Geradeaus: Höhen und Tiefen meines Lebens (German Edition)


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Compliance with Laws. The Borrower shall comply in all material respects with all applicable Laws. Use of Proceeds, The Borrower will use the proceeds of the Loans for the purposes set forth in Section 3. Management of Borrower. The Borrower shall not sell, pledge, assign, lease, abandon or otherwise transfer or dispose of, voluntarily or involuntarily, the assets of the Borrower, without the prior written consent of the Lender, except as otherwise permitted in this Agreement, and except as such disposition shall not have a Material Adverse Effect.

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Philipp Dittberner - Das ist dein Leben (Official Video)

The confidentiality obligations contained in this NDA shall remain binding upon the Parties for 5 years from the date of disclosure of Confidential Information hereunder, notwithstanding any termination or expiry of this NDA prior to the end of such period. After such period, the confidentiality obligations contained in this NDA shall cease to be binding, except for those rights and obligations pertaining to: i Any Confidential Information received from a third party and disclosed by the Disclosing Party to the Receiving Party during the term of this NDA with notice at the time of disclosure that the Disclosing Party's rights in, and the Receiving Party's obligations with respect to, such Confidential Information shall not cease after the period referred to above.

The Receiving Party agrees to furnish reasonable cooperation in completing applications, as may be necessary to obtain such licenses. In the event of any dispute arising out of or in connection with the subject matter of this NDA, the Parties shall first endeavor to resolve such dispute amicably within thirty 30 days after the date of the notification by one Party of such dispute to the other Party.

Should the Parties fail to do so, then such dispute shall be determined and settled by arbitration under the current Rules of Arbitration of the International Chamber of Commerce. The number of arbitrators shall be three 3. The place of arbitration shall be Hamburg. The language to be used in the arbitral proceedings shall be English. The arbitration award shall be final and binding on the Parties. B Any and all capitalized terms and expressions used in this Letter of Adherence shall have the meaning set forth in the NDA. D [Company Y] wishes to grant Associated Party status to [Associated Party Z], a company duly organized and existing under the laws of [ ], having its registered office at , with registered number Hereinafter referred to as "TBD".

Applicable Law: This Letter of Adherence shall be governed by and construed in all respects in accordance with the Law of f , [under English Law, please insert the following: "under which no rights shall be conferred to third parties pursuant to the Contracts Rights of Third Parties Act other than as provided specifically herein"]] 3. Effective Date: This Letter of Adherence shall become effective on the date of signature hereof as written below. Alle Rechte vorbehalten. Oktober aufgesetzt. Ort des Schiedsgericht ist Hamburg.

Die dem schiedsrichterlichen Prozess zu Grunde liegende Sprache ist Englisch. Casali n. Iva e iscrizione al Registro Imprese di Trieste n. Le premesse fanno parte integrante e sostanziale del presente contratto. Le eventuali modifiche non potranno comunque comportare significative variazioni della superficie disponibile della porzione stessa.

Il Promissario Acquirente prende atto che i disegni riportati nelle planimetrie allegate relative al posizionamento di sanitari, mobili, caminetti ed accessori in genere sono solo indicativi di una possibile e non impegnativa utilizzazione degli ambienti. A tal fine ai sensi della nota II bis all'art. La parte promissaria acquirente dichiara che al momento del contratto notarile definitivo: a. Spese e tasse del presente atto e dell'atto notarile definitivo, connesse e dipendenti, saranno a carico della parte Promissaria Acquirente. Modifiche costruttive 5. Mandato per nomina primo amministratore e predisposizione del regolamento di condominio 6.

Consegna 7. Prezzo 8. Godimento Consegna e interessi Spese accatastamento e allacciamento Ritardo pagamenti Penale Rogito Clausola compromissoria Casali Nr. Iva und Eintrag im Handelsregister von Triest unter der Nr. Juli unter der Kennung Prot. Carlo Bordieri Anwalt zu Jesolo rep. Das wie oben vertretene Unternehmen Palazzo Ralli S. Diese sind Teil der Ausarbeitungen des Projekts, auf deren Grundlage die Baugenehmigung erteilt wurde und in welchen die gemeinschaftlichen Einrichtungen, die Teil des vorliegenden Vertrages sind, rot unterstrichen sind.

Dieser wird gezahlt: a. Umsatzsteuer I. Restbetrag bei Notariatsurkunde. Im Falle von Streitigkeiten, die die Anwendung und die Auslegung des vorliegenden Vertrags zum Inhalt haben, werden die Parteien an ein Schiedsgericht bestehend aus drei Teilnehmern verwiesen, bei dem jeder der Parteien einen Vorsitzenden benennt, der dritte von den zwei Vorsitzenden benannt wird. April , Nr. Augusts , zum Thema hat. Zum Kauf versprochene Einheiten 3. Befreiung von der Verantwortung und Billigung der Umkehrung der Beweislast 4. Preis 8. Dienstbarkeit 9. Nutzung Strafe Notariatsurkunde Schiedsklausel Gli ospiti avranno a disposizione 72 raffinate camere, di cui 62 Superior e Deluxe, 9 Junior Suite e una Suite Presidenziale.

La nuovissima SPA, lusso d'eccezione a Venezia, regala agli ospiti momenti di relax indispensabili alla perfetta riuscita del soggiorno. La Sala Foscarini e la Sala Doge Orseolo hanno una capienza massima di circa persone, e si distinguono per il fine lusso e l'eleganza settecenteschi. Dotazioni disponibili: Videoproiettore, lavagna a fogli mobili, lavagna luminosa, impianto di amplificazione, connessione a Internet.

Da Piazzale Roma seguire le indicazioni per l'ospedale Fatebenefratelli, procedere su Sestriere Santa Croce, quindi continuare su Sestriere Cannareggio. I bagni rivestiti in pregiato marmo di Carrara dispongono di vasca o doccia, ricco set di cortesia. Alcune camere si affacciano sul giardino, altre sulle piccole calli di Venezia, altre invece sul canale antistante l'ingresso principale. Jahrhundert, die einzige ihrer Art in der ganzen Welt.

Jahrhundert innewohnten. Italian to German: Presentazione di una relais in Veneto per il portale www. Alle spalle l' antico castello di cui rimane la cinta muraria e un prezioso arco. In questa cornice storica e paesaggistica Castrum Relais offre ospitalita' in camere dotate di tutti i confort. Hinter dem Hotel liegt die alte Burg, von der noch Teile der Burgmauern und ein wertvoller Bogen erhalten sind. Eingebettet in diese historische und landschaftliche reizvolle Gegend bietet das Castrum Relais gepflegte Gastlichkeit mit allem Komfort. Italian to German: Presentazione di un hotel 4 stelle in Lombardia per il portale www.

Circondato da un ombroso parco del Settecento, si concede lentamente alla vista risalendo il viale di ingresso fra i maestosi pini. Gli interni si distinguono per gli arredi e i pezzi d'antiquariato orientale, come i pregiati mobili cinesi, le statue lignee thailandesi e gli intarsi balinesi. A disposizione degli ospiti una saletta per pranzi o cene privati, in grado di accogliere una decina di persone.

Le pareti d'ingresso e i tendaggi sono decorati con eleganti motivi floreali. Sulla sala si affacciano 6 balconcini classici. La sala dispone di luce naturale. Das war ein Muster, und es hat mir etwas gesagt. Welch eine Entscheidung, in welch einer Schule, in welch einer Welt! Und wenn du eins nicht abkannst, dann sind das diese hergelaufenen Figuren ohne Schliff im Hirn, die dauernd wissen wollen, ob deine neue Platte schon vergoldet oder versilbert ist.

Immerhin waren das einmal Andrew's Freunde, die langhaarigen Schwuchteln, die heute unter The Mission firmieren. Ich war nie gerne auf Tour, und doch habe ich das alles mitgemacht. Und damit nicht genug. Ewig schon versuchen sie, meine Bandnamen zu benutzen. Eldritch: "Craig ist sicherlich der, den ich vermisse. Er ist ein guter Typ und guter Bassmann.

Patricia ist gut, aber Craig Er war immer leicht frustriert. Aber ich vermisse ihn. Er hat sich an den Schlammschlachten nie beteiligt. Schrieb aber die halbe erste LP mit. Und Andrew ohne die alte Leeds-Crew? Hat er je daran gedacht, den alten Bandnamen ganz zu streichen?

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Aber ich sah auch keinen Sinn darin, ihn zu wechseln. Deshalb habe ich sie 'Gift' genannt. Trotzdem mag ich die Platte. Sie ist seltsam, aber gut. Was hat dieser Text oder besser diese Zahl zu bedeuten? Das ist genau die Geldsumme, die ich ihnen weggeschnappt habe. Ich dachte, wenn ich nun eine LP herausbringe, bevor die anderen fertig sind, dann habe ich ein Produkt geliefert und kassiere das Geld. Also bestellte ich Patricia ins Studio und sagte ihr, sing dies: two-five-zero-zero-zero.

Zwei Monate hat es gedauert, bis The Mission gemerkt haben, was es mit diesem Text auf sich hatte. Zwei Monate! Also haben sie mir in keinster Weise geholfen. Absolut linear und fast ohne Gitarren. Ein echter Long Player mit symmetrischen Seiten. Eldritch: "Ich setze elektrische Gitarren ein, wenn ich ironisch sein will Keyboards sind da besser.

Eldritch: "Das findest du doch nicht wirklich seltsam, oder? Er war ganz meiner Meinung, hatte aber zuwenig Zeit. Als ich 'This Corrosion' hatte, dachte ich sofort an ihn. Was er tat? Alle zehn Minuten. Dabei ist er schon so breit wie hoch. Eldritch: "Nun, jedesmal, wenn ich der Meinung war, dies sei nun wirk1ich zu extrem, widersprach er ganz entschieden und verlangte mehr. Das ist eine wichtige Funktion.

Wenn ich etwas toll finde, sagt sie, nee, danke. Wenn ich etwas schlecht finde, ja, los. Eldritch: "Meistens englische Musik aus dem Mittelalter. Alles, was gesangsbetont ist. Eldritch: "Eigentlich wollte ich die lange Version. Als mir dann die Drei-Minuten-Version am besten gefiel, dachte ich mir, besser noch eine mittlere zu machen. Die Cassetten-Version ist anders, weil Jim unbedingt auch noch einen Mix machen wollte. Ich sehe sie und fahre weiter. Der wahre Buzz Word Lyric. Das ist der Unterschied zwischen "Wasteland" und "This Corrosion".

Die Verunklarung der Schwierigkeit? Ich arbeite an Songs, nicht an Theorien. Aber wenn mich einer fragt, dann erdenke ich eine und sage, ja, es gibt eine, und hier ist sie. Also handelt es sich um ein Ziel, nicht um eine Methode. Dann kann jeder "schreiben". Zitat-Pop at its best. Eldritch: "So machen es die meisten Leute. Mir macht das Angst. Er verstand, wie die Sisters funktionierten, aber nicht warum. Andere interessiert das nicht. Die wollen nur Drogen, Weiber schnelle Wagen. Nicht mal das Geld wollen sie.

Kaum eines eurer Konzerte hat nicht irgendein Fan in altes Plastik gekratzt. Eldritch: "Die Bootlegs sehen oft sehr gut aus. Ich habe immer nur einen Entwurf Was unterscheidet die Sisters so sehr von anderen Bands? Eldritch: "Wir waren immer stolz auf das, was wir getan haben. Ich glaube, wir versuchen immer soviel zu geben, wie wir genommen haben. Die meisten Rockbands nehmen nur. Wie die Bunnymen letzte Woche - standen da und spielten ihre Songs und wirkten vollkommen passiv. Das ist die Sprache des Geheimen. Das Gesagte als Moment des Gesamten, immer zuwenig.

Damit sie uns, die Rockband, erkennen. Jedermann scheint andere Sichtweisen besser zu verstehen. In England kann man auftreten und hat sein festes Publikum: entweder Punks oder Hippies oder was immer. In England verstehen sie nicht so viel von Traditionen. Dolly Parton sowieso. Als ich aufwuchs waren Rockbands wie Popbands, es gab keine Trennlinie. Also trenne ich auch Dolly nicht von den Stones. Eldritch: "Auch sehr gut.

Leeds liegt nah bei Manchester, und sie haben oft bei uns gespielt. Dann kamen noch die Bunnymen und Teardrop Explodes. Mit der Drumbox waren die Bunnymen damals richtig gut. Wir haben uns bei keiner anderen Band bedient, aber alle zusammen hatten wir wohl dieselbe Quelle.

Er war ein dynamischer Performer, ganz anders als der, den sie jetzt haben. Der sieht mir wie ein Wimp aus. So jemand kann nicht vor den Stones stehen. Sie waren niemals in London. Wie hat Dir das gefallen? Als ich mit der Musik anfing, waren sie die wichtigste Band in der Stadt. Heute sehe ich immer noch zu ihnen auf. Ich achte sie sehr, besonders Kevin, der mir damals sehr viel beigebracht hat.

Fand ich keine besonders gute Idee von ihnen. Sie war einer der Grunde, warum ich Leeds verlassen habe und nach Hamburg gegangen bin Ich habe Narben als Beweis. Echte Narben. Jemand wollte mir ein Auge nehmen. Deswegen ist meine jetzige Freundin auf einem anderen Kontinent. Ich sehe sie zweimal im Jahr. Eldritch: "Nein! Obwohl es tiefer geht als die Musik. Sie ist eben meine Schwester. Sie ist zwar Kalifornierin, aber ich vertraue auf ihre Meinung.

Eigentlich hasse ich Kalifornier, gleich nach den Franzosen. Doch ob mit Patricia oder nicht, Live-Auftritte wird es erstmal nicht geben. Der Sport des Gentleman Und es ist ein 6. Sex im Regen und 'ne klotzige Karre dazu. Schon wieder abhauen? Frauen auf anderen Kontinenten? Drogen, Alk? Mein Gott! Oder gibt es irgendwo Gutes? Mal keine Zusammenfassung, nur einfach entwaffnend frech als Attacke aus dem Stand.

Eldritch: "Doch! Ich habe ihre zwei Maxis produziert. Sie wirken sehr cool, sind aber jung genug. Sie sind aus Newcastle. Flucht aus der Gruft. Sisters waren weniger eine Band, eher schon eine Lebenseinstellung. Keine Spur von Arroganz. Ich hatte nie ein Zuhause. Rache gegen die Eltern, Freundinnen, gegen die ganze Welt. Alle tranken, nahmen Dope und Koks. Wir wollten etwas bewegen, was total auf Speed basiert. Frag nicht wie, es geht.

Mit Speed. Es ist genauso kreativ wie Komponieren und Produzieren. Vor allem aber wollten sie dauernd auf Tour gehen, daheim langweilen sie sich zu Tode. Ich hasse es, unterwegs zusein. Der Song hat etwas ausgefallene Akkardwechsel. Craig fand sie bescheuert. Er meinte: , Sowas spiele ich nicht, ich gehe nach Hause. Nach all den Jahren auf Tour. Nur der Schlagzeuger wirkt - wie immer - etwas mechanisch. Jim Steinman hat diese Dummheiten immer erkannt. Ich hatte einen Produzenten. Deswegen habe ich alles selber gemacht, das war sehr anstrengend.

Ich kann gar nicht erwarten, ihn runterfallen zu sehen. Am ersten Drehtag ist auch die lezte Schneeflocke weggetaut. Die Barmherzigen Schwestern am Rhein. Die Fragen nach dem Verbleib von Patricia Morrison beantwortete er, wie zu erwarten war, kurz und knapp: "Patricia ist unwiderruflich aus der Band ausgeschieden, letztes Jahr im Oktober. Einige scheinen immer zu vergessen wie kurz einige andere Leute in der Band waren Wayne?! Sie hat nur ihren Job gemacht, das darf niemand vergessen. Die Texte, die Sounds und die Arrangements wurden umgeschrieben, als wir im Studio waren," Auf der Loreley war Tim Bricheno noch nicht mit dabei, offenbar ging das alles sehr schnell, wie kam der Kontakt zustande?

Tim Bricheno: "Ja, es ging alles recht schnell. Aus der jetzigen Sisters-Besetzung kannte ich damals noch gar keinen. Ich finde die neuen Texte besser, vor allem die Balladen, sie sind emotionaler und vielschichtiger als sonst. Andrew: "Sicher interessiert mich. Wir geben ihnen, was sie wollen, ob sie es annehmen oder nicht, ob sie die Entwicklung mitmachen oder nicht, ist nicht unsere Sache.

Andrew: "Ja, ich bin wirklich sehr stolz darauf, das alles erreicht zu haben und die Sisters zu dem gemacht zu haben, was sie heute sind.

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Das die Sisters gewonnen haben, macht mich stolz. Andrew: "Zu den Fans kann ich nicht viel sagen. Bei den Bands auf jeden Fall, der sogenannte Rock'n'Roll-Lifestyle ist aus der Mode gekommen, wir glauben ohnehin nicht daran. Ich liebe die Herausforderung und diese Konzerte werden sicherlich eine. Mein Leben barg einfach keine Risiken mehr. Wie die Live-Show aussehen wird. Wie das am Ende klingt, interessiert mich nicht. Hast Du selbst auch Fehler gemacht? So sah ich mich gezwungen, mich durchzusetzen und die Meinungen der anderen zu ignorieren.

Es war eine Zeit. Ich ging dann nach Hamburg, um mit alledem nichts mehr zu tun zu haben, zu vergessen und einen klaren Kopf zu kriegen, um etwas ganz anderes zu machen. Es hat eine ganze Zeit gedauert, bis ich meinen Kopf wieder hatte. Sind sie nur noch ein Job, eine Geldquelle, oder sind sie mehr als das? Andrew: "Die Sisters sind mir alles.

Sie sind ein Teil meiner Arbeit, sie bestimmen mein Denken und mein Handeln, sie sind sozusagen mein Leben. Du bist auf ein festgefahrenes Image fixiert, das so kaum richtig sein kann. Willst Du das? Stell Dir vor, zu einem Interview neulich kam jemand mit den Worten herein 'Hi, prince of darkness'. Da bin ich wieder gegangen, dann wird eben kein Interview gemacht. Offenbar war diejenige nur gekommen, um den 'prince of darkness' zu sehen. Nur wird andauernd ein bestimmtes Bild in mich hineinprojiziert.

Hamburg calling. Du kannst herumlaufen, wie du willst, erstmal sind die Leute tolerant und warten ab. Ist die beste Zeit, um in die Kneipen zu gehen. Ich liebe das. Er raucht nicht, trinkt nicht, spielt nur Gitarre. Allerdings ist er mehr der typische Londoner als ich.

Aber sein Sigue Sigue Sputnik-Ding fand ich prima. Lausige Musik aber lustig. Und man hat dort seine Ruhe. Nur Landschaft ringsumher, man kann da sehr gut arbeiten. Wir haben die Mixe dann zwar in Los Angeles machen lassen, aber die Basic Tracks stammen alle von dort. Ein Studio, das man nicht tageweise, sondern am besten pro Stunde mietet. Ich verstehe meistens ohnehin nicht, was in lhren Kopf vorgeht. Doch sein Image als verschlossener Finsterling will Andrew Eldritch nicht gelten lassen.

Stand dort jedenfalls in der Zeitung. Aber nun ist es an der Zeit, die Dinge wieder selbst in die Hand zu nehmen. Da merkt keiner, wie ich vor Angst mit den Augen rolle. Und ich sehe auch weniger von den Publikumsreaktionen, was vielleicht manchmal auch ganz gut ist. Da war schwarz eben praktisch. Wart's ab. Zucken um die Mundwinkel, kurz bevor der Sonnenbrillen-Schutzschild wieder heruntergeklappt wird. Eldritch liebt Fisch. Vision Thing. Ansonsten regiert der Rock: 'Dr. Kleiner Mann in Hollywood. Vom November tritt er mit seinen neben Arbeitskollegen im Docks aus dem Trockeneisnebel, um das neue Album "Vision Thing" vorzustellen.

Mario W. Andreas Bruhn spielt E-Gitarre. Tony James ist den Sisters Of Mercy beigetreten. Doch mehr erfuhren sie nicht. Der Blondschopf ist gerne Popstar. Das sieht man ihm an. Bruhn scheint vom Himmel gefallen zu sein. Mich hat dann jemand angerufen und gebeten, ein Demotape vorbeizuschicken", berichtet er stolz. Daraufhin rief Andrew mich an. Deshalb habe ich zugegriffen. Er fuhrt damit eine englische Tradition fort, die ihren Ursprung im Jahre hat.

Gar nichts! Seit gut sieben Jahren residiert Eldritch in der Nahe der Reeperbahn. Zum einen werden meine Lieblingsplatze zunehmend von Yuppies verpestet, zum anderen ist mir der drastisch angestiegene Drogenhandel zuwider. Sie sagen, was sie mir zu sagen haben, und gehen dann wieder. Das ist in Ordnung. Bemerkenswert sei, so der Gitarrist, wie viele alte Schulkameraden, mit denen der Kontakt abgebrochen war, auf einmal wieder anrufen, um hallo zu sagen.

Bruhn ist voller Vorfreude. Im Docks ist ein Auftritt viel intensiver. Eldritch findet das schmeichelhaft. Er liebt vor allem die Cover. Deshalb versuche ich, meine Plattenfirma zu bewegen, etwas dagegen zu unternehmen. Das ist ziemlich stressig. Wir haben endlos viele Gitarrenspuren aufgenommen. Statt dessen dominieren krachende Gitarren. Vielleicht sind wir noch zehn Minuten zusammen, vielleicht auch zehn Jahre. Egal, ich kann jederzeit etwas anderes machen.

Was ist aus der Beziehung zu deiner ehemaligen Partnerin Patricia Morrison geworden? Andrew: Das hat uns auf alle Falle sicherer gemacht, auf dieser Ebene weiter zu arbeiten. Die neue LP zeigt das. Sie ist hart und arrogant. Andrew: Es gibt aber auch viele schmerzhafte Momente auf der Platte.

Ganz unerwartet. Da steh' ich drauf. Wir sind nur eine Rock-Band, aber eine verdammt gute! PRINZ: Was unterscheidet deine Band von all den anderen, die inzwischen das musikalische Feld beackern, das du selbst mal erfunden hast? Andrew: Wir haben Klasse und Intelligenz! Wir machen uns mehr Gedanken um unsere Songs und unsere Platten. Solange wir dabei sind, beachten wir die anderen gar nicht. Sie verschwinden einfach in einer Wolke von Staub. Tim: Frag mich noch mal um Weihnachten rum, nach der Tournee.

Fr-So , Docks, 20 Uhr Text is taken from: www. Gruft is in the heart. Die echte Rockband ist also eine New-Wave-Supergroup. Es gab keine Band, die Sisters waren ich und Patricia. Gute Platten, die nichts mehr retten konnten. Andrew Eldritch interessieren solche Debatten nicht: "Wir waren immer out of time, es gibt immer jemanden, der diese Woche bigger ist als du. Den einzigen Kontakt zu aktueller Musik habe ich, wenn ich abends ausgehe. Aber Sisters-Fans sind resistent gegen jeden Zeitgeschmack. Sisters-Fans sehen, ob sie 16 oder 36 sind, aus wie Diese Leute bleiben ihren Bands und Klamotten ewig treu.

Und das tollste: Sie nennen sich selbst Gruftis, ich dachte immer, den Ausdruck hatte "Bravo" erfunden, aber nein, es gibt "Grufti-Treffen". Trotzdem hat mit den Sisters Of Mercy all das angefangen. Seit sechs Jahren lebt Andrew Eldritch in Hamburg. Pauli wohnen, es gibt dort mittlerweile zu viele Yuppies und Junkies.

Jetzt hat der Laden einen neuen Besitzer, der knausert mit den Drinks und stellt das Licht zu hell ein. Er braucht eine vertraute Umgebung und viel Zeit, um Songs zu schreiben. In den zehn Jahren, seit es die Sisters gibt, sind nicht mehr als drei Platten erschienen. Raserei im Nebel! Da konnte eigentlich gar nichts schiefgehen. Doch die neuen Sisters Of Mercy gehen nicht unbedingt auch neue Wege. Herrscher Andrew bestimmt den Ton und die Richtung, und er hat immer recht. Die strenge Sisters-Show verfehlte denn auch diesmal nicht ihre Wirkung.

Eben eine ganz andere Band. Selbst Primadonna James schlug sich tapfer, trotz eines kompletten Mangels an Basslines bei dem normalerweise sehr basslastigen Klassiker 'Dominion'. Manches ging schief. Alles in allem - ein ausgezeichneter Gig. Mein letzter Tag beim Zivildienst war dann mein erster Tag bei den Sisters of Mercy, meiner ersten richtig professionellen Band.

Immerhin war "Floodland" das erste Lebenszeichen der Sisters of Mercy, die ja das letzte Mal als Band aufgetreten waren. Noch verbessert zeigten sich die Sisters bei ihrem zweiten Berlin Gig im Mai in der leider nur schwach besuchten Seelenbinder-Halle. Wie schon vorher gab es eine ausgezeichnete Mischung ihres wirklich sehr starken Songmaterials.

Und trotzdem machen die Leute da immer wieder einen Wind drum, das ist unglaublich. Dann erst haben wir uns entschieden, die ganze Platte zusammen zu machen, und dann hat mich Andrew gefragt, ob ich in die Band kommen wollte.


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Die Presse hat das erst mitgekriegt, als ich schon ein Jahr dabei war. Und erst als wir da mittendrin waren, ist die Presse auf uns aufmerksam geworden. Warum ist sie denn jetzt nicht mehr dabei? Aber Patricia mochte ich sehr gern. Andreas: "Manchmal ist er schon schwierig, mit Andrew zu arbeiten. Er ist ein Perfektionist und ziemlich eigenwillig. Und das war wirklich zeit- und nervenaufreibend, aber eben richtig. Am Ende waren auch nur noch Andrew und ich da. Tony hatte die Nase voll und ist nach Hause gefahren. Er kann sich wirklich darauf konzentrieren, nur zu singen. Und Tony hat so viel Erfahrung mit dem Musikbusiness, er macht das ja schon seit Jahren.

Er kann in der Arbeit mit der Presse auch sehr viele Ideen einbringen. Tim und ich bringen mehr musikalische Ideen ein und setzen sie um. Tim spielt ganz anders Gitarre als ich und doch passen wir sehr gut zusammen. Tim und ich sind etwas ruhiger. Interview mit Andrew Eldritch. Subline - 5 June "The Sisters are ugly! Das ist O.

Nein, mcht im Traum. Die meinungsmachende Wirkung dieses Blattes innerhalb der Musikszene ist enorm. The Smiths z. Alle covern seine Songs, was denkst Du, woran das liegt? Alle meinen, er macht depressive Musik, aber seine Songs sind durchaus humorvoll. Cohen besitzt einen vortrefflichen schwarzen und sensiblen Humor. Auch die Sisters waren nie eine depressive Band.

Definitiv nicht! Anthrax z. Ich finde diese Art von Musik einfach nur primitiv, aber nicht genial-primitiv. Ich mag auch Metallica-Songs. Dennoch wird aus den Sisters auch keine Metal Band. Wir sind und bleiben Rockmusiker. Die Leute wurden von der Pressa permanent aufgefordert, sich nach etwas Neuem, Intelligenterem innerhalb der Musikszene umzusehen.

Nirvana sind o. Ich sehe dennoch keine ganze Generation von Soundgardens. Die Kombination P. Aber eigentlich glaube ich nicht an Crossover. Einmal habe ich "The Bulgarian Women Squire", eine sehr gute bulgariache Band einer deutschen Plattenfirma vorgestellt. Niemand will "Lollapalooza", niemand will "mixed charts". Ich habe auch kein Interesse daran, den gesamten Sommer in einem Tour-Bus zu verbringen und 30 Leute zu bezahlen, mit Geld, das ich nicht habe.

Wird es weitere neue Versionen alter Sisters-Songs geben? Warum ist gerade Hamburg Deine Wahlheimat? Hamburg ist ais Stadt weder altmodisch noch in sich selbat verliebt. Niemand gibt vor, etwas besseres zu sein als er in Wirklichkeit ist. Die vielen Gesichter des Andrew Eldritch. Doch andererseits scheint das nachhaltige Wirken des Alkohols auch zu einer ruhigeren, gelasseneren Wesensart zu verleiten. Gary hatte die "Reptile House" E. Andreas z. Alles was wir aber wollten, war ein ambitionierter Bass-Player, jemand der einfach seinen Job macht, nicht mehr, nicht weniger.

Aber lassen wir das Bill Wyman soll ja noch zu haben sein Statement von Andrew Eldritch. All dies ist illegal. Wir haben uns sehr angestrengt nett zu sein. Diese Schwierigkeiten habe ich mit keiner anderen Zeitschrift. Ich sehe keinen Grund zur Beschwerde, wenn es mir nach immerhin 10 Jahren gelingt, mir einen Wagen zu kaufen, der nicht einmal neu ist.

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Big, solltet Ihr stolz auf uns sein. Ich hin verdammt stolz auf uns. Wer nicht - fuck off Andrew Eldritch, Hamburg. Sie kennen kein Erbarmen! Bravo Talk Show. Ihr Macher Andrew Eldritch wohnt auf St. Miesepeter und Manipulatoren. Considerable numbers of bereaved individuals also tend to show more time-limited disruptions in functioning e. In addition, there is now solid prospective evidence that associates resilience to loss with the experience and expression of positive emotion e. How many of the bereaved individuals who do not exhibit overt grief reactions will eventually develop delayed grief reactions?

The evidence is unequivocal on this point: No empirical study has ever clearly demonstrated the existence of delayed grief. For example, Middleton, Burnett, Raphael, and Martinek used cluster analyses to examine longitudinal outcome patterns among groups of bereaved spouses, adult children, and parents. Despite their conviction that delayed grief would emerge, Middleton et al. This study contrasted the common assumption that delayed grief is a robust phenomenon with an alternative assumption that a few participants might show delayed elevations but only on isolated measures because of random measurement error.

The results were consistent with the measurement-error explanation. In fact, when a psychometrically more reliable, weighted composite measure was used, not a single participant evidenced delayed grief. The idea that the absence of grief is pathological is rooted in the assumptions that bereaved individuals showing this pattern must have had a superficial attachment to the deceased or that they are cold and emotionally distant people Bowlby, Such explanations are notoriously difficult to rule out because, for obvious reasons, most bereavement studies take place after the death already has occurred.

When measured during bereavement, factors such as the quality of the lost relationship or the situational context of the loss are confounded with current functioning and the possible influence of memory biases e. However, a recent prospective study provided a rare opportunity to address this issue using data gathered on average three years prior to the death of a spouse Bonanno, Wortman, et al.

This study provided strong evidence in support of the idea that many bereaved individuals will exhibit little or no grief and that these individuals are not cold and unfeeling or lacking in attachment but, rather, are capable of genuine resilience in the face of loss. An examination of the prebereavement functioning of this group revealed no signs of maladjustment; these participants were not rated as emotionally cold or distant by the interviewers, did not report difficulties in their marriages, and did not show dismissive attachment.

They did, however, have relatively high scores on several prebereavement measures suggestive of the ability to adapt well to loss e. As in previous studies, no unequivocal evidence for delayed grief was found.

See a Problem?

The difference between the resilient individuals and the other participants, however, was that these experiences were transient rather than enduring and did not interfere with their ability to continue to function in other areas of their lives, including the capacity for positive affect.

Although grief and trauma symptoms are qualitatively different, the basic outcome trajectories following trauma tend to form patterns similar to those observed following bereavement see Figure 1. Summarizing this research, Ozer et al. However, because there is greater variability in the types and levels of exposure to stressor events, there also tends to be greater variability in PTSD rates over time. Estimates of chronic PTSD have ranged, for example, from 6. Although chronic PTSD certainly warrants great concern, the fact that the vast majority of individuals exposed to violent or life-threatening events do not go on to develop the disorder has not received adequate attention.

It is well established that many exposed individuals will evidence short-lived PTSD or subclinical stress reactions that abate over the course of several months or longer i. For example, a population-based survey conducted one month after the September 11th terrorist attacks in New York City estimated that 7. As in other studies, a subset eventually developed chronic PTSD, and this was more likely if exposure was high.

What about exposed individuals who exhibit relatively little distress? Trauma theorists are sometimes surprised when exposed individuals do not show more than a few PTSD symptoms. Indeed, whereas those who cope well with bereavement are sometimes viewed as cold and unfeeling, those who cope well with violent or life-threatening events are often viewed in terms of extreme heroism.

The available evidence suggests that resilience to violent and life-threatening events is far more common. The vast majority of individuals And their data were consistent with the idea that resilience is common: The vast majority of symptoms they measured were apparent in only a minority of respondents. Finally, although relatively little research has been done on the experience or expression of positive emotion following potentially traumatic events, two recent studies have provided important preliminary data linking positive emotions in the context of trauma with resilient functioning Colak et al.

Positive emotion is revisited in the final section of this article. How many exposed individuals eventually show delayed trauma reactions? In contrast to the absence of evidence for delayed grief during bereavement, delayed PTSD does appear to be a genuine, empirically verifiable phenomenon.

It is noteworthy, however, that exposed individuals who eventually manifest delayed PTSD tend to have had relatively high levels of symptoms in the immediate aftermath of the stressor event e.


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  4. Thus, these individuals appear to be immediately distinguishable from more truly resilient individuals see Figure 1. Perhaps trauma reactions might manifest indirectly through behavioral or health problems? Although PTSD is frequently comorbid with health and behavior problems, individuals exposed to putative traumatic events sometimes do evidence these problems in the absence of PTSD.

    As was the case with delayed PTSD, however, even when health and behavior problems are accounted for, many survivors do not show such problems. This was evidenced, for example, in a longitudinal study of survivors of the North Sea oil rig disaster—by all accounts a horrific and disturbing event Holen, In the first year following the disaster, Although these rates were markedly higher than those found in the comparison sample 4. Non tutti reagiscono nello stesso modo a questi eventi potenzialmente disturbanti. Masten, Questo in quanto la maggior parte delle conoscenze psicologiche sul modo in cui gli adulti affrontano una perdita o un trauma potenziale si fonda su individui che hanno riportato significativi problemi psicologici o che hanno cercato un trattamento.

    Il termine guarigione indica una traiettoria in cui un funzionamento normale lascia temporaneamente il posto a una psicopatologia franca o a sintomi sottosoglia per esempio a sintomi depressivi o a un disturbo post-traumatico da stress [PTSD] , di solito per un periodo di almeno alcuni mesi, per poi gradualmente ritornare ai livelli pre-trauma. Gli individui che guariscono dopo una malattia presentano spesso livelli sintomatologici sottosoglia.

    Gli individui resilienti invece possono sperimentare temporanee alterazioni del funzionamento normale per es. Gli interventi focalizzati sul lutto vengono di solito adottati sia in caso di reazioni al lutto acute o protratte sia in caso di assenza di reazioni per es. Rando, Foa et al. Gli individui resilienti e quelli che si riprendono gradualmente sono spesso stati raggruppati in un'unica categoria per es. Una forma alternativa di intervento precoce sul trauma, proposta recentemente da Litz, Gray, Bryant e Adler , prende in considerazione la distinzione qui proposta tra resilienza e guarigione.

    Gli autori propongono dunque di mettere a punto uno strumento di screening cui sottoporre le persone con potenziali fattori di rischio di sviluppare un PTSD cronico per es. I teorici del trauma sono stati meno sospettosi in caso di assenza di PTSD, ma hanno spesso ignorato o sottostimato la resilienza. Una rassegna delle ricerche disponibili sulla perdita e gli eventi violenti o minacciosi per la vita indica chiaramente che la stragrande maggioranza degli individui esposti a tali eventi non presenta profili sintomatologici cronici e che molti di loro, in alcuni casi la maggioranza, presentano il tipo di funzionamento sano indicativo dalla traiettoria della resilienza.

    Sfortunatamente al momento dalla pubblicazione del loro articolo esistevano relativamente pochi studi longitudinali sul lutto, con cui poter confrontare e validare le loro affermazioni. Un grande numero di individui colpiti da lutto tende a presentare menomazioni transitorie del funzionamento come per es.

    Per es. Queste spiegazioni sono chiaramente difficili da valutare in quanto, per ovvie ragioni, la maggior parte degli studi sul lutto viene condotta a decesso avvenuto. Come negli studi precedenti, non sono state trovate prove inequivocabili del cordoglio tardivo. Per quanto i sintomi del lutto e del trauma siano qualitativamente diversi, le traiettorie basilari degli esiti di un trauma tendono a formare pattern simili a quelli osservati in seguito a un lutto vedi fig.

    Riassumendo le ricerche, Ozer et al. Le stime del PTSD cronico, per esempio, ammontavano al 6. Che cosa dire degli individui che mostrano relativamente poca sofferenza dopo un evento traumatico? I teorici del trauma restano talvolta sorpresi del fatto che gli individui esposti a un trauma non presentino che pochi sintomi di PTSD.

    In effetti, mentre quelli che affrontano bene un lutto sono spesso considerati freddi e insensibili, le persone che affrontano bene un evento violento o minaccioso per la vita sono speso viste in termini di estremo eroismo. Torneremo sulle emozioni positive nella sezione finale del presente articolo. Quanti individui esposti a un evento potenzialmente traumatico mostrano reazioni tardive al trauma? Buckley et al. Come nel caso del PTSD a esordio tardivo, tuttavia, anche quanto si prendono in considerazione eventuali problemi di comportamento o di salute, molti sopravvissuti non ne risultano affetti.

    Durante il primo anno successivo al disastro, al English to Italian: A relational psychoanalysis perspective on the necessity of acknowledging failure in order to restore the facilitating and containing features of the intersubjective relationship General field: Social Sciences Detailed field: Psychology Source text - English A relational psychoanalysis perspective on the necessity of acknowledging failure in order to restore the facilitating and containing features of the intersubjective relationship Relational psychoanalysis has emphasized that the analyst's awareness of her failures in recognition and hurtful re-opening of old wounds requires of her an internal struggle with self-regulation, with her own shame and guilt.

    This struggle takes place in the watchful presence of someone who is sometimes hypervigilantly listening to and monitoring the signs of the analyst's internal state. If, in response to the patient's hyper-arousal, the analyst retreats from the 'music' of mutual regulation Knoblauch, into a dissociative use of observation in order to calm down, the patient can feel it. If, however, we are mindful of our failures, gradually we will learn together to recover from ruptures in attunement, and thus become sensitive to and use more effectively the inexplicable gaps created by the patient's unintegrated or warring self-parts and the analyst's failure to contain them.

    Thus moments of excess that fail to evoke a mirroring knowledge can serve instead to signal the unformulated, undifferentiated malaise, despair or fear. This perspective on ruptures represents an amplification of my original articulation of the process of mutual recognition as one of breakdown and restoration of intersubjective space Benjamin, This expanded relational perspective includes the awareness of multiple self-parts that create different dyadic pairings within the same relationship and a view of intersubjectivity that emphasizes not just the fact of mutual influence Stolorow and Atwood but the consciousness that that there is a bi-directional dance between patient and analyst that each person registers differently - a cocreated dance governed by what we call the third Ogden, In previous discussions of the intersubjective third I have distinguished between 'a primordial third', which refers to the musical or rhythmic exchange of gestures between caretaker and child as well as the procedural principles of lawful relating that underlie it, and a 'symbolic third', which makes use of more developed narrative elements and involves procedural rules based on consensus, negotiation, and recognition, especially recognition of the other's separate subjectivity Benjamin, Because of the inevitability that things will sometimes go wrong, that we will enact frightening and shameful aspects of our internal world that both partners will sometimes be overwhelmed by, I also put forward the idea of the moral third.

    I use this to designate the essential component principles of the lawfulness involved in repair -lawfulness begins 'primordially' with the sense that the world offers recognition, accommodation and predictable expectations, and develops into truthfulness, respect for the other, and faith in the process of recognition Benjamin, , The moral third refers to those values, rules, and principles of interaction that we rely upon in our efforts to create and restore the space for each partner in the dyad to engage in thinking, feeling, acting or responding rather than merely reacting.

    In psychoanalysis, the belief itself in the reciprocal dynamic of surviving rupture and repair is the heart of the moral third, if you will, the courage for the nonjudgmental awareness that honestly recognizes moments of dissociation, misattunement, defensiveness - aspects of what was called in the narrow sense counter-transference. The idea that both participants in the analytic dyad survive - or perhaps more properly said come back to life subsequent to - the other's failure is the principle to which an analyst needs to have recourse during impasse and lesser breakdowns.

    It is essential to extricating oneself from the reciprocal lock of complementary relations see Racker, ; Benjamin, which characterize ruptures. In the split complementarity, which forms the structure of all breakdowns, a person is experienced as one's opposite pole, as in the relation of doer and done-to Benjamin, , accuser and accused, victimizer and victim, good and bad, right and wrong. Characteristically in such interactions there may be disagreement about who is the one doing to the other. The movement from the locked-in structure of complementarity with its see-saw polarities into the spacious opening of thirdness is often equated with the analyst's ability to think.

    Difficulties arise, however, when repair is missing at the primordial level while the dynamic of rupture and repair appears to go on living at the symbolic level. Thinking limited to registering the Other's transference in no way guarantees getting any leverage in the midst of complementary lock-ins - as our realizations about bidirectionality and multiplicity remind us. In relational thinking, an important sign of re-opening thirdness is being restored to the capacity to hear multiple voices - I can hear both your voice and mine as can you without one cancelling the other out; I can hear more than one part of yourself, you can hear more than one part of yourself - especially not only the part that is negating me, but also the complementary part that I have been carrying as you negate it.

    It is now possible to recognize the presence of multiple voices and parts of self. The moral third becomes more urgently relevant as we increasingly accept the analyst's role in contributing to breakdown, rather than simply being the one responsible for repairing it. This awareness of the analyst's contribution goes along with an examination of how the analyst may have dissociated along with the patient and requires that the analyst take responsibility for her failures. The principle of acknowledgment may only reveal its true value when we are able, as a community, to give up the ideal of being a 'complete container', to surrender to the fact that we survive causing pain.

    Each therapeutic dyad finds its way or doesn't to navigate the ebb and flow of dissociation and attunement, the breakdowns in shared thirdness. When the wave of symbolic understanding follows a different line on the graph from the affective experiencing of that wave, the two levels of the third are unlinked.

    This almost invariably happens when we first move into areas of trauma and unlinked self-parts. Therefore I emphasize that our 'failure' to link is inevitable, to be unable to link feelings and parts is a natural part of our procedure, a liability intrinsic to our work, and not the failure it feels like. Self-correction is our way of life. The analyst's acknowledgment to the patient of failures of recognition and contribution to rupture as necessary for the restoration of the third One of the most common failures in regulation or containment results from the analyst reaching for the symbolic third in his own mind and so inadvertently revealing to the patient that he was indeed conversing with, listening to, someone else - that is, someone other than the part of the patient presenting at that moment see Britton, While the 'good patient' could benefit from listening in to the analyst's conversation, the 'bad patient' that is, we could say, the less recognized or more dissociated part of the same person felt shut out and not listened to.

    This contributes to a simulacrum of the third, exclusively in the analyst's mind rather than intersubjective and shared. This sort of event, as I understand it, led contemporary neo-Kleinians to formulate the idea of the patient feeling excluded from the third, which was understood as a form of primal coupling with theory in the analyst's own mind. Feldman interpreted the patient's dislike of this as a reaction against unwelcome proof that the analyst can have his own mind or thoughts just as mother could have father and leave him out.

    In my view, the patient's objection is, on the contrary, a positive effort at correction, not a refusal to tolerate difference, an attempt to get on the stage and have the analyst hold in mind the little boy as a player who counts. Yes, the symbolic third does matter, the recognition of the other's difference and independence, and it is the counterbalance to omnipotence. However, I believe that third develops, as Winnicott showed, in relation to the play of give and take, that is, when the baby is allowed to use and play with the mother's breast as an object that the mother doesn't control, so that the breast becomes a shared third.

    When the couple fall into complementarity the patient begins to experience the analyst as insisting upon holding the reflection of the relationship in his mind alone - i. My view is closer to Britton's discussion of how the patient's feeling of being left out, abandoned, or controlled was a reaction to feeling uncontained by the analyst and a sign that the analyst must stop doing something he doesn't know he is doing Britton, For those with an already shaky maternal container, such side conversations between mother and father would constitute a disruption, regardless of its apparent accuracy.

    Elaborating this idea further Aron, ; Benjamin, , a relational analyst might want to acknowledge in some form that this internal conversation was disruptive to the shared conversation - the third - and that it got in the way of engaging the voice that the patient is having trouble with at the moment.

    Our conversation with the 'good' part of the patient whom we sometimes reluctantly see upstaged by a more troubling, less easily contained part is a key to what drives the enactment: the patient's deep conviction that the analyst doesn't want to know her dissociated selfstate crashing against the urgent need to have him know. Through such enactment, with the facilitating knowledge of the analyst aiming in that direction, the place develops for the analyst as believing and believable witness, specific to the multiple parts of this patient.

    When, as Ferenczi originally advised, we acknowledge to ourselves the inevitability of such enactments, the symbolic repetition of old wounds we have struggled to avoid, we are less likely to become disregulated and so are able to make use of what has been revealed. When we acknowledge to the patient the felt experience of having recreated the original injury we are in effect inviting the abandoned, shamed and wounded part to become more vocal.

    We thus avoid repeating the part where the original abuser or bystander adult denied the child's reality. In my view, what usually solidifies and makes intractable re-traumatization in the analytic dyad is not the enactment itself but the analyst's failure to acknowledge, which the patient correctly grasps as the avoidable failure. A case illustration I want to illustrate these themes of abandonment, dissociation and acknowledgment with some clinical material. My patient Hannah, now approaching the end of a long analysis, lay weary on the couch not even wanting to talk about the dream she'd had for the umpteenth time about not fitting in at work, being inferior to her male colleagues and less glamorous than the female ones.

    After speaking of her child for a moment Hannah paused. After some moments of silence she shifted to describing a strange reaction she'd had last night after watching the film To Die For, in which the glamorous, murderous Nicole Kidman exploits, among others, the pathetic overweight teenage girl sidekick who adulates her.

    This is a girl who has been molested and forever neglected, who has never had anyone give her attention or encouragement. Hannah tells me that, while she had laughed raucously at Kidman during the film, she found herself feeling weirder and weirder afterwards, almost disoriented.

    I took it that some dissociated, unformulated feelings were pressing to be known, and asked if she might be able to tell me more. She immediately realized that she was that girl her - a terribly unhappy, self-hating teenager. Throughout her analysis, she has barely been able to tolerate the shame of this: how she was seduced as a 14 year-old by a friend of her father's and had been sexually acting out since the age of This horribly shameful adolescence has remained the dark side of the moon for an analysis that accompanied great changes in the patient's life, including success at work, the attractive appearance she does project, her gratification in marriage and children.

    Still, we are not done with the intractable complaint of inferiority and failure, a part of self resented and ineffectually hidden.

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    This part comes up against the wall of idealization she maintains toward me and feels a crippling shame - an idealization necessary to protect me from being in the transference the degraded mother who crumbles and disappears. One of us must crumble, and she prefers that shameful position to the guilt of being strong and crushing me. To sum up, this hated girl has actually been railed against in countless sessions from the beginning of treatment. The opening to this particularly shameful self that was afraid to be found yet clamoring to be heard was for a long time blocked by a combination of self-beratement and assumption of my superiority, which early in the analysis I had often found quite painful to listen to.

    With time the process seemed to create enough self-regulation in Hannah that we could parse out her identification with the 'one who was doing the beating' as Guntrip's patient famously put it, and we had come to repeat her quip about her self-beating, in which she transformed Flaubert's 'Emma, c'est moi! Naming the transference position in which she expected that I, as the powerful one, would join the part of her doing the beating and decoding her once abundant masochistic fantasies and dreams was a constant part of our dialogue.

    Even while I appeared to be that more powerful, more perfect Nicole figure, my experienced countertransference in the face of this expectation was - perhaps a joint defense against my playing the sadistic part - often that of the frustrated helpless witness who can do nothing. There were long periods in which this complementarity kept the treatment in a state of deadness while Hannah and I each suffered in our own way. I had to bear her victimhood, as if 'forced' to be a helpless witness to her attacks on her shameful, 'monstrous' self, much as she had to bear her mother's self-hate. This was our complementary lock-in, with its deep symmetry.

    But there were repeated small enactments in which, in a rapid reversal of the complementarity, I as bystander could fail her, cause pain by seeing her too positively, that is, only recognizing her functioning presentable self, allying my ideal self with her 'good' self, leaving her 'bad' self shamed and excluded. By failing to grasp how desperate her plight was, as she imagined herself about to lose her job, be disgraced forever, I was occluding her shameful, monster self.

    To be empathetic was to be one with her despair; to think she had not ruined herself socially and professionally forever was to be in denial of her dissociated but powerful sense of catastrophe, which was overlaid by such deep shame. I could not be with both parts as they could not be together. As long as the wound whose opening would bring that catastrophe remained hidden, it seemed as if Hannah and I were caught in an unending choice between false reassurance and despair. The more perfect a mother and successful professional I was in the transference, the more failure I had to contain as analyst.

    Hannah's mother had always responded to Hannah's accounts of being excluded and ridiculed in childhood with anxious despair - the opposite of the soothing mother who can hear her baby's pain and mark her expression Fonagy et al. We reconstructed how, lacking in attunement to emotional cues or need for regulation, herself constantly disregulated and hyperaroused, this mother lacked all belief in her ability to soothe and create a rhythmic third with her baby.

    Hannah's precocious intellectual and verbal development gave her an apparent access to mentalization and insight, but actually covered a sense of profound emptiness and aloneness, a sense of being abandoned or potentially poisoned by the dead, empty other. Thus in the enactments created by self-attacks I had to struggle to maintain contact with Hannah's need for a live yet soothing mother and to monitor a tendency to move toward joining the simulacrum of a third based on insight she generated as a substitute for the missing rhythmic thirdness.

    Thus she experienced herself as the destructive one who kept ruining a potential viable third. A turning point came when she returned from a weekend with some other young people with a familiar tale of woe. Unable to engage in witty banter, she became withdrawn, excruciatingly uncomfortable, as she felt observed scornfully by her friends. In this instance I did not question her extravagant conviction of failure.

    I chose to speak from within this drama, as if it were true, from what I prefer to think of as my own subjectivity inside the drama. It was not a moment of analytic virtuosity but it was one of authenticity. I spoke from a place of protective indignation, as if she really were my own child, whom I considered at least a match for her friends in integrity, personal insight and intelligence.

    But I also spoke from a connection to a particular moral third, which led me to respond to her with a question: why did she think she thought her anxiety and vulnerability were so unacceptable, why weren't they a part of imperfect but acceptable humanness? And why didn't she deserve the understanding and compassion from her friends, which she would surely have given them?

    Next session Hannah began with an unusual response, saying how surprised and gratified she was by my "staunch defense". What she was able to hear this time was not a refusal to bear her despair or witness her demise, but rather my presence at her side defending a way of connecting, a principle, a behavior she herself believes in.

    She allowed as how her self-beratement proceeded from thinking this was a way of facing reality, trying to take responsibility for her problems by identifying with her friends' judgment. I suggested that she indeed did identify with this kind of judgment, indeed that she probably elicited their contempt because she shared it. What you have to be responsible for is not your vulnerability - that's just human - but your punishing and beating yourself, for your lack of compassion toward you. At the procedural level, the music of my indignant defense, which was 'marked' as a differentiated mother does?

    At the symbolic level my introducing the idea of a witness or listener who feels compassion as alternative to punitive selfjudgment? Hannah heard my authentic subjective response, my "Stop beating her! A strength that comes not from hating the shame-filled parts of self, but accepting psychic pain.

    This moral third could accord safety and respect to the fragile, frightened part while holding her strength in mind, including her dignity as a person struggling to understand her own pain and that of others. It allowed both selves - the beater and the beaten - to be present at the same time. My willingness to enact the improvisational role of a protective mother enabled a shift away from submission, her clinging to a simulacrum of the observing third - "I know I am responsible" - using punitive self-scrutiny to combat shame and appear normal, acceptable, lovable.

    My emotionally authentic response, rather than supporting the scrutiny, offered the rhythmic thirdness based on a moral third of compassionate witnessing that comes from a place of respect for human vulnerability. She explicitly articulated this sometime later when she said that what I had given her was a moral universe, in which she had learned about compassion.

    In my view this shift allowed her soon thereafter to start up the relationship with the man she married. More immediately, after the session I described, she was first able to tell me in a detailed connected way about the desperately promiscuous adolescent girl, to admit her humiliation and loneliness. In this year's reprise, when the dissociative moment after the movie lifted the curtain again on her monster teenage self, it was finally linked up to the everyday woman self she sees doomed to fail and allowed her to address the problem of envy and self-hate more explicitly.

    The relationship to Nicole links Hannah's girlhood to the endlessly discussed suffering in relation to her more successful, adored and idealized female colleague, who even looks like Nicole. For years we have talked about how, as in the movie, Hannah would do anything to gain this woman's love. Thus Hannah projected into me her own hatred of herself. But this insight into her own hatred, while of some use to her, was not enough until Hannah determined, at this moment, to bring her teen self to me in a new way.

    In the next session a story emerges of a new figure, a rescuing young adult who had been her camp counselor and lived a distant university. This represents my new transference position which she can accept. Previously blinded by shame, only at this time could she recognize and reclaim her gratitude toward her teacher's generosity in giving her a home when she ran away.

    But mid-story shame again becomes overwhelming, Hannah switches. This calms her, and allows us to talk about how her own need for a mother, as she now experiences needing me and my soothing, was the feeling underlying her adolescent rage. This finally brings diminishing of self-hatred, as the hated girl elides into the child with needs whom she does love to comfort, even though at times, like her own mother, she is still frightened.

    She is able to bring together in her mind the self in despair at not being or having the mother who cannot comfort with the mother - herself, myself, her teacher - who can and does comfort. The containing function is no longer located only in me, outside herself, an unattainable ideal of completeness.

    Between the two appearances of teenage Hannah in the analysis, there was an important enactment, in which I failed to be the 'complete container' for Hannah's shame and persecution. I think it illustrates how such failures or enactments are not necessarily dangerous and can contribute to building a shared third based on strengthening the process of repairing the rupture. This occurred shortly after Hannah became a mother and confirmed her capacity to soothe, comfort and indeed love her baby.

    During a session in which Hannah berated herself for being too unread in the classics to answer her teenage stepdaughter's questions - a patently false representation of herself - I failed to contain my frustration and fell into what I believe Steiner means when he uses and describes the term interpretive enactment.

    I wondered aloud if she would carry this propensity to denigrate herself into the relation with her own children.

    Geradeaus: Höhen und Tiefen meines Lebens (German Edition) Geradeaus: Höhen und Tiefen meines Lebens (German Edition)
    Geradeaus: Höhen und Tiefen meines Lebens (German Edition) Geradeaus: Höhen und Tiefen meines Lebens (German Edition)
    Geradeaus: Höhen und Tiefen meines Lebens (German Edition) Geradeaus: Höhen und Tiefen meines Lebens (German Edition)
    Geradeaus: Höhen und Tiefen meines Lebens (German Edition) Geradeaus: Höhen und Tiefen meines Lebens (German Edition)
    Geradeaus: Höhen und Tiefen meines Lebens (German Edition) Geradeaus: Höhen und Tiefen meines Lebens (German Edition)
    Geradeaus: Höhen und Tiefen meines Lebens (German Edition) Geradeaus: Höhen und Tiefen meines Lebens (German Edition)
    Geradeaus: Höhen und Tiefen meines Lebens (German Edition) Geradeaus: Höhen und Tiefen meines Lebens (German Edition)
    Geradeaus: Höhen und Tiefen meines Lebens (German Edition) Geradeaus: Höhen und Tiefen meines Lebens (German Edition)
    Geradeaus: Höhen und Tiefen meines Lebens (German Edition)

Related Geradeaus: Höhen und Tiefen meines Lebens (German Edition)



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