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Journal articles on the topic 'Eugene Gendlin'

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Published: 4 June 2021

Last updated: 13 February 2022

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1

Krycka, Kevin C. "Memorial for Eugene T. Gendlin." Phenomenology & Practice 12, no. 1 (March 30, 2018): 79–82. http://dx.doi.org/10.29173/pandpr29361.

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2

Krycka, Kevin C. "Eugene T. Gendlin (1926–2017)." American Psychologist 73, no. 3 (April 2018): 293. http://dx.doi.org/10.1037/amp0000264.

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3

Depestele, Frans. "Primaire bibliografie van Eugene T. Gendlin." Tijdschrift voor Psychotherapie 22, no. 1 (February 1996): 26–35. http://dx.doi.org/10.1007/bf03079280.

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4

Levin, David Michael. "Making sense: The work of Eugene Gendlin." Human Studies 17, no. 3 (July 1994): 343–53. http://dx.doi.org/10.1007/bf01322974.

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5

Schoeller, Donata. "Tentative Sprechakte." Deutsche Zeitschrift für Philosophie 66, no. 2 (April 2, 2018): 183–201. http://dx.doi.org/10.1515/dzph-2018-0015.

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Abstract This paper introduces speech acts that I denote as tentative, which means they do not make sense as single propositions. The meaning they make depends on the attempt to formulate something which seems difficult to put in words. There is no finished intention, feeling or idea to be represented; neither can one construct whatever one wants to say. Tentative speech acts make sense by literally speaking into a felt complexity, as Eugene Gendlin demonstrates. What needs to be understood in regards to these speech acts is a development of meaning occurring during the formulation and not the ontological status of inner entities. A happy outcome of tentative speech acts is a clarification of some aspect of a situation, problem, puzzlement or vague idea, at times involving complex implicit contexts, backgrounds and what Dilthey termed “Lebenszusammenhänge”. In order to speak of these kinds of complex points of reference, John Dewey introduced the term of the „quality of a situation“ and Eugene Gendlin the term „felt sense“. The paper explores ways to approach these speech acts and to consider their philosophical relevance.

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6

Friedman, Neil. "Eugene Gendlin's Theory and Practice of Psychotherapy, A Personal Account / Eugene Gendlins Theorie and Praxis der Psychotherapie, ein persönlicher Bericht / La teoría y la práctica de la psicoterapia de Eugene Gendlin, un relato personal." Person-Centered & Experiential Psychotherapies 2, no. 1 (March 2003): 31–42. http://dx.doi.org/10.1080/14779757.2003.9688291.

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7

López Marín, Alejandro Marcelo. "Psicoterapia Experiencial Orientada al Focusing: una visión general." Revista de Psicoterapia 29, no. 110 (July 1, 2018): 241–56. http://dx.doi.org/10.33898/rdp.v29i110.236.

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La psicoterapia experiencial y el focusing fue desarrollada por Eugene Gendlin en Estados Unidos, mientras era parte del equipo de investigación de Carl Rogers. La psicoterapia experiencial es un desarrollo del enfoque centrado en la persona que surge de la investigación en psicoterapia, observando a personas cuyos procesos fueron exitosos. En estas investigaciones, se observó que las personas con mayores avances en sus terapias tenían cierta particularidad en cómo expresaban sus vivencias. Esto se manifestaba en que hablaban con un lenguaje tentativo, más lento y chequeaban con algo interno lo que iban expresando. Gendlin desarrolla una filosofía, una teoría experiencial y el focusing como herramienta aplicada a la psicoterapia. En la presente revisión teórica se realizará una descripción de los fundamentos básicos de la psicoterapia experiencial orientada al focusing, sus influencias, el focusing como método y técnica, y sus aplicaciones.

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8

Hatab, Lawrence J. "Human nature in a postmodern world: reflections on the work of Eugene Gendlin." Human Studies 17, no. 3 (July 1994): 363–71. http://dx.doi.org/10.1007/bf01322976.

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9

DUTRA, Elza Maria do Socorro. "Rogers and Heidegger: Is a gathering for a new view of the self possible?" Estudos de Psicologia (Campinas) 33, no. 3 (September 2016): 413–23. http://dx.doi.org/10.1590/1982-02752016000300005.

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Abstract The aim of the article is to propose a connection between the construct of self as thought by the psychologist Carl Rogers in his personality theory and the notion of being-here, developed by Martin Heidegger's Existential Analytic. With reference to these authors, we discuss the possibility of a new vision of self from the contributions of the client-centered approach of Eugene Gendlin. Despite the recognition of differences in epistemological and ontological fields in which the authors are located, a rapprochement between self and being-here is considered possible. We expected that the debate on this issue will contribute to the enrichment of Phenomenological Psychology.

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10

Ikemi, Akira. "Carl Rogers and Eugene Gendlin on the Bodily Felt Sense: What they share and where they differ / Carl Rogers und Eugene Gendlin über den körperlichen Felt Sense: Was ihnen gemeinsam ist und wo sie sich unterscheiden / Carl Rogers y Eugene Gendlin sobre la sensación sentida en el cuerpo: qué comparten y en dónde difieren /." Person-Centered & Experiential Psychotherapies 4, no. 1 (March 2005): 31–42. http://dx.doi.org/10.1080/14779757.2005.9688366.

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11

Weisel-Barth, Joye. "A Response to Lynn Preston's Explication of Implicit Experience in the Work of Eugene Gendlin: An Appreciation." International Journal of Psychoanalytic Self Psychology 3, no. 4 (September 23, 2008): 386–97. http://dx.doi.org/10.1080/15551020802337450.

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12

Irish, Thomas M. "In Focus Eugene Gendlin .Focusing-Oriented Psychotherapy: A Manual of the Experiential Method. New York, Guilford Publications, 1996." San Francisco Jung Institute Library Journal 16, no. 2 (June 1997): 29–33. http://dx.doi.org/10.1525/jung.1.1997.16.2.29.

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13

Peisl, Nicole. "Una Tarea Peculiar." Corpo Grafías Estudios críticos de y desde los cuerpos 6, no. 6 (January 2, 2019): 54–63. http://dx.doi.org/10.14483/25909398.14227.

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Este artículo discute lo que llamo “práctica de la cuerda”, la cual está basada en una tarea de un performance en el cual una cuerda es integrada con el movimiento. Ésta fue presentada por primera vez en mi coreografía del año 2010 titulada Vielfalt. Se trata de una novedosa actividad de movimiento basado en una cuerda que ofrece nuevas posibilidades de acción, organización, dinámica relacional, así como oportunidades para usar lo que Eugene Gendlin llama “sentir sentido” (sentido sentido) para generar afecto y nuevas trayectorias para el performance y el movimiento. Relacionarse con la cuerda deviene una vía para que performers tengan una experiencia corporal de lo aún no conocido. Sentir sentido (sentido sentido) sirve como un umbral en el cual un conocimiento corporal pueda ser percibido, encarnado y articulado. El proceso de trabajar con la cuerda a través del sentir sentido (felt sense) – este fue un tema central de Vielfalt – permite a los artistas experimentar e incorporar el cambio.

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14

Liberman, Kenneth. "Knowing and being: Eugene Gendlin's experience." Human Studies 17, no. 3 (July 1994): 355–62. http://dx.doi.org/10.1007/bf01322975.

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15

Schoeller, Donata, and Neil Dunaetz. "Thinking emergence as interaffecting: approaching and contextualizing Eugene Gendlin’s Process Model." Continental Philosophy Review 51, no. 1 (February 23, 2018): 123–40. http://dx.doi.org/10.1007/s11007-018-9437-9.

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16

Pritchard, Will. "Listening at the edge: Attending to living process in Sesame Dramatherapy." Dramatherapy 40, no. 1 (February 7, 2019): 17–27. http://dx.doi.org/10.1177/0263067218819262.

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This essay will outline some of the means and implications of attending to living processes in Sesame Dramatherapy. Broadly defined, living processes are those which exceed rigid, reductive, fixed or thing-like concepts. Insofar as our more mobile concepts often collapse into fixed definitions or signs, we might say that living processes resist conceptualisation altogether. I will consider how to avoid objectifying living processes which, as a category, encompass psychic processes and our experiences of other people and living beings. I will investigate how it is possible to enter into an ‘I-Thou’ relationship with the diverse phenomena of Sesame Dramatherapy sessions, stepping out of ‘I-it’, objectifying ways of relating. In order to do this, I will draw upon three main philosophical streams: Goethean observation, phenomenology and Eugene Gendlin’s Philosophy of the Implicit. Some of the therapeutic implications of this will then be outlined, with particular reference to the creation of meaning and the experience of selfhood.

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17

DEL GANDIO, JASON. "From Affectivity to Bodily Emanation: An Introduction to the Human Vibe." PhaenEx 7, no. 2 (December 16, 2012): 28. http://dx.doi.org/10.22329/p.v7i2.3554.

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This essay investigates a particular form of “affection” that has been neglected by the phenomenological tradition. This particular phenomenon is often referred to as the vibe, vibrations, or some variation thereof. This essay rearticulates “the vibe” as bodily emanation: human beings emanate feeling that is experienced by and through our bodies. My study of bodily emanation begins with Edmund Husserl’s notion of affectivity and then moves to Eugene T. Gendlin’s notion of the sentient body. This discussion enables my own argument: Our bodies do not simply respond to the world in a sentient fashion, but also solicit sentience from one another. This solicitation of sentience is the basis of bodily emanation. I explicate bodily emanation through two realms of experience: the pre-conscious and the conscious. The first realm designates the manner in which our bodies summon emanation from one another in a continuous, multilateral fashion. Such preconscious solicitation precedes our conscious control and recognition. The second realm designates our ability to project willfully and direct particular vibes for particular purposes. This latter realm is what most people think of when they refer to “the vibe.” In general, this essay provides a detailed account of a particular phenomenon that most of us experience, but which we do not fully consider.

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18

GÜR, Aysun. "Örtük Felsefe: Eugene Gendlin ve Deneyimsel Fenomenolojisi." Kaygı. Uludağ Üniversitesi Fen-Edebiyat Fakültesi Felsefe Dergisi, September 15, 2020, 485–99. http://dx.doi.org/10.20981/kaygi.789098.

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19

Schoeller, Donata. "Nahes Denken. Die empfindliche Ordnung bei Eugene Gendlin." Deutsche Zeitschrift für Philosophie 56, no. 3/2008 (January 2008). http://dx.doi.org/10.1524/dzph.2008.0029.

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20

Nielsen, Charlotte Svendler. "Children's Embodied Voices: Approaching Children's Experiences Through Multi-Modal Interviewing." Phenomenology & Practice 3, no. 1 (December 2, 2009). http://dx.doi.org/10.29173/pandpr19822.

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This article focuses on a multi-modal interview approach that has been developed as part of a research project. The goal of the research was to explore and better understand children's embodied experiences and expressions in movement. The multi-modal interview approach emphasizes the non-verbal, giving children an opportunity to focus on "the felt sense" (Gendlin, 1983), and to express their experiences in a variety of forms and through the use of metaphors (Egan, 1997; Gendlin, 1983, 1997). Inspired by Arnold Mindell's (1985) work on shifting channels in our ways of experiencing the world, this paper works with an adaptation of Eugene T. Gendlin's "focusing technique" one that significantly expands Gendlin's repertoire of modalities by using drawing, colours, words, sound, music and movement. Narratives have been created using children's voices and expressions. The article includes an example of a narrative that illustrates how the approach has helped children express their movement experiences. The narrative is analysed by means of a hermeneutic phenomenological approach (van Manen, 1990), through which themes/lived meanings of the child's experiences are elucidated. The article closes with a discussion of how the multi-modal interview approach can help to cast light on the relationships between body, movement, and language, and how the approach could also inspire a somatic perspective when teaching movement and dance in schools.

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21

Schoeller, Donata. "Eternal Recurrence and the Limits of Critical Analysis." Nietzsche-Studien 46, no. 1 (December 20, 2017). http://dx.doi.org/10.1515/nietzstu-2017-0111.

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AbstractNietzsche’s concept of overcoming and his analysis of traditional disembodied thinking patterns and values stand in an uneasy tension. How can anything be overcome, if it is analysed? Nietzsche himself not only seems sceptical about this possibility, but outright pessimistic. His concept of the eternal recurrence undercuts the possibility of overcoming our habituated ways of thinking, behaving and acting. Therefore, the overhuman as a concept itself needs to be overcome, as Zarathustra sees clearly in his most silent hour. This paper strives to show that feminist and phenomenological approaches are able to pick up where Nietzsche’s thinking stopped and went no further. These approaches involve a shift from an analytical to a transformational mode of thinking. This means that one not only thinks about, but is with the body. In order to explain what this method involves I turn to Judith Butler, Luce Irigaray, Claire Petitmengin, and Eugene Gendlin.

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