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The schizophrenic vision : an analysis of the schizophrenic cultural model and its influence on the aesthetics of contemporary painting /Beckmann, Michael Unknown Date (has links)
Thesis (M Visual Arts) -- University of South Australia, 1992
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The schizophrenic vision : an analysis of the schizophrenic cultural model and its influence on the aesthetics of contemporary painting /Beckmann, Michael Unknown Date (has links)
Thesis (M Visual Arts) -- University of South Australia, 1992
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Offerings for JahiliaMartonis, Stephen V. January 1999 (has links)
Thesis (M.F.A.)--West Virginia University, 1999. / Title from document title page. Document formatted into pages; contains iii, 16 p. Includes abstract.
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Art therapy and the patient experiencing psychosis who identifies as an artist : an exploratory studyDash, Clare Sophia, University of Western Sydney, College of Arts, School of Social Sciences January 2006 (has links)
This thesis explores art therapy with patients experiencing psychosis who also identify as ‘artists’, and arose from encounters in a psychiatric setting. It is argued that these patients struggle with art therapy in a way that is different from other non-artist patients and they may appear to have difficulties relating to the emergence of emotional aspects in their own or others’ artwork. This poses a potential problem for the art therapist who hopes to evoke insight for the patient, based on their artwork as self-expression. This dilemma and the countertransference phenomena specific to this problem are, with one exception, unacknowledged in art therapy literature. This thesis reviews art therapy literature to explore possible defence mechanisms as used by patients experiencing psychosis who identify as artists in art therapy. Four case studies of artist patients who undertook art therapy with the author are then presented. The psychological issues contributing to the artists’ experience and the issues facing the art therapist are investigated. This is complemented by comments made by other art therapists from a questionnaire based on this area of enquiry. Finally the thesis addresses the topic with reference to art therapy practice providing strategies to work with patients experiencing psychosis who also identify as artists. The case studies revealed that patients were more receptive to using art to express emotions when art therapy was experienced as containing and the research found that art therapy was generally supportive for artists when their defences were viewed as appropriate coping strategies. / Master of Arts (Hons)
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Re: pairing Louise Bourgeois: sculpture and psychoanalysis in the years 1946 -1969Cohen, Andrea Sue Michelle January 2016 (has links)
Thesis (M.A. (Fine Arts))--University of the Witwatersrand, Faculty of Humanities, School of Arts, 2016. / The
early
part
of
this
dissertation
is
concerned
with
a
particular
period
(1946-‐1969)
in
sculptor
Louise
Bourgeois’
life
when
her
artistry
and
her
psychoanalysis
overlapped
for
the
first
time.
Within
this
time
frame,
the
years
1952
–
1969
reference
a
particular
period
when
she
was
in
deep
psychoanalysis
with
Dr.
Henry
Lowenfeld,
a
period,
which
profoundly
affected
her
self
understanding
and
associated
art
practice.
By
establishing
her
positioning
within
a
story
of
Modernism
(as
a
departure
point)
I
will
then
go
on
to
consider
how
the
more
traditional
historical
readings
of
her
work
can
be
used
to
understand
her
work
and
behavior
within
a
more
pronounced
psychoanalytic
frame.
From
this
positioning
I
will
reconsider
Bourgeois’
artistic
practice
as
being
deeply
linked
to
an
unconscious
need
to
repair
early
psychic
ruptures
with
maternal
and
paternal
caretakers.
From
a
Kleinian
position
I
will
foreground
Bourgeois’
predisposition
to
sculpt
as
a
reparative
enactment
driven
by
her
primary
internal
Object-‐Relations.
Key
works
and
free-‐associative
written
material
(composed
in
relation
to
her
psychoanalytic
sessions
from
the
outlined
time
frame)
will
provide
evidence
for
her
psychic
shifts
over
the
period.
These
will
be
investigated
in
relation
to
changes
in
her
sculptural
output
-‐
key
signifiers
of
repressed
psychic
experience,
becoming
conscious.
The
dissertation
seeks
to
understand
the
relationship
between
these
two
investigative
processes
(art
and
psychoanalysis).
Similarly,
with
reference
to
Bourgeois,
the
latter
half
of
this
project
will
investigate
my
personal
(parallel)
experience
as
a
sculptor
and
analysand1 .
In
relation
to
both
enquiries,
I
will
specifically
consider
the
therapeutic
relationship
between
the
physical
act
of
making
artworks
and
the
verbal
psychoanalytic
experience.
In
an
effort
to
understand
how
the
pairing
of
these
two
communicative
modalities
might
impact
artistic
experience. / MT2017
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Once upon a time: narration from desire to fantasy. / 從前從前: 從慾望到幻想的敘事形態 / CUHK electronic theses & dissertations collection / Cong qian cong qian: cong yu wang dao huan xiang de xu shi xing taiJanuary 2013 (has links)
Chan, Hin Sin Cindy. / Thesis (M.F.A.)--Chinese University of Hong Kong, 2013. / Includes bibliographical references. / Electronic reproduction. Hong Kong : Chinese University of Hong Kong, [2012] System requirements: Adobe Acrobat Reader. Available via World Wide Web. / Abstracts also in Chinese.
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Systemic concepts in literature and art /Johnson, Scott. January 1991 (has links)
Thesis (Ph. D.)--Virginia Polytechnic Institute and State University, 1991. / Vita. Abstract. Includes bibliographical references (leaves 112-126). Also available via the Internet.
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Impromptu paintings by terminally ill, hospitalized and healthy children: what can we learn from them? /Furth, Gregg Michael January 1973 (has links)
No description available.
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Perseu e Medusa: uma experiência de captura estética / Perseus and the Gorgon: an experience in aesthetic captureMorgenstern, Ada 16 August 2006 (has links)
A experiência de \"captura\" estética é apresentada nesse ensaio a partir do impacto que a autora viveu no seu encontro com a escultura Perseu e Medusa de Camille Claudel e as múltiplas questões suscitadas a partir dessa vivência. Busca outros autores que relatam um encontro similar, como por exemplo, Freud e seu impacto com a obra Moisés de Michelangelo, tentando com isso identificar os elementos mais gerais que constroem essa experiência denominada aqui de \"captura\", sem com isso deixar de considerar seu caráter singular e subjetivo. Em seguida, ao refletir sobre a obra em questão, percorre as questões biográficas, sua contextualização, passando pelo mito e pela especificidade da atividade escultórica ao longo da História, pelas leituras estéticas e pelas concepções psicanalíticas sobre arte e criação apresentando assim, uma leitura de obra de arte entendida como um produto da relação entre espectador e obra, ou seja, numa perspectiva epistemológica que não separa sujeito e objeto e que tampouco se apóia em significações externas à essa relação. O caráter dessa leitura se mostra, portanto, como uma construção que se dá no momento de sua própria feitura, e não como produto de uma ação decifradora. Ao longo do percurso, vários diálogos vão sendo estabelecidos entre a Psicanálise e a Arte, o que remete a uma reflexão sobre as possibilidades de uma \"fertilização recíproca\" entre elas. / The aesthetic capture experience is presented as of the impact undergone by the author in her encounter with Perseu and Medusa sculptured by Camille Claudel and all the issues consequent to that episode. She searches other author\'s similar encounters, such as that of Freud with Michelangelo\'s Moses aiming at identifying those more general elements composing that experience called in this paper as \"capture\". At the same time the author does not disconsider the subjective and singular aspects of encounters such as these. Reflecting over the sculpture she engages in biographic issues and their contextualization. Starting with the myth and the specificity of sculpturing through History, aesthetic readings and psychoanalytic conceptions about art and creation, the author presents an understanding of art as a product of the relation between spectator and art. In other words, this is an epistemological perspective where subject and object are not apart and the significance of the event is part of the experience. The essence of these understandings happens therefore as the experience occurs and not as the product of a deciphering act. A series of dialogs are presented in this paper between Psychoanalisis and Art, leading the reader to reflect on the possibilities of cross linking between these two expressions.
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Pede-se abrir os olhos psicanálise e reflexão estética hojeDionisio, Gustavo Henrique 29 April 2010 (has links)
O presente trabalho pretende investigar como é feita a utilização da teoria psicanalítica no cenário da reflexão estética e da crítica de arte contemporâneas. Para tanto, o recorte se concentra em dois pensadores que se tornaram significativos na atualidade, embora não sejam os únicos: o crítico Hal Foster e o historiador da arte Georges Didi-Huberman. O objetivo da investigação é mostrar em que medida os conceitos gerados na práxis psicanalítica possibilitaram interpretações de ruptura no campo da estética tradicional. Essa modalidade de análise só se torna possível uma vez que se abandona o paradigma da psicanálise aplicada, ainda corrente no cenário extraclínico. Por fim, a proposta visa sustentar que a operação do amorfo, gerada no interior da pesquisa, pode lançar luz a certas experiências estéticas que vão da modernidade à pós-modernidade das artes / This work intends to investigate the use of psychoanalytic theory within the aesthetic and critical contemporary art field. To this purpose, this study focuses on two philosophers who have become significant in our time: the critic Hal Foster and the art historian Georges Didi-Huberman. This study aims to show how far the concepts generated in psychoanalytic praxis allowed interpretations that disrupt the field of the traditional aesthetics. This type of analysis is possible once we abandon the paradigm of applied psychoanalysis, which is still current in non-clinical setting. Finally, the proposal wants to argue that the category of the amorphous, generated in this research, may clarify certain aesthetic experiences that range from the modernity of art through the post-modernity
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