By Gabriela Goldstein
A revolution is brewing in psychoanalysis: after a century of fight to outline psychoanalysis as a technological know-how, the idea that of psychoanalysis as an artwork is discovering expression in an unconventional go back to Freud that reformulates the connection among artwork and psychoanalysis and during this technique, discovers and explores uncharted routes via artwork to re-think difficulties in modern scientific paintings. This ebook explores fresh contributions to the prestige of psychoanalytic inspiration relating to paintings and creativity and the results of those investigations for today´s analytic perform. The identify, Art in Psychoanalysis, displays its double standpoint: paintings and its contributions to conception and medical perform at the one hand, and the reaction from psychoanalysis and its “interpretation” of paintings. those essays reveal the “aesthetic worth of analytic paintings whilst it can create whatever new within the relation with the patient”.
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Extra resources for Art in Psychoanalysis: A Contemporary Approach to Creativity and Analytic Practice
Bernard, E. (1920). La méthode de Cézanne. Paris: Mercure de France. Carpenter, R. (1921). , revised edition. Bloomington: Indiana University Press, 1962. Condivi, A. (1999). The Life of Michelangelo (2nd edn), A. S. ), H. ). University Park, PA: The Pennsylvania State University Press. Eliot, T. S. (2001). The Waste Land. New York: W. W. Norton. Freud, S. (1908e). Creative writers and day-dreaming. , 9: 143–153. London: Hogarth. Freud, S. (1910c). Leonardo da Vinci and a Memory of his Childhood.
1610). The Tragedy of King Lear. In: The Oxford Shakespeare: The Complete Works, (2nd edn) (pp. 1153–1184), S. Wells & G. ). Oxford: Oxford University Press, 2005. Veron, E. (1878). Aesthetics, W. H. ). London: Library of Contemporary Science. Zola, E. (2011). Germinal, R. N. ). Indianapolis, IN: Hackett. CHAPTER TWO Implicit “motion” in non-verbal art: transmission and transformation of affect1 Gilbert J. Rose “The arts reflect the motion of mind” (Leonardo da Vinci) Introduction lthough language is considered to represent the highest stage of thought and ego development, this overlooks the significance of non-verbal art in relation to affect transmission, transformation and the refinement of experience.
Of feeling, irrespective of what the quality of the feeling may be . ” (James, 1892, p. 426). Theodor Lipps (1851–1914), in the tradition of Vico (1668–1744, cf. Berlin, 1980), emphasised the importance of empathy and feelings rather than pure intellect as a basis of knowledge of other minds. “Feeling into” another’s mind is based on the imperceptible mirroring of another’s movement patterns. Such “motoric empathy” draws on one’s body memories and feelings as it bridges between Self and Other.