The overall aim of this thesis is to explore the process of working with the Edwards claywork method with a psychotherapy client who had significant relational difficulties and feared being exposed as defective. Within this there are particular aims: Firstly, to investigate whether the distancing that art therapy can create, can help the client with relational difficulties to tolerate unexpressed disavowed feelings, in particular her sense of shame about being exposed as defective; and secondly, to examine whether material evoked through the claywork process can assist in furthering the psychological formulation of this kind of client. The research was a phenomenological-hermeneutic case study of a psychotherapy client, called Kim. Kim’s experience of therapy, including two claywork sessions, was documented. This comprises a thematic narrative of her therapy process prior to the claywork process, as well as a thematic narrative focusing on the two claywork sessions. Her clay sculpture was photographed and alphabetically labeled according to the chronological order in which she made the eight pieces comprising her sculpture. A hermeneutic reading of the narratives was conducted using theoretical perspectives including object relations, Adlerian psychology and art therapy. It was concluded that, firstly, the distancing that art therapy can create does help the client, who is afraid of being exposed as defective, to tolerate previously disavowed and unexpressed feelings; and secondly, art therapy such as the Edwards claywork method, does deepen psychological formulation of the client’s affective and relational difficulties. However, although the image may graphically symbolize unconscious aspects of a client’s psyche, the present study illustrates that a client may not always be able to enter into a relationship with the image or dialogue between conscious and unconscious states. In this respect, the present study focuses on aspects of art therapy of which there is limited literature.

This study aimed to investigate the use of expressive art as a manifestation of the unconscious psyche and as an indication of underlying personality dynamics. Its use as a significant medium for therapeutic encounter and exploration was investigated by analysing the art produced by four psychiatric in-patients during their participation in an eight-week art therapy programme. Each patient's art series was qualitatively and thematically interpreted with a focus upon the meaning of significant recurring images and motifs. The results of this study indicate that the particularity of each patient's graphic imagery enabled the lived experience of their struggles and preoccupations to emerge as uniquely different. Through their art productions they revealed the nature of their inner worlds and the power of their thoughts, feelings and experiences.

This study utilized a phenomenological research methodology based on Husserl's work to explore the content of subjective internal experiencing during the art process. The study was designed to examine what transpired during the art experience in therapy to provide a better understanding of the therapeutic dimensions of the subject's interaction with the art medium, in this case drawing with pastels. This phenomenological study involved four subjects who participated in eight therapy sessions each, in which art was the principal medium, for a total of 40 hours of therapy over a period of 10 weeks. On the basis of the findings and conclusions of this study, recommendations were made for a series of studies to be conducted to gain broader insight into the therapeutic modalities of the art process. Some considerations for training programs of therapists in the use of art in therapy and recommendations for therapists trained in the use of art in therapy were also included.

Este trabalho insere-se no âmbito da Psicologia Social da Arte e, ao analisar obras cinematográficas e literárias, vale-se de referenciais da estética e da psicanálise. São analisados os filmes Lavoura arcaica, Abril despedaçado, O cheiro do ralo, Linha de passe e Jogo de cena, e os romances Lavoura arcaica e Budapeste. Nessa medida, os capítulos desta tese aproximam-se da forma ensaio, uma vez que priorizam as possibilidades especulativas de apreensão da realidade. A partir das leituras das obras, emergiram os seguintes temas: liberdade e opressão; ressignificação da lei e perversão; realidade e ficção; reflexão sobre os mecanismos de construção da verdade. Assim, o capítulo final se propõe a refletir em que medida essa tomada de contato com as obras pode fundamentar uma perspectiva de leitura. Por meio de uma discussão sobre realidade, ideologia e ficção, a leitura dirigida às obras volta-se a si mesma, em uma perspectiva aqui denominada poética-crítica / This work falls within the scope of Social Psychology of Art and, on analyzing film and literary works, it resorts to referential aesthetics and psychoanalysis. The films Lavoura arcaica, Abril despedaçado, O cheiro do ralo, Linha de Passe and Jogo de cena, and the novels, Lavoura arcaica and Budapeste are hereby analyzed. To this extent, the chapters of this thesis approach essay form, once they prioritize speculative possibilities of apprehending reality. The following themes emerged from the readings of these works: freedom and oppression; redefinition of law and perversion; reality and fiction; reflection upon the mechanisms of the construction of truth. Thus, the final chapter aims to reflect to what extent that making contact with these works can support a reading perspective. Through a discussion of reality, ideology and fiction, reading directed to these works turns back to itself, in a so-called poetical-critical perspective

Submitted by Filipe dos Santos (fsantos@pucsp.br) on 2018-11-07T12:24:34Z No. of bitstreams: 1 Marcos Paim Caldas Fonteles.pdf: 21498411 bytes, checksum: 60104f4342cfbb6b9e94a70c79cdc4da (MD5) / Made available in DSpace on 2018-11-07T12:24:34Z (GMT). No. of bitstreams: 1 Marcos Paim Caldas Fonteles.pdf: 21498411 bytes, checksum: 60104f4342cfbb6b9e94a70c79cdc4da (MD5) Previous issue date: 2018-09-14 / This work is a psychoanalytical theoretical study, which defends the hypothesis of the necessity of exposing the contemporary subject to artistic contemplation as one of the possible and necessary instruments to escape from the continuous fantasy sponsored by the consumer society. The study is supported by a diagnosis of the present moment, a journey through art and its uses over time, the specific kind of work of art that this work defends, and finally the comparison between artistic contemplation and psychoanalytic experience, somehow close and capable of stimulating the subject to cross his or her fantasy in order to experience a unique and implied existence / O presente trabalho é um estudo teórico psicanalítico, que defende a hipótese da necessidade da exposição do sujeito contemporâneo à contemplação artística, como um dos instrumentos possíveis e necessários ao escape da fantasia contínua patrocinada pela sociedade de consumo. O estudo é suportado por um diagnóstico do momento atual, um percurso pela arte e seus usos ao longo do tempo, a especificidade do tipo de obra de arte que este trabalho defende e finalmente a comparação entre a contemplação artística e a experiência psicanalítica, práticas de alguma forma próximas e capazes de estimular o sujeito a atravessar sua fantasia, a fim de experimentar uma existência singular e implicada

Este trabalho tem como objetivo compreender a vida e a obra de um grafiteiro. A partir do convívio com o artista Bruno Pastore, foi possível constituírmos um mundo de acontecimentos, imagens e palavras, que resultou na descoberta dos sentidos da arte quando integrada na vida. Trata-se de um mestrado em Psicologia Social, permeado pelo método fenomenológico de pesquisa, cuja principal característica é a suspensão das teorias préconcebidas e dos pressupostos, para que o pesquisador possa ir ao encontro do que se mostra a partir do ponto de vista de Bruno Pastore. Revelamos, em primeiro lugar, a trajetória de vida do artista, trazendo à tona acontecimentos importantes e denúncias diversas. Em seguida, elaboramos uma leitura de suas principais produções artísticas, entre elas grafites e poesias, integradas sempre no contexto de sua história de vida. Por último, apresentamos um ensaio filosófico baseado nas referências teóricas que esse estudo suscitou. O texto, assim como o grafite, se desenha na forma de um palimpsesto, pois é sustentado por referências que ligam os seus capítulos principais, que podem ser lidos independentemente, ou na ordem que mais aprouver o leitor / This work aims to understand in the light of phenomenology, life and work of a graffiti artist. From the meeting with the artist Bruno Pastore was possible for us to constitute a world of events, images and words, which resulted in the discovery of the meanings of art when built in life.This is a master\\\'s degree in Social Psychology, permeated by the phenomenological research method, in which the main feature is the suspension of preconceived theories and assumptions, so that the researcher can go back to what is shown from the point Bruno Pastore of view. Reveal, first, the trajectory of the artist\\\'s life, bringing up several key events and complaints. Then do a reading of his main artistic productions, including graffiti and poetry, always integrated with the context of his life story. Finally, we present a philosophical essay based on theoretical references that this study has raised. The text, as well as graphite, is drawn in the form of a palimpsest, because it is supported by references linking its main chapters, which can be read independently, or in the order that most pleases the reader

張經緯. / 論文(哲學碩士) -- 香港中文大學硏究院敎育學部, 1998. / 參考文獻: leaves 64-66. / 中英文摘要. / Zhang Jingwei. / Chapter 第1章： --- 引言 --- p.1 / Chapter 1.1 --- 研究背景 --- p.1 / Chapter 1.2 --- 研究問題 --- p.3 / Chapter 1.3 --- 研究目的 --- p.3 / Chapter 1.4 --- 研究重要性 --- p.4 / Chapter 第2章： --- 文獻回顧 --- p.5 / Chapter 2. 1 --- 美學 --- p.5 / Chapter 2.1.1 --- “自上而下的美´學ح與“自下而上的美´學ح --- p.5 / Chapter 2.1.2 --- 客觀論美學與主觀論美學 --- p.5 / Chapter 2.1.3 --- 美學發展的簡介 --- p.5 / Chapter 2.2 --- 藝術心理學 --- p.6 / Chapter 2.2.1 --- 藝術心理學之始 --- p.6 / Chapter 2.2.2 --- 藝術心理學發展的三大取向 --- p.7 / Chapter 2.3 --- 完形心理學 --- p.9 / Chapter 2.3.1 --- 完形心理學的源起 --- p.9 / Chapter 2.3.2 --- 完形(Gestalt) --- p.10 / Chapter 2.3.3 --- 同型論(lsomorphism) --- p.11 / Chapter 2.3.4 --- 圖形與背景 --- p.12 / Chapter 2.3.5 --- 完形視知覺組織定律 --- p.12 / Chapter 2.4 --- ARNHEIM的完形藝術心理學 --- p.16 / Chapter 2.4.1 --- 視覺思維 --- p.16 / Chapter 2.4.2 --- 形狀與形式 --- p.17 / Chapter 2.4.3 --- 形式與力 --- p.17 / Chapter 2.4.4 --- “美即適´切ح及“美即動力性結構對´應ح --- p.18 / Chapter 第3章： --- 研究方法 --- p.21 / Chapter 3.1 --- 研究對象 --- p.21 / Chapter 3.2 --- 研究過程 --- p.21 / Chapter 3.3 --- 材料 --- p.22 / Chapter 3.4 --- 資料分析 --- p.22 / Chapter 第4章： --- 研究結果及討論 --- p.26 / Chapter 4. 1 --- 砌圖過程 --- p.27 / Chapter 4. 1.1 --- “具意´念ح的創作開端及過程 --- p.27 / Chapter 4. 1.2 --- """乏意´念ح的創作開端及“具意´念ح的創作過程" --- p.28 / Chapter A) --- 漸現式 --- p.28 / Chapter B) --- 頓現式 --- p.29 / Chapter C) --- 速現式 --- p.30 / Chapter D) --- 平衡式 --- p.31 / Chapter E) --- 反覆驗式 --- p.33 / Chapter 4.2 --- 美的解釋 --- p.33 / Chapter 4.2.1 --- 初步個案分析 --- p.33 / Chapter 4.2.2 --- 美的解釋分類歸類過程及架構重建 --- p.33 / Chapter 4.2.3 --- 美的解釋類別要義 --- p.35 / Chapter 4.2.4 --- 美的解釋分類架構 --- p.35 / Chapter 4.2.5 --- 美的解釋分佈與個案組別分佈 --- p.37 / Chapter 4. 3 --- 美的解釋與個人獨特性及經驗的關係 --- p.42 / Chapter 4.3.1 --- 美的解釋與個人獨特性(包括經驗)的關係---以個案為單位的整理 --- p.43 / Chapter 4.3.2 --- 美的解釋類別與個人獨特性(包括經驗)的關係---以解釋類別為單位的整理 --- p.46 / Chapter 4.3.2.A --- 形式特質(F0)與個人獨特性 --- p.46 / Chapter A1 --- 視覺元素/構圖原則(Visual Elements/ Compos itional Principles)與個人獨特性 --- p.46 / Chapter A2 --- 表徵(Representation)與個人獨特性 --- p.48 / Chapter 4.3.2.B --- 個人關聯(PR)與個人獨特性 --- p.48 / Chapter B1 --- 自我肯定(Self-assurance)與個人獨特性 --- p.48 / Chapter B2 --- 感覺(Fee ling)與個人獨特性 --- p.49 / Chapter B3 --- 喜好/價值(Liking/Value)與個人獨特性 --- p.51 / Chapter B4 --- 意念（ldea)與個人獨特性 --- p.51 / Chapter 4.3.2.C --- 創作關係(CR)類別與個人獨特性 --- p.55 / Chapter C1 --- 思想空間(Horizon)與個人獨特性 --- p.55 / Chapter C2 --- 創作態度/感受(Attitude/Feeling of Creation)與個人獨特性 --- p.55 / Chapter 4.3.2.D --- 互動 (IN)與個人獨特性 --- p.55 / Chapter 第5章： --- 結論 --- p.58 / Chapter 5.1 --- 研究結果摘要 --- p.58 / Chapter 5.1.1 --- 砌圖過程 --- p.58 / Chapter 5.1.2 --- 美的解釋 --- p.58 / Chapter 5.1.3 --- 美的解釋與個人獨特性(包括經驗)的關係 --- p.61 / Chapter 5.2 --- 研究限制建議 --- p.62 / 參考資料 --- p.64 / 附錄 A---幾何圖形(GEOMETRIC SHAPES)舉隅及其數量與色彩分佈表 --- p.67 / 附錄 B---不規則圖形（IRREGULAR SHAPES)(1:5. 3) --- p.73 / 附錄 C---幾何圖形與不規則圖形色表 --- p.77 / 附錄 D---“GUMMED MOSAICS JUMBO PAC´Kح舉隅 --- p.78 / 附錄 E---創作指引 --- p.79 / "附錄 F---審美訪談(AESTHETIC JUDGMENT INTERVIEW, AJI)" --- p.80 / 附錄 G---美的解釋個案分析 --- p.82 / 附錄 H---美的解釋分類(以個案為單位) --- p.107 / 附錄 I---美的解釋類別要義 --- p.117 / 附錄 J---美的解釋與個人獨特性(包括經驗)的關係---以個案為單位的整理 --- p.125

Literature in arts education suggests that experiences in the arts support the development of thinking skills such as critical thinking and reasoning (Fiske, 1999; Eisner, 2004; Greene, Kisida, and Bowen, 2014). But do individuals make aesthetic judgments supported by critical thinking and reasoning, or are these judgments based only on subjective preferences or personal taste? The present study examines whether undergraduate college students from an elite private university serving primarily students of high socioeconomic status (SES) and a public university serving primarily low SES students (n=150) invoke criteria when making evaluative judgments across the domains of visual art, music, and a non-aesthetic more general domain. Students were asked to compare two works of art (visual art or music), and to compare two fictional political candidates and to indicate whether one could be judged superior to the other and if so on what basis. Responses reflected levels of epistemological understanding—that is, whether judgments are based primarily on facts (Absolutist level), subjective opinions (Multiplist level), or criteria (Evaluativist level). The majority of participants displayed Multiplist levels in the aesthetic domains. Evaluativist levels were more common in the non-aesthetic domain, although significantly so only in comparison to the music domain among the students from the private elite university. Group comparisons across the two aesthetic domains showed that individuals scored at the Evaluativist level with more frequency in the visual art domain as compared to the music domain. However, this difference was significant only among the participants from the private elite university and not among the participants from the public university. The general educational and social background of the participants (private elite university setting versus public university setting) proved to be the strongest predictor of Evaluativist-level responses. Continued research in epistemological understanding in the aesthetic domain is needed, as development in epistemological thinking may afford insights into the degree to which individuals exercise critical thinking about the arts, and how such thinking can be fostered.

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