By Gabriela Goldstein
A revolution is brewing in psychoanalysis: after a century of fight to outline psychoanalysis as a technology, 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 strategy, discovers and explores uncharted routes via paintings to re-think difficulties in modern scientific paintings. This e-book explores contemporary contributions to the prestige of psychoanalytic proposal with regards to artwork and creativity and the results of those investigations for today´s analytic perform. The identify, Art in Psychoanalysis, displays its double point of view: paintings and its contributions to concept and medical perform at the one hand, and the reaction from psychoanalysis and its “interpretation” of artwork. those essays reveal the “aesthetic price of analytic paintings whilst it may create anything 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
In this, there is no Platonic or Aristotelian derogation of sense experience as the source (and end) of such knowledge of ourselves and of the world as we are able, by means of sense experience, to acquire. Ontologically, despite the intensity of our hopes, there is no evidence provided by our sense experience that there is anything beyond nature that corresponds with what we seek when we try to “join the erring hands of nature”. References Aristotle (1947). Physics. In: Introduction to Aristotle (pp.
Suffice it to say, for the purposes of this argument, that the author does not hold such a view. At its best, abstract art arouses affects, moods, and the reflections that might accompany them (just as music does). Neither pure abstract visual art, nor music, is descriptive. And neither are they merely decorative, because of the emotions they can arouse. , that they contribute to the thematic significance of the work). I argue that they do. This is the primary hypothesis of this chapter. The secondary hypothesis concerns the mechanism of this integration in works of art of high seriousness.
However, Michelangelo must surely have known the motivations and phantasies about masculinity that inspired and guided his work despite the extreme abstemiousness of his life. Self-esteem is not governed only by the admiration of others, not even when that admiration is justified by the most extraordinary works of genius. Self-esteem is also, and perhaps primarily, governed by the life motivations and experiences that caused Michelangelo’s need to idealise sensual masculinity and, as far as one can tell, to live a life of abstemious self-denial.