This is a sequel to my previous post Notes on Psychological Landscape Part I.
In their paper “Utilizing Complexity To Change Psychological Landscapes,” Maryann Reese, MA and Dr. Miriam R. Tausner use the landscape metaphor to show the features of psychological landscape:
Psychological landscapes consist of horizons and basins of attraction. Figure I depicts a curved line with a high peak, which is the horizon, and two hollowed out tunnels, which are the basins. Horizon is a vista from which we observe our life and its surroundings. Our outlook or angle of vision is skewed by our past experiences featured here as the deep burrows or our emotional life under the surface. A wide variety of events and sensory details make person access reference points. A reference point is a marker of an event, which is a gateway to external triggers such as (see Figure I) words, pictures, tastes, sounds, gestures, smells, etc. that propel a person to an attractor in a basin. Attractors are internal representations of original experiences; in other words the attractors pull us towards positive or negative place, depending of the nature of the original experience. Figure II illustrates this process:
This is my mother in her kitchen in Sarajevo, just before the war broke out in 1992, following up the breakup of Yugoslavia:
Notes on Psychological Landscape Part III will focus on writers’ techniques of externalizing characters’ intangible feelings. How do we express characters’ emotional life using other methods than first-person point of view or going directly into characters’ thoughts?