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No psychoanalyst can be immune to any theory, whether it is implicit or not. His theories or theoretizations are forgathered in the cure, throughout the analytic process. Useful to his activity, theories shouldn't serve the analyst for "protecting against the experience of affects" (Freud). They shouldn't function as a theoretical layer either. Only the subjectivity of the analyst is the one that allows the avoidance of these traps, bringing countertransference into play. Therefore, besides the plurality of theories, the unit of analytic practice is ensured by the transferencecountertransference relationship. Three clinical vignettes shall illustrate this point of view of the author. [ABSTRACT FROM AUTHOR]

Psychoanalytical theories define transference and countertransference as expressions of unconscious exchange between patient and therapist. The countertransference is the therapist's answer to patient's unconscious requests. Ferenczi and, later, Lacan, change part of the meaning of countertransference, shifting the center of gravity from patient to therapist (Lacan even reverses it): the transference is the patient's answer to the analyst's countertransference). The ethnopsychiatry approaches the countertransference and transference according to the therapist's theory and the patient's internal frame (its attachments from the group of cultural belonging). [ABSTRACT FROM AUTHOR]

The paper starts from the perspective of H. Racker on the countertransference. The paper is proposing to make the links between his concepts of analytic function and subjective experience, with the concepts of analytic space and analytic time. The author describes a phenomenon of the analysts' internal space and time dilatation, as well as that of the creation of subjective time, as a consequence of the dreaming activity during the session. The balance between countertransference forces is linked to the analysts' capacity of waiting, to the assessment of the quantitative factor, and to the narcissistic dimension of the analyst's transference. The paper is referring here to the concept of "respect", for the characters and the scenes (Ferro) and for the process Winnicott). The author makes a comparison between two clinical vignettes of Beckett, by D. Anzieu. [ABSTRACT FROM AUTHOR]