When contraindications have been ruled out, when a plot focus and a character focus can be established, and when the informed patient wants a brief therapy—and this may be the case for the majority of patients who ask for our help—then brief dynamic therapy is not only feasible but the treatment of choice. (p. 53)
Substantial experience with BDP shows that it is possible to foster characterologic or dynamic change in brief treatments. By exploring repetitive patterns of conflict, BDP can reveal the deeper meaning beneath current problems. In this regard BDP stands in the middle between the position of nonpsychodynamic brief therapies and the position of many psychoanalytically oriented therapists.
The nonpsychodynamic brief therapies tend to avoid character and try to deal with symptoms directly, for example, by reasoning and correcting faulty cognition (cognitive-behavior therapy), or by suggested solutions to problems and cheerleading (IPT). They select patients by DSM (American Psychiatric Association, 1994) diagnosis and aimfor symptomreduction. They do not use transference to clarify focus or locate the origins of repetitive character patterns in past relationships. (p. 57)
In closing I will offer a few ideas fromthe history of the modern short story. For Edgar Allen Poe, its first modern practitioner, the two key principles of the short story were what he called “singleness of effect”—a particular emotional experience Poe focused on reproducing—and a length brief enough to be read in its entirety in one evening so as to have maximum impact on the mind of the reader.
For Williams James the structure of the short story was that it should be “a situation revealed” (Stegner and Stegner, 1957).
A recent literary handbook (Harmon andHolman, 1996) compares the novel and short story in this way: “The novel… tends to show character developing as the result of actions …. (The short story) may be distinguished fromthe novel in that it tends to reveal character through actions, the purpose of the story being accomplished when the reader comes to know what the true nature of the character is.”
Finally let me quote what WilliamTrevor (1987) has written about Anton Chekhov, perhaps the greatest contributor to the modern short-story form: “Chekhov noticed,” said Trevor, “that there was something the novel could not do: inspired, he fashioned the art of the glimpse” (book jacket of Love and Other Stories).
“The art of the glimpse”: this image might be kept in mind as we try to give brief psychodynamic therapy its distinct status as a separate, vital, psychotherapeutic formin its own right. (p. 58)
為什麼他們老是說一個好的故事必須起承轉合這輩子你見證過幾件有頭有尾的遭遇我先前說過有趣的人是有故事的人我可沒有說有趣的人有頭有尾事實上他通常無頭無尾我的意思是說他的故事無頭無尾就像用過的保險套沾滿了僵死的回憶
