An Introduction to Fairbairn’s Psychology of Dynamic Structure: The Analysis of Cultural Objects

An Introduction to Fairbairn’s Psychology of Dynamic Structure: The Analysis of Cultural Objects describes W. R. D. Fairbairn’s model of endopsychic structure and includes his thoughts on the social and the aesthetic. It offers a modified version of Fairbairn’s model based upon his thinking about the moral defence, psychic growth, and mature dependence. The model is brought to life by its application to the analysis of a number of cultural objects: Bronzino’s An Allegory of Venus and Cupid, Dennis Potter’s trailblazing miniseries The Singing Detective, the enchanting anime Spirited Away directed by Hayao Miyazaki, and the mind-bending cinematic experience that is Everything Everywhere All at Once. Author Graham S. Clarke also considers the current conditions affecting psychoanalysis and psychoanalytic theories: a society with increasing opposition to depth thinking of any sort and the rise of populism and the neoliberal notion of the ‘self as entrepreneur’. He offers suggestions as to how these trends might be understood and challenged. In particular, he describes how Fairbairn’s theory might be considered as, and provide a basis for, a critical realist personal relations approach to psychoanalysis. This book is ideal reading for all psychoanalysts and those interested in the cultural impact of the arts.

Table of Contents:
Acknowledgements About the author Foreword by Ross Clarke Introduction Part I: Introduction to Fairbairn’s “psychology of dynamic structure” 1. Dynamic structure, psychic growth and mature dependence 2. Fairbairn and the social 3. Fairbairn and the aesthetic Part II: Applications 4. A painting by Bronzino: An Allegory with Venus and Cupid 5. A TV series by Dennis Potter: The Singing Detective 6. An animated film from Japan: Spirited Away 7. A science fiction film from the USA: Everything, Everywhere, All at Once (EEAO) Part III: Envoi 8. Retrospect Conclusion References Index

About the Author :
Graham S. Clarke was born in Colchester, Essex, UK in 1942. He went with his family to Australia as “ten pound poms” in 1949, returning via the Suez Canal just before it was closed in 1956. He did a year at Sydney Technical High School (Australia) before going to Clacton County High School (UK) until 1961. Graham took a BSc (Hons) Architecture at the Bartlett School of Architecture, UCL (1961–1964). It was here that he attended a series of lectures by Richard Buckminster Fuller whose idea of comprehensive anticipatory design science prompted him to seek a career in computing. In 1967 he did an MSc in applications of computing at what was then the North London Polytechnic. He worked as a computing advisor at City University before starting a PhD in experimental psychology at Hatfield Polytechnic which he never completed. After working on a computer-based authoring system, he went to Chelmer Institute (now part of Anglia Ruskin University) before going to Essex University, Computer Science Department, as a Computer Officer in 1986. He was a founder member of the Intelligent Inhabited Building Group there until his retirement in 2007. Having had a long-term interest in the “anti-psychiatry” movement headed by R. D. Laing and David Cooper and having attended the Dialectics of Liberation conference at the Round House in Chalk Farm in 1967, while at Essex he took a part-time master’s in Psychoanalytic Studies at the Tavistock (1995) and later a PhD in Psychoanalytic Studies at Essex University (2002). He published his first paper on psychoanalysis and film in Free Associations journal in 1994 and since then has published many more papers and articles, as well as five books.

Review :
'This muscular, lucid, and accessible introduction to Fairbairnian object relations is a treasure trove of brilliant theoretical insights and creative provocations for those engaged in film and cultural studies and creative writing, as well as for a wider readership engaged in understanding contemporary cultural production and the human condition. Graham Clarke analyses a Renaissance masterpiece and three complex but hugely popular audiovisual artefacts from the last forty years from psychoanalytic, cultural, aesthetic, and political perspectives, and to thrilling effect. Who knew that a book on psychoanalytic theory could leave one wanting more?' 'Graham Clarke’s work offers a concise yet theoretically sophisticated examination of Fairbairn’s central tenets, illuminating their social and aesthetic dimensions. By placing Fairbairn’s ideas within a broader intellectual context, Clarke reveals the enduring resonance of his thought. This study exemplifies Clarke’s profound and sustained engagement with Fairbairn’s oeuvre, demonstrating not only scholarly rigour, but also a distinctive interpretive artistry. Indeed, Clarke emerges as a vital interlocutor in Fairbairn’s legacy – recovering, refining, and dynamically reanimating his theoretical contributions in a work that achieves the rare balance of intellectual depth and accessibility.' 'Graham Clarke has been a profound interpreter of Fairbairn’s multi-faceted work for decades. This rich, rigorous, and imaginative book carefully explains Fairbairn’s seminal theories and applies them to art, film, television, trauma, and dissociation. It deepens our understanding and appreciation of Fairbairn as a psychoanalytical thinker and aids the reader who has never encountered his work before as well as the specialist. An excellent foreword by Clarke’s son, Ross Clarke, frames and contextualises the book.'