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題名:母女關係困境者之沙圖與沙盤創作經驗分析
作者:吳櫻菁
作者(外文):Wu, Yin-Ching
校院名稱:國立彰化師範大學
系所名稱:輔導與諮商學系所
指導教授:高淑貞
學位類別:博士
出版日期:2009
主題關鍵詞:母女關係困境沙圖的表達與意義沙盤創作解釋性現象學分析人本取向沙盤治療mother-daughter predicamentsmeaning and expression of sand scenesandtray creationinterpretative phenomenological analysishumanistic sandtray therapy
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母女關係困境者之沙圖與沙盤創作經驗分析
中文摘要
本研究之目的在探討母女關係困境者的沙圖表達與意義及沙盤創作經驗。三位和母親、女兒有親密與衝突之關係困境的成年女性成為本研究的研究參與者。本研究之研究方法是以藝術認知與綜合直覺為基礎,結合解釋性現象學分析為方法。本研究採用兩種的資料蒐集方法,包括了、沙盤創作與敘說。透過對多元文本之理解與詮釋,本研究主要結果如下:
從母女關係困境者沙圖的表達與意義的產生,本研究結果明顯呼應人本取向沙盤治療文獻中,肯定創作者是沙圖意義的知者的論述。研究參與者是可以透過語言而對沙圖的意義進行理解。在此以人本取向為析論的方法中,不僅可以透過理解與詮釋創作者對沙圖意義的敘說去形成母女關係困境者的生命經驗主題,也可以得到運用語言對沙圖進行轉譯的詮釋文,及去發現沙圖意象表達之主題與可能的意涵。
在母女關係困境者的生命經驗的分析中,清楚的發現三個群聚主題,首先是研究參與者特殊存在的境遇、其次是存在的混淆與挫折、再就是個人面對受苦的處理與因應。在研究參與者特殊存在的境遇的主題為「重男輕女與父系婚姻的性別結構」、「文化雙重綑綁與世代文化差異」、「原生家庭與婚後的家庭有危機事件發生」。存在的混淆與挫折的主題中包括了:「失落與創傷的議題」、「對母親與女兒的愛是百感交集」、「矛盾兩極化的自我」等。個人面對受苦的處理與因應之主題為:「隱忍、壓抑、逃避的人際與情緒因應模式」、「追求對存在的好奇與自我覺察」。
本研究在母女關係困境者之沙圖表達出的意象,主要的顯示出六個意象的主題:「分隔的意象」、「下陷的意象、半埋的意象、倒下的意象、埋藏的意象」、「困住與拘禁的意象」、「威脅的意象、衝突的意象」、「空洞與死寂的意象」、「母子依附與舐犢情深的意象」。本研究除了針對不同的意象可能的意涵,提出進一步說明。也發現六個沙圖意像可能和母女關係困境者的存在混淆與挫折是有相關的。
在沙盤創作經驗對母女關係困境者的意義之分析,有六個主題明顯的浮現,展現如下之內涵:「奇特與複雜的經驗就像是一場心靈冒險」、「沙盤創作具獨特性的表達功能」、「沙子的使用與內在參考架構相關」、「玩的心、信任直覺、專注的態度是投入沙盤創作的內在狀態」、「沙圖是一種兼具表達與經驗的圖像與心像,可以作為接觸內在經驗的踏跳板」、「創作後會有心靈排毒的身心反應、會出現有意義的夢境與心理想像劇、產生自我覺察與反思」。
本研究中發現對三位研究參與者而言,沙盤創作與敘說、沙圖與語言是互補及互相增進表達的工具。在本研究中訪談是透過語言對經驗給出意義、透過非語言沙圖將內在經驗外化與具象化、再透過語言對沙圖意象與沙盤創作經驗給出意義。透過沙盤創作不僅可以表達創傷的記憶,也可以整合記憶與轉化經驗。透過在沙圖中看見內在的世界,可以增進對自我此時此刻經驗的覺察。透過敘說可以讓研究參與者對內在經驗與生命故事報導的深度和廣度得以拓展。本研究是相信沙圖的意義是多元的。同時肯定三位研究參與者對其創作的沙圖是主要的知者之一。當然並不能將本研究之結果用來推論於所有的有母女關係困境的沙盤使用者,因本研究的結果可能受到研究參與者教育程度、社經水平與靈性成長的需求之特質影響。最後本研究依據研究結果提出若干建議, 以供未來的研究者與實務工作者參考。
關鍵字: 母女關係困境、沙圖的表達與意義、沙盤創作、解釋性現象學分析
人本取向沙盤治療
The analysis of sand scenes and the experiences of sandtray creation from women in mother-daughter predicaments
Abstract
The purpose of this study was to explore the meaning, the expression of sand scenes and the creating experiences from those women in the mother-daughter predicaments. The three participants of this study were adult women who had conflicts in their three generation relationships. This study was based on the principles of interpretative phenomenological analysis combining artistic knowing with synthetic intuition. This study adopted two ways of data collecting methods: sand creation and narrations. Based on the analysis and interpretation of multiple resources, the findings of this study were described in the following.
From the formulation of sand scene expressions and that of their meanings made by women in mother-daughter predicaments, this study corresponded with references that had been written from the perspectives of humanistic sandtray therapy. It was affirmed that the sand scene producers would know the meanings of their productions , namely, the sand scenes. Through verbal exchanges, the research participants could make sense of their scenes. From the humanistic approach what adopted in this research, the researcher could formulate the sand scene expressions and that of their meanings made by women in mother-daughter predicaments, which were achieved through the understanding and the interpretation of participants’ narrations in relation to the meanings of their life experiences; more than that, the research could also obtain participants’ verbal expressions to their sand scenes, and to discovered the possible meanings and themes and expression of those sand images.
There were three obvious themes discovered in this research, through the process of analyzing the life experiences of those women who were in mother-daughter predicaments. First of all, the participants’ special dilemma of existence; secondly, the confusions and frustrations of their existence; and the last one was how they dealt and coped with their sufferings. Participants’ special dilemma of existence included: “the gender structure which preferred men than women, and a patriarchal marriage system”, “cultural double binds and culture differences in generations”, “the occurrences of crisis both in their families and the families of origin”. The confusions and frustrations of their existence included : “grief and loss related issues”, “a mixed feeling toward mother and daughter experienced by participants”, and “a contradictory and polarized self image”. This findings of how they dealt and coped with their sufferings were as followings: “the pursuing of existential curiosity and self awareness”, “the tolerant, repressed and avoidant interpersonal and emotional coping style”.
There are six image themes expressed frequently in the sand scenes made by participants :「splitting 」,「 sinking, half buried, prone and hidden」,「confined」, 「threatened and conflict」,「 emptiness and deadly loneliness」, 「mother-child attachment and the images of mothers nurturing their young 」. This paper provided further explanation to those images in sand scene.
Six themes were revealed in relation to the topics of the meaning of creating sandscenes from women in mother-daughter predicaments. They are as the followings:「it was strange and complicated, like an adventure in the psyche」,「sand scene creation bring out the unique function of expression」,「the usage of sand in the tray always related to the inner frame of reference of its producer」, 「being playful, trusting one’s own intuition, and being concentrated are key attitudes involved in the process of sand scene creation」, 「sand scene is a kind of mental image with the quality of expression and experience both at the same time, it served as a tangible springboard that touched and triggered the inner experience of its producer」,「the cathartic reaction both in the psyche and the body usually followed the completion of sand scene creation, and meaningful dreams, imaginations or fantasies came from the psych, bring out further self awareness and reflections」.
It was discovered in this research that the sand scene creation and the narrations were complementary to each other, and they both were communication tools that mutually facilitating their expressions. There were three major expression processes in this study: 1.Participants’ usage of language for making sense of their experiences; 2.The externalization and embodiment of their internal experiences through non-verbal sand scenes. 3. Making sense of sand scenes and the experiences of making them through verbal expression. Sand scene creation could not can only express the traumatic memories, but also could integrate and transform their life experiences. One could see his/her inner world through the process of making sand scene, and the self understanding and awareness was further enhanced at the here and now moment. Through narrations, the depth and the width of the producer’s inner experience and life story were further expanded. It was believed that the meanings of sand scene were multi-faced, and the three producers of sand scenes would know the meanings of their own productions. Nevertheless, it would be improper to infer the conclusions of this study to all the other similar clients who are in mother-daughter predicaments, since the results of this study were also influenced by the educational background, Social-economic status, and the need for spiritual development of the research participants. At the end, based on research findings, some recommendations were made for future researchers, and also for the practices in the field of sandtray therapy.
Key words: mother-daughter predicaments, meaning and expression of sand scene, sandtray creation , interpretative phenomenological analysis, humanistic sandtray therapy
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