminile, in M. Zurlo a cura di , Percorsi della filiazione, Angeli, Milano. Califano, M. Califano, V. Quaderni di Psicoterapia Psicoanalitica. Kristeva e C. Chiland sulla funzione paterna scheda , Psicoterapia Psicoanalitica, VI, 2. Nicolini a cura di , Il Colloquio psicologico nel ciclo di vita, Roma, Borla. Canova, R. Lucchini, G. Strepparola, R. Lucchini, et al.

Carau, B. Carel, A. Richard, S. Wainrib a cura di , La soggettivazione, Borla, Roma, , pp. Carli, L. Modelli teorici ed intervento clinico, Il Mulino, Bologna. Carli, D. Cavanna, G. Psicologia delle relazioni di coppia. Modelli teorici ed intervento clinico, Il Mulino, Bologna, pp. Castellano, R. Castex, E. Decobert, F. Sacco a cura di , Il sogno, il bambino e lo psicoanalista, Angeli, Milano, , pp. Catarci, P. Cavanna, D. Di Nuovo, G. Cellentani, O. Ciambelli, M. Ciambelli, F. Oneroso, G. Pulli, Il segreto e la psicoanalisi, Gnocchi, Napoli, pp.

Qualche riflessione in tema di procreazione artificiale, in A. Ciavaldini, A. Ciccone, A. Lhopital, M. Cierpka, M. Cigoli, V. Scenario rappresentazionale e azione generazionale, Interazioni, Trasmettere, tramandare, trasferire, in A. Trapanese a cura di , Quale psicoanalisi per la coppia? Clinica dei corpi familiari, Angeli, Milano. Conrotto, F. Copley, B. Correale, A. Cristel, M.

Cupelloni, P. La malattia mentale venne vista come un "disordine" che richiedeva un trattamento compassionevole il quale avrebbe aiutato nella riabilitazione della vittima. L'introduzione del "trattamento morale" venne avviato indipendentemente dal medico francese Philippe Pinel e da William Tuke , imprenditore e filantropo del Quaccherismo [18].

Prima del suo arrivo i detenuti furono incatenati dentro celle ristrette con una assai scarsa ventilazione; il centro era diretto da un certo Jackson 'Brutis' Taylor. Nel vennero liberati i pazienti dalle catene e proibite le punizioni corporali , anche se poterono essere utilizzate le camicie di forza [19] [20].

I pazienti furono autorizzati a muoversi liberamente nei giardini dell'ospedale e, infine, le celle buie furono sostituite da locali soleggiati e ben ventilati. Si mise l'accento sulla selezione e la supervisione degli addetti al fine di creare un ambiente adeguato per facilitare il lavoro psicologico, ma in particolar modo sull'assunzione degli ex pazienti, in quanto ritenuti maggiomnte propensi all'astensione da trattamenti inumani, pur essendo in grado di resistere alle suplliche, alle minacce o alle lamentele [22]. Sei anni dopo. L'intera famiglia Tuke divenne ben presto conosciuta come fondatrice del "trattamento morale" [26].

Se i pazienti si fossero comportati bene avrebbero ricevuto dei premi, se si fossero comportati male vi sarebbe stato un uso minimo delle restrizioni e dell'infusione della paura. I pazienti furono subito informati che il trattamento ricevuto sarebbe dipeso dal loro comportamento; in questo senso ne venne riconosciuta l'autonomia morale.

Il "Ritiro dei Tuke" divenne un modello in tutto il mondo per il trattamento umano dei pazienti affetti da disturbi mentali [27]. Benjamin Rush a Filadelfia promosse il trattamento umano degli insani non pericolosi all'aperto e senza restrizioni fisiche, oltre a cercare la loro reintegrazione nel tessuto sociale. Una riforma simile venne condotta in terra italiana da Vincenzo Chiarugi , che rimosse l'uso delle catene di detenzione all'inizio del XIX secolo. L' istituzionalizzazione degli "Asili mentali" fu stabilita in Gran Bretagna con la promulgazione dell' County Asylums Act [29] ; questo permise alla magistratura di far costruire "Asili di soccorso" in ogni contea , per ospitare soprattutto i lunatici indigenti.

Nove contee applicarono la procedura per la prima volta ed il manicomio del Nottinghamshire fu aperto nel [30]. Tuttavia fino al non vi fu alcun Comitato ufficiale con l'incarico di poter autorizzare e controllare gli asili privati [32]. Le commissioni, composte da 11 commissari metropolitani, furono tenute a far ripettare le disposizioni di legge [34] , compresa la costruzione obbligatoria di un asilo in ogni contea e con ispezioni regolari a nome dei Segretari di Stato per gli affari interni del Regno Unito.

Tutti gli asili furono tenuti a dotarsi di regole scritte e ad avere un medico qualificato residente [35] ; un organismo nazionale per i sovrintendenti, la "Medico-Psychological Association" oggi incorporata nel Royal College of Psychiatrists venne istituita nel sotto la presidenza di William A. L'"Utica Psychiatric Center" venne aperto nel circa; questo ospedale, come anche molti altri, furono in gran parte opera di Dorothea Dix , i cui sforzi filantropici si estendevsero in molti Stati e in Europa fino ad arrivare a toccare Costantinopoli.

La maggior parte dei centri ospedalieri statali statunitensi furono costruiti tra il e il seguendo il piano dell'"edificio Kirkbride", uno stile architettonico destinato ad avere un effetto curativo [39]. Gli uomini che furono legalmente responsabili di queste donne marito, padre o fratello poterono farle rinchiudere in manicomio affermando di credere che fossero delle malate mentali a causa delle loro opinioni divergenti da quelle allora socialmente accettate.

Questi uomini ebbero sempre l'ultima parola quando si trattava della "salute mentale" delle donne; se credevano che queste donne fossero "anormali", o se semplicemente avessero voluto silenziare le loro voci e opinioni di queste, potevano facilmente inviarle alle istituzioni mentali. La sua narrazione venne pubblicata sul quotidiano New York World e successivamente in forma di libro col titolo Ten Days in a Mad-House. Anche se Tuke, Pinel ed altri cercarono di allantanarsi dalle interpretazioni fisiche limitanti, queste rimasero assai diffuse per tutto il XIX secolo, Al "Lincoln Asylum" a Lincoln Robert Gardiner Hill , con il supporto di Edward Parker Charlesworth , promosse un metodo di tattamento che si adattasse a tutti i tipi di pazienti, in modo da poter eliminare le restrizioni meccaniche e le coercizioni, una situazione finalmente raggiunta nel [45].

William A. Entro la fine del XIX secolo nella maggior parte dei paesi che avevano vissuto l' industrializzazione erano stati istituiti sistemi nazionali di asili regolamentati per i malati mentali. All'inizio del secolo Gran Bretagna e Francia avevano assieme solo poche centinaia di persone rinchiuse [48] , ma alla fine del XIX secolo questo numero era salito a centinaia di migliaia.

Solo gli Stati Uniti d'America ospitavano mila pazienti nei manicomi entro il Gli asili per lunatici furono cruciali per l'evoluzione della psichiatria in quanto fornivano luoghi di pratica in tutto il mondo [48]. Gli psichiatri vennero invece pressati da una popolazione di pazienti in costante crescita [49]. Solitamente i casi pericolosi o violenti ottennero la precedenza. Essere definito come "insano" divenne un requisito indispensabile per poter essere ammessi in un impianto. Nel corso del voci di lamentela sul fatto che i dottori stessero dichiarando persone normali come insane in tutta la Gran Bretagna vennero diffuse dalla stampa producendo una vera e propria ansia collettiva.

Il timore fu che tutte le persone considerate fonti d'imbarazzo per le famiglie venissero convenientemente fatte rinchiudere in manicomio e questo con la voluta connivenza della professione psichiatrica.

Giulio Cattaneo

Questo sensazionalismo comparve anche in diversi romanzi dell'epoca, come ad esempio La donna in bianco [55]. Una serie di terapie fisiche radicali vennero sviluppate nella maggioranza dei paesi europei tra gli anni e Tra queste possiamo notare la "terapia malarica" inventata dall'austriaco Julius Wagner-Jauregg per la "paralisi generale" o "neurosifilide"; usata per la prima volta nel la pratica gli permise di vincere il premio Nobel per la medicina dieci anni dopo [56].

La "terapia malarica" venne seguita nel dalla "terapia del sonno profondo" indotto con i barbiturici , prevantemente utilizzata nei casi di demenza e introdotta dallo svizzero Jakob Klaesi. Ancora una volta entrambe queste terapie furono inizialmente mirate nei confronti della "demenza precoce" [59]. L'utilizzo della psicochirurgia rimase ridotta ad un numero molto piccolo di persone per sintomi specifici.

Nel vennero effettuate 5. Che tipo strano, in definitiva. Un gioco di potere alle sue spalle e lui non se ne accorge e finisce male. Peccato Quando ha iniziato col canto? I miei nonni paterni e materni erano siciliani. Cos'ha di speciale un tenore? Sapere dove va la sua voce. Quindi tanta tecnica. Ma se ti manca la tecnica How did it happen? Back in Argentina was a very insecure place due to the dictatorship. Over Due to that awful situation my parents decided to have most of their children in Uruguay. They were Uruguayans and had a lot of family in that country. So some of us are Uruguayans some Argentinians but both countries join very similar cultures and the same language so with the exception of futboll games soccer we were always very united.

We grow up basically in Argentina because my father worked at Teatro Colon in Buenos Aires since back in the 60's. There are still some recordings of his Il Trovatore, Madame Butterfly , I Pagliacci , Un ballo in Maschera and Beethoven Symphony 9 conducted by Piero Gamba, for sure stuff difficult to find online these days but we have in the family some of those old recordings. You have five siblings who are active in other professions.

Delirium: Sindrome di disorientamento e confusione mentale da prevenire e curare negli anziani

Was your father the only musician in the family? My brother started as a trumpet player and one of my sisters studied piano for several years, but the two most renowned musicians in my family were my half uncle the conductor Michelangelo Veltri , known for working and making several recordings with Alfredo Kraus and many other famous singers.

He was also a close friend of my teacher and coach Eugene Kohn.

I was never much in contact with this half uncle but my father and him spend a lot of time working together at Teatro Colon. The other great musician to mention is my grandfather from my mother side Ramon Olivera. He and his cousins were all first class musicians, mostly violinist. My grandfather was the first violin in several orchestras in South America including Teatro Solis of Montevideo during the golden days from the 30's to the 70's. The only break he made during his career it came when he was called by the French resistance during War World 2 and joined the army leaving Montevideo back in the 40's for a period.

Upon his returned to south america he heritage an Stradivarius from his own uncle, who was also a prestigious violinist, married to a german pianist. My grandfather was the only man I knew in this life that possessed an instrument of this level. Unfortunately during his last days he remarried and then we lost trace of that valuable instrument.

It was a huge lost in my family, not because of the monetary value but simple because of the symbolism. This kind of instruments should never be sold, they should stay forever in the family until another prodigious child can take advantage of it. Was it clear from the first time that you wanted to be a singer? Yes, no doubt. The only period I wanted to have another profession it was when I was 6 years old when I wanted to be a detective or criminologist. Besides those very early years, Opera was and is my life. At 11 I was extremely connected to the Puccini's repertory.

I listened to Opera at least 1 hour a day, and at 14 I was in the Conservatory of Music following an Opera career. I never imagined myself doing anything else, my target was to be a Tenor and Opera singer and follow that profession against all odds. Unfortunately that brought me a lot of discomfort in the eyes of my girlfriend's parents because during those days they consider to be an Opera singer a hobby or an impossible profession from which someone could make a living.

Pan by Francesco Dimitri

Basically my first relationships were doomed due to that issue. There is no any information in your biography about the years Can you give some points about this period of your life? During that period, I worked as an assistant for lawyers. Preparing at daily bases their documents and materials, very often visiting courts, accountants and notaries. Working everyday from 8am to 8PM. Fortunately the conservatory of music was just around the corner from their office so during the evenings I used to study at the school of music until 23PM.

That was my life from monday to friday. Then during the weekends I performed Operettas by Jacques Offenbach in a small theater with seats in Buenos Aires, playing different roles on stage making very little money but with this second job I was slowly training my acting and singing skills. If I know well, you have financed your studies in a very special way? Can you tell your story? It was very very very difficult. The first 2 weeks of the months were ok but from then on I survived eating rice, octopus and squid. Things were easier upon my arrival in New York because while working on Broadway and winning competitions , I was able to extend my budget in direction to take voice lessons, coaching Operas and I was able to finished with the mortgage in Buenos Aires.

I can not complain, Baz Luhrmann and La boheme on Broadway supported me a lot taking me as part of the team. You have started your career on Broadway. How did it work? Broadway is like going to a Wedding. You have many guest attending the event with different intentions. There are people who go to a wedding just in direction to see the dresses or checking who will be present during that event, some are trying to make of that day the best in the life of the marrying couple, some others just go with the intention of bringing more attention to themselves than the couple that is marrying.

Some others go just to have fun, drink , dance and eat. I went into Broadway with that intention and energy , let's have fun I said to myself. You can imagine the happiness in my face , jumping from singing in a small theater in Buenos Aires to be performing on Broadway. I did not think so much about the challenges and risk because the truth is that working on Broadway is extreme for an Opera singer.

First of all because you have to deal with 9 performances a week, then you must be very flexible to perform any role at any time, from Rodolfo to a newspaper seller, to a sailor, a gigolo, a fruit seller, a police man, a blind man, a piano player, guitar player, etc. There is no room for Divos or Divas , is all for one and one for all otherwise shows don't last long. It was fun at that age 23 but I would not do it again today, simply because it is way to much singing in one week.

As I see your repertoire, you have not sung Mozart roles. Mozart is not so important for you? I love Mozart, is my favorite composer but I never had the flexibility to sing it well. I could not do that and I won't try it , I knew my limits then as well as now. I refused many tempting offers from important theaters simply because I felt that it was not my time in order to deal with certain repertory during that specific period. I lose many chances to get recognition and money and very often agents felt disappointed with me for not taking the offers but I consider that to deal with an Opera is like to go to war.

You must have the weapons, the strategy and the army in order to win. If any of these is missing you are at risk of jeopardize you name , the one of your agency and most of all the one of the company that hired you. Is there an opera house in which you absolutely want to perform? Not in an Operahouse in particular but to sing Aida in a stadium with Placido Domingo conducting for an audience of Nowadays, the optical aspect of an opera production is getting more and more importance.

How do you see the balance between singing and acting? Acting for an Opera singer will never have a place without a top vocal technique. If you see the kind of extraordinary things she does while singing, even fighting with a sword on stage while playing the role of Abigaile. How does she do it? Well her technique is extremely solid and when things are that way you don't have to think about singing, you can just focus in acting. Opera should be excited and thrilling from a violent scene to a love scene or funny scene. Second part You have sung a lot of parts through the years.

Which part did you find the most challenging as a singer? Which character you felt was the most intriguing to play? The most challenging without any doubts Manrico in Il Trovatore. You need to be titanium, solid and flexible, you need to control your fire , use bel canto as much as possible knowing that you will be swimming with sharks.

The most intriguing to play it was Cloriviere in Maria Victoire by Respighi. The dark side of the character and the way he manipulates things is perfect if the case is that you like acting. What kind of productions you prefer? Do you prefer hero characters or roles like Pinkerton or Turridu? Also I can show more temperament. I certeinly do not like so much to play anti-hero such as Don Carlo. Which conductor you found yourself the most at ease with? Daniel Barenboim, he is in control but let me shine at much as I can. I believe that is all about high quality Opera and he is a huge supporter on that direction.

You were mentored by Eugene Kohn. How much did that influence you and how? Eugene is the best thing that could have happen to me in my operatic life. He fixed and upgrade my technique. He also trained me in direction to have the resistant of a horse, pushing me to the limits of my physical resistance, training after several hours of singing, pushing me to run 10, 20 , 30 km a day.

He guided me and trained me in direction to my real repertory lyric -spinto repertory and he introduced me to Placido Domingo, a key person for the development of my career. You received a lot of awards. Could you tell somethings of these awards' difficulty level and features, and whether you consider one of them more significant to you or your career than the others?

All of them are important to me. Some cover months of training and some open the doors of Opera houses. I never saw a competition as the last stop in my career, neither as a short cut to become fast famous, so I never thought so much about getting the 1st Prize, I always consider that in order to pursuit a career as an Opera singer I was going to have to deal with much more than 4 arias. My advice to those doing competitions is "treat the other competitors well, after all they are the ones with whom you will spend the most of your life if the case is that you get the recognition, not the jury neither the audience, the singers are the ones who will be next to you in the battle field" Which composer do you consider the closest to your heart and why?

He is the one I listened the most even when I am jogging or working out. Just listen to the Adagio of his Klavier concerto n. He was just someone touched directly by God , and the deepest to my heart, who can write that kind of music. Which one is the part that you have never played but you would love to be offered? I would love to play Hoffmann , I love the evolution in the character besides that I am a huge Offenbach's fan. Also Alvaro in La Forza, Calaf in Turandot and the title role in Othello, all of these roles are close to deep memories of my life. What is in your upcoming repertoire?

What is your guilty pleasure? Life is too short to feel guilt while having pleasure. I have none. Your favourite piece of art? I am an art collector myself. It would be difficult to chose a particular piece from all of my own statues, antiques, paintings and porcelain from around the world. What is your favourite dish? Fish and Sea food. I could eat it everyday. If you were a king what would you do first? I would check the borders of my kingdom and see who are my neighbors Which composer you do not click with? I am not a big lover of contemporary Opera.

I could give you a long list. If you had a super power what would it be? Fly If you were an animal? Think about fishing and the movement of the water in the sea Do you ever watch your neighbors through window? Never , no time for that, otherwise I would have Facebook. Do you have a nickname? Pepe Grillo Jiminy Cricket What would be your dream cast for a dinner party?

What is the most annoying noise for you? Your favourite violist joke? February 26 , by:??? Gaston Rivero is a spinto tenor from Uruguay who has thrilled the audiences for quite a few years, bringing his commanding physical persona and his potent lyrical voice to many stages all over the world. He is a first choice tenor for many opera houses and he has many upcoming surprises for his fans all over Europe: Aida, Luisa Miller, Carmen While singing in La Traviata in Israel, he was kind enough to give Operamylove an exclusive interview.

I am sure the readers will be as delighted as I was with his thought-provoking answers. Operamylove: Manrico, Cavaradossi, Ismaele Gaston Rivero: Personally the most challenging role I have in my repertory and I performed in several productions is Manrico in Il Trovatore. It deserves a lyric, spinto and dramatic Tenor, flexible with a solid center of the voice and good quality high notes, so to sing this role well is a real challenge.

Audiences and critics will be judging you for your whole performance, just if the high C in the Caballeta goes wrong something that is not even written in the original score but is tradition to sing. If it is the case that the production has a lot of action and you want to bring excitement to the audiences showing your skills as an actor, you will certainly lose four pounds after each performance.

I sang this role for the first time in Klagenfurt, when I still was 32 years old, and I can assure that I was able to do it thanks to the training and strategy of my vocal teacher and coach in NYC. Anyway, at the moment my favorite role to sing is Radames in Aida, the melodies are sublime and I identify a lot with the character. Operamylove: Which conductor you found yourself the most at ease with? Gaston Rivero: There are four that I must mention as the top conductors I met in my career and they are Daniel Baremboin, Ulf Schirmer, Anthony Bramall and Israel Gursky; they enjoy making music, they love good voices, high notes and great singing.

Therefore, you feel accompanied at all times, supported by them while acting. Daniel Baremboin is so amazing that only with one look from him you know what to do, how and when to approach a note, and during the arias or solo sections he will give you all you need in order to make music shine. Ulf Schirmer has been supporting me a lot in Europe for several years; he opened his opera house for me in Leipzig and gave me the opportunity to debut roles and perform in concerts. Israel Gursky is not just an extremely talented young conductor but also a very close friend of mine, most of my early training I received from him and my first steps in my professional career were following his advice.

We worked together several times but one of the most memorable performances we did together was Romeo et Juliette by Gounod at Portopera in Maine, I never saw so many people crying in the audience by the end of the performance; it was an experience that I'll never forget. Now I'm on my way to Israel in order to meet Mto. Zubin Mehta for the first time, I'm sure that his name should be also added to this list. Operamylove: You were mentored by Eugene Kohn. He offered me his friendship as well as an undoubted solid technique that becomes stronger through the years.

Even though I was a professional soccer player during my early teens in Argentina, I stopped almost completely from exercising at 26 years, and old I found myself a little overweight. Eugene not only trained me in my vocal technique, but also pushed my physical strength to the limits, making me run the whole Central Park 6 miles after a 2-hours intensive lesson. I follow this schedule at least three times a week. Those lessons were priceless; there is no amount a singer can pay in order to receive such a high level of vocal training from someone with this kind of knowledge.

Operamylove: You received a lot of awards. Could you tell our readers about some of these awards' difficulty level and features, and whether you consider one of them more significant to you or your career than the others? Gaston Rivero: From to I won prizes in over 30 vocal competitions. I never saw them neither as the last station in this career, nor as a guarantee of overnight success and fame. Competitions for me were a door to make connections and some money in order to pay for lessons.

Anyway, I must assure you that each competition gave me back something that was more valuable than a prize, self-confidence. Operamylove: Which composer do you consider the closest to your heart and why? Gaston Rivero: Mozart; he is the top composer for me. So much hope and love are written in his music; so much passion for life. He is, in my opinion, the biggest proof in the world of music that love and talent can triumph against mediocrity even after life.

Operamylove: Which one is the part that you have never played but you would love to be offered? Gaston Rivero: There are two roles that I was never offered yet and I would love to sing someday. The first one is Hoffmann; I love the evolution in this character and his deep emotions searching for love. The second role is Othello, but it is too soon, I still need more maturity in order to face this challenge.

This is the role my father was preparing when I decided to become an opera singer. Unfortunately, because of family problems, he was never able to sing it. So it is kind of a challenge I have in front of me. Operamylove: You sang in many theaters; could you give us a feedback of their differences, whether in their set-up or in the response of the spectators?

Which theater would you consider the most rewarding for you and why? Gaston Rivero: Audiences are like blind dates. You never know what to expect. It doesn't matter if you are in your home country, or surrounded by many friends. The answer you will receive depends on your skills seducing the audience and the audience's knowledge. You also depend a lot on the team work you will do with your colleagues in order to achieve success.

Anyway, under any circumstances friendly theaters with friendly audiences will give you a lot of pleasure, while tough theaters with more challenging audiences will make you stronger. Operamylove: What is in your upcoming repertoire? Opernnetz hat kurz vor der Premiere mit ihm gesprochen. Allerdings nicht an einem Opernhaus, sondern am Broadway in einer Produktion des australischen Filmregisseurs Baz Luhrmann.

So wurde die Idee, die Rolle des Rodolfo zu singen, zweitrangig. Seitdem mein Vertrag mir erlaubte, verschiedene Rollen darzustellen, fragte ich die Produzenten nach Gelegenheiten, nicht nur den Rodolfo zu spielen, sondern auch andere Rollen. Ich brauchte nicht mehr dem traditionellen Konzept des Tenors zu folgen.

Liegen Ihnen die Rollen des italienischen Verismo-Fachs besonders gut? June 27 , by: Jordi Kooiman, "Tenoren van de toekomst: Gaston Rivero In operaland staan de felste spotlights gericht op de prima donna's. Maar de primo uomo's komen op een goede tweede plaats.

Met hun hoge noten en heldenrollen hebben ze een speciale status in en buiten de operahuizen. Wie zijn de 'leading gentlemen' van de toekomst? In deel drie van een serie Gaston Rivero. Wie is Gaston Rivero? Hij was finalist in Cardiff en bij Operalia en prijswinnaar op het Belvedere. Hij schuwt zware rollen niet en gelooft heilig in een ijzeren hardloopregime om zijn zang te versterken. De jonge Gaston kreeg de operamuziek dus met de paplepel ingegoten - of hij het nu leuk vond of niet.

Als jonge tiener ontdekte hij dat hij zelf ook wel wat in zijn mars had op vocaal gebied en begon hij zangles te nemen. Op zijn zestiende studeerde hij al fulltime en op zijn twintigste vertrok hij naar New York om zijn zang te verfijnen. Inmiddels is de naam 'Gaston Rivero' zich steeds steviger aan het vestigen bij voorname operahuizen als bijvoorbeeld de Deutsche Oper Berlin en de Oper Leipzig. De komende tijd staat hij onder meer in Hannover, Tokyo, Berlijn en Essen.

En de weg naar grotere faam lijkt voor hem open te liggen. Wat zegt Gaston Rivero? Wachtend op een mogelijke invalbeurt had hij tijd om met Place de l'Opera te spreken. Ben je vaak understudy voor andere tenoren? Maar ik was net klaar met een Butterfly toen ik gebeld werd door de Wiener Festwochen, dus het paste in mijn agenda.

En ik heb veel vrienden in Wenen, dus het is niet erg hier te zijn. Daar woont mijn vrouw ook. In Europa is Leipzig mijn basis. Daar doe ik ieder jaar minstens tien voorstellingen. Maar het grootste deel van mijn tijd ben ik 'on the road'. Vorig jaar was ik in het hele jaar 29 dagen thuis in New York. Verder vermaak ik me wel met wat films en met hardlopen. Als het niet in Central Park is, dan wel ergens anders.

Ik luisterde er altijd naar, ook al hield ik er niet van. Maar op mijn twaalfde speelde ik een keer met wat anderen de opera Turandot na. Ik begreep er zelf niks van. Ik had toen nog een kinderstem, maar opeens kwam die grote, volwassen stem eruit. Mijn vader was in een andere kamer.

Hij sprong op, kwam naar ons toe en vroeg: wie deed dat?! Op mijn veertiende besefte ik dat ik goed was en op mijn zestiende was ik al fulltime aan het studeren. En gevaarlijk. Gelukkig had ik een goede eerste leraar, die me niet pushte, maar me alleen noten liet zingen die er echt al in zaten. Toen ik ging studeren kreeg ik een aantal slechte leraren. Na zes maanden was ik mijn stem kwijt. Ik ging terug naar mijn eerste leraar. Die zei: luister naar je eigen verstand, ongeacht wat je leraren zeggen.

Dat deed ik, al waren mijn leraren daar niet erg blij mee Hoe heeft hij je verder geholpen? Daarna werden we vrienden. Op bijna militaire wijze begon hij me toen te coachen. We trainden uren op een dag en aan het einde droeg hij me altijd op om voor het slapen gaan nog heel Central Park door te rennen. Voor een betere weerstand, zei hij. Dat was zo'n tien kilometer. Soms deed ik dat wel vier of vijf keer per week. Zingen doe je met je hele lichaam, je hele lichaam werkt als je zingt.

Het gaat erom dat je in vorm bent. En dan heb ik het niet over fitness, maar over hardlopen, simpelweg rennen. Ik ren nog steeds dertig of veertig kilometer per week. Ook doe ik af en toe marathons. Dit is een groot geheim in ons vak. Als meer zangers zouden weten hoeveel kracht ze hieruit kunnen krijgen Je zou twee keer op een avond Trovatore kunnen zingen. En Pavarotti met tien keer zo veel kracht En dat lukt, ik kan er goed mee omgaan. Ik weet ook in welke wateren ik kan zwemmen en in welke wateren ik door een haai gebeten zal worden. Ook heb ik al aanbiedingen gekregen voor La forza del Destino en Turandot - van belangrijke huizen en regisseurs - maar ik heb telkens nee gezegd.

Ik ben niet het soort tenor dat het toch probeert, maar dan afhaakt of half werk levert of niet komt opdagen. Als ik voor een rol ga, dan moet ik weten dat ik het aankan. Dat is een kwestie van respect hebben voor opera's en operahuizen. Je hebt als zanger een serieuze verantwoordelijkheid. Zijn gevoelens zijn eerlijk, maar hij is verward. Ik kan me goed met hem identificeren.

Otello is ook een favoriet. Die rol wil ik al sinds mijn kinderjaren zingen. Eens wil ik dat karakter worden. Bom, tudo era novo para mim. Trabalhar com Baz Lurhmann, conhecido pelo Moulin Rouge, foi maravilhoso. Voltaria a Broadway? March , Vol. Mit meinen Geschwistern war es allerdings nicht so. Obwohl sie zum Teil auch Instrumente gelernt haben, gingen sie dann eher in den Informatik- und Finanzbereich. Aber gleichzeitig erkannte er mein Talent auch an. GR: Nein, bis jetzt noch nicht. GR: Absolut!

Leider ist das in anderen Kontinenten we- niger der Fall. Das Schwierigste an diesem Beruf In die- sem Beruf ist eigentlich nichts einfach. Heute z. Ich habe die ganze Nacht mit Ler- nen verbracht Eigentlich hat dieser Beruf viel mit Einsamkeit zu tun. Aufopferung und Einsatz sind enorm gefordert.

GR: New York! Aber du wirst lachen Das sagt ja schon alles, oder? RS: lacht Okay GS: ebenfalls lachend Ja! Laut privaten Aufzeichnungen hat er diese Rolle an die mal gesungen. Er selbst meinte, es seien mehr als mal gewesen, was ich mir allerdings nicht wirklich vorstellen kann. Ein Leben, in dem jeder Augenblick so einzigartig ist und festgehalten werden sollte. Die Zeit wird kommen! GR: Ich kann mich schwer selber beschreiben, hm RS: Und wie sieht es mit Wien aus? Auch wenn das erst in 3, 4, 5 oder 10 Jahren der Fall sein sollte.

RS: Du hast bereits einige Gesangswettbewerbe gewonnen u. Was ist das Besondere an diesem Wettbewerb im Vergleich zu anderen? GR: Ich habe an vielen ver- schiedenen Wettbewerben teilgenommen. Damals kam dann nach der Vorstellung der Inten- dant der Klagenfurter Oper auf mich zu und bot mir Aida an.

Von jedem Gesangswettbewerb nimmt man etwas mit. GR: Gerne! Wie kam es dazu? Leopold Hager wollte ihn unbedingt nach Europa holen. Aus diesem Grund hatten meine Eltern beschlossen, dass meine Mutter mich in Uruguay entbinden soll. War Ihr Vater der einzige in der Familie, der musikalisch war? Die ersten Opernaufnahmen, die mich wirklich faszinierten, waren Gesamtaufnahmen von Tosca und von Turandot. Ich war da gerade 13 Jahre alt, als ich mit meiner Schwester spielte und so nebenbei Arien mitsang. Mein Vater kam ganz aufgeregt ins Zimmer und schrie "Wer war das, wer war das?

Wir konnten uns keine Privatschule leisten. Ich arbeitete als Assistent in einer Rechtsanwaltskanzlei. Am Abend setzte ich dann mein Gesangsstudium fort. Das war im Jahr Sie finanzierten dann ihr Studium auf eine sehr spezielle Art und Weise? Ihm gefiel meine Stimme und er lud mich zu einer Audition ein. Eine Oper am Broadway? Wie hat das funktioniert? Es war aber trotzdem eine tolle Erfahrung. Das ganze spielte sich ab. Vorher nahm ich an ein paar Gesangswettbewerben teil und konnte unter anderem auch in der Carnegie Hall auftreten. Sie waren ja bei Bewerben sehr erfolgreich.

Welchen Stellenwert messen Sie diesen Veranstaltungen bei? Sie produzierten dann auch eine CD, die auf diversen Market-Places zwischen 35 und 80 Dollar gehandelt wird? Ja, das tat ich auch zur Promotions-Zwecken. Ira Siff wiederum hat mir beigebracht, wie wichtig Disziplin in diesem Beruf ist. Seitdem sind Sie ja gut gebucht. Unter anderem kam ich so zu einem Gastspiel nach Japan. Meine Stimme geht mehr ins Dramatische.

Meine Interessen und auch meine Stimme liegen sicherlich im dramatischen italienischen und franzoesischen Fach. Gibt es ein bestimmtes Opernhaus, in dem Sie unbedingt einmal auftreten wollen? Nicht wirklich. Das ist mir egal, es ist einfach wichtig, dass die Konzeption nicht gegen das Libretto und die Musik gerichtet ist.

Oper kann so spannend sein und es wird viel Action geben! Wie vorhin angesprochen bereiten Sie neue Rollen vor. Wie gehen Sie dabei vor? Dann versuche ich mich in die Figur, die ich darstelle, reinzudenken und dabei Parallelen zu meinem Leben zu finden. Bei Helden ist das wahrscheinlich eher leichter als wenn man Figuren wie Pinkerton oder Turridu darstellt?

Ja, da kann es schon vorkommen, dass man in seiner eigenen Seele ein paar dunkelschwarze Winkel durchforsten muss und mit sich selbst auch ins Reine kommen muss.