RESUMO
Talk therapy is, by definition, difficult, if not impossible, to represent materially. Whereas other scholars have sought to do so by referencing Sigmund Freud's drawings or the setting of his consulting room, this article looks instead to the use of cloth in Joanne Greenberg's 1964 semiautobiographical novel I Never Promised You a Rose Garden. The two main treatments given to protagonist Deborah Blau were therapy sessions with Dr. Clara Fried, based on Frieda Fromm-Reichmann, and the "cold pack," in which the patient was restrained and wrapped in sheets drenched with ice water. The two treatments, this article argues, can be considered in parallel, and through analysis of the material descriptions of the cold pack, one can learn more about the talking cure. Namely, this article analyzes the care in both cases as one of constraint, giving material form to the metaphorical "holding environment" of psychoanalyst D. W. Winnicott. Deborah uses the cold pack to endure her psychosis and return to reality. Similarly, Winnicott describes the ideal therapeutic space as one that, by its reliability, allows regression in service of finding a new self and distinguishing between fantasy and the outside world. The aim of this article is thus twofold: one, to further elucidate the role of cloth in treating mental distress, and two, to understand more fully the therapeutic relationship via the literal and figurative constraint of treatment.
RESUMO
Discussions of the rise of therapeutic culture have tended toward the abstract, in part due to a focus on theory. This article looks at the case of Ernest Dichter's motivational research, particularly a study conducted on fur coats in the late 1950s, to locate this broader cultural shift more materially. Motivational research was a broad project of study that aimed to uncover unconscious consumer desires using the tools of psychology and psychoanalysis. This project materialized culture first through the pen-and-paper projective test created for the study, which sorted styles of fur into different classifications of womanhood, and second through the fur coats themselves, which were granted by Dichter a psychological agency of their own in their relationship with middle-class women. Through this study, Dichter observed a shift in Americans' understanding of the self, a movement away from meeting physiological needs to addressing their inner lives; changing economic conditions had granted more income and free time with which to look inward, and Americans wanted consumer goods to aid in such self-discovery. Dichter suggested that the fur industry capitalize on this change by emphasizing the versatility of fur and the role of objects more generally in fostering creative self-expression. The advertising office was where theory was put into practice. In that way, it is a uniquely generative though often overlooked space from which to look into the rise of the therapeutic culture.
