Academic literature on the topic 'Creation (Literary, artistic, etc.) – Psychological aspects'
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Journal articles on the topic "Creation (Literary, artistic, etc.) – Psychological aspects"
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Dolidze, Anna, and Tamar Sharabidze. "Psychosemiotics of the dream in Georgian artistic discourse (From realism to modernism)." Signo 47, no. 88 (January 3, 2022): 44–49. http://dx.doi.org/10.17058/signo.v47i88.17381.
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Abstract: The study of the dream phenomenon in Georgian artistic discourse is important because dreaming represents typological universality, although with ethno-national specificity in its performance, enabling us to understand Georgian mentality peculiarity in relation with Western tradition and also because a dream semantics (in its broadest sense), as a cultural concept, encompasses typologically similar events (prophecies, visions, dreams, prognoses, etc.), the function of which in Georgian texts demands special study, as it represents a provoking element of narrative structure. The research goal is to \ under various perspectives: exploring the dream phenomenon through uniting psychological and literary aspects; typological dreams classification and its variations in the creation by Georgian realist and modernist writers. The research main line involves three types of scientific methodology: The sociological-psychological research method of dream phenomenon; feature-based analysis of dreams and structural-contextual analysis of dreams, which presents paradigmatic variants of diverse literary processes during the 19th and 20th centuries. The Georgian realism considered that dreams adhered to their basic principles.Vazha-Pshavela, in contrast, has a dreamlike vision that is not only related to sleep but it is one of the ways of accessing the irrational world through the dreamer’s mystical-allegorical perception and myths. Vazha-Pshavela's next generation of Georgian writers, who are fond of European culture began to master and develop the themes typical to modernism, and also to it’s theoretical principles. Keywords: Dreams; psychosemiotics; Georgian artistic discourse; Modernism
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Borodina, N. A., O. A. Selemeneva, and N. A. Trubitsina. "Mythopoetic Worldview of Bunin: Linguistic and Literary and Cultural Analysis Aspects." Nauchnyi dialog, no. 10 (October 29, 2021): 28–47. http://dx.doi.org/10.24224/2227-1295-2021-10-28-47.
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The results of the analysis of semantic groups of mythonyms of the poetic heritage of I. A. Bunin as means of explication of various historical-informational and cultural-symbolic worldview meanings are presented in the article. The relevance of the work is due to the interest of literary onomastics in identifying units of the onomastic code of artistic and aesthetic systems of various domestic and foreign writers. The novelty of the work is associated with the inclusion of lexical units with different ratios of the nominated image and denotation into the Bunin mythonymicon, with the synthesis of linguistic and literary-cultural approaches in characterizing each of the selected lexical units. The twelve described semantic groups of mythological names are organized in the form of a field with a core and peripheral parts. For each group, the features of contextual use are noted. The authors come to the conclusion that in the Bunin picture of the world, mythonyms of various semantics perform text-forming and meaning-forming functions. They not only represent archetypal images (Fire, Bottom, Feminine, Garden, etc.), axiological oppositions (light — darkness, good — evil, etc.), key ideas, themes and motives (the idea of being still, themes of love, death, motives of temptation, resurrection, dreams, etc.), historiosophical concepts (moral choice and fortitude), but also participate in the creation of an individual author’s myth.
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Ghadban, Alaa Abbas. "The Artistic Creation of the Narrative in the Heavenly Books: Yusuf Sura as a Model." INTERNATIONAL JOURNAL OF RESEARCH IN SOCIAL SCIENCES & HUMANITIES 12, no. 02 (2022): 140–49. http://dx.doi.org/10.37648/ijrssh.v12i02.009.
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In a noticeable artistic-based structure, stories in heavenly books assume fine narrative pieces. The literary construction and various devices employed in the narrative exhibit a fairly noticeable piece of art. In general, the heavenly books follow an allegoric art to emphasize ethical and typical behavioural ends. However, the intended message in the heavenly books have moulded this end in a fine artistic methods. To explore this scope, this paper examines the distinctive narrative form delineated generally in the heavenly books with particular focus on the Holy Quran. The researcher applies the aspects of narrative including form, technique on the text to identify the artistic creation on the basis of the narrative approaches. The chosen sura "Yusuf" is taken from the Holy Quran, which noticeably and artistically traces the development of its protagonist early from childhood up to maturity. It sheds the light on the ups and downs of the central character, in relation to the surrounding characters and circumstances; and their influences on the ultimate outcome. The narrative in Yusuf sura text interweaves various psychological, sociological, familial constrains which ultimately result into a fine literary portrayal. With a fine artistic touch, the narrator follows the allknowing mode whose narration includes the multitude aspects of the characters –the internal and external world. The text, further, gives a panoramic view of the entire world of the narrative which is arranged in an episodic plot with the employment of the cinematic technique of scene shifting. It is observed that the plot-organization, characters and struggle are dynamically presented away from the boredom of the historiography.
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Muratova, N. A., and G. A. Zhilicheva. "Semiotics of the Train in Russian Literature: Intermedial and Metapoetical Aspects." Bulletin of Kemerovo State University 24, no. 1 (April 11, 2022): 50–59. http://dx.doi.org/10.21603/2078-8975-2022-24-1-50-59.
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This article explores the intermedial and metapoetical semantics of the artistic image of a train. This image is part of the artistic semiotics and plays two interrelated roles: it marks the connection between the discourses of cinema and literature and signifies the act of artistic creation. Based on the Russian literature of the ХХ–ХХI century, this article reviews the origins and development of the arrival of a train as a cinematic metaphor, as well as the ways of depicting images in time and space (including the inner space). Before the age of cinema, the classic Russian literature introduced the railroad motif to make the discourse more dynamic and to highlight the key opposition between traditional lifestyle and technological progress, e.g. in works by F. Ostrovsky, A. Chekhov, etc. The literature of the XX century merged cinematic devices with literary motifs and introduced fragmentation, editing, changing angles, and other new ways of artistic perception, e.g. in A. Platonov’s oeuvre. Train imagery may attain mythological semantics when it manifests the themes of disaster, death, Apocalypse, and revolution, thus becoming a metapoetical symbol, e.g. in B. Pasternak’s Doctor Zhivago. In the contemporary Russian literature, train movement is associated with the life of human consciousness (V. Pelevin) or with text generation (S. Sokolov). In some cases, episodes of rail traffic interspersed with episodes of filming complicate the narrative and multiply transitions from external to internal focalization (E. Vodolazkin).
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Lipina, M. A. "Poetics of literary dream in Sigizmund Krzhizhanovsky’s novel “Sideline”." Vestnik Tomskogo gosudarstvennogo universiteta. Kul'turologiya i iskusstvovedenie, no. 43 (2021): 132–43. http://dx.doi.org/10.17223/18137083/74/10.
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The paper is dedicated to studying the oneiric text of S. Krzhizhanovsky’s novel “Sideline.” The topicality of the research is due to modern literary criticism interest in examining various aspects of artistic hypnology of Russian writers, as well as studying the works of “returned” authors, including S. Krzhizhanovsky. The realization specifics of the structural model of the literary dream in question can be presented as the following scheme: unconscious falling asleep – dream-journey – awakening by falling down. Different variants of artistic implementation of the main metaphors connected with dreaming are analyzed: “dream-life” in the image of briefcase-cushion and the image of “million-brained” dream of equality and brotherhood; “dream-death” in the image of the leader of a dream world, with the prevalence of thanatological vocabulary in the description of the city of dreams. The ways of imitating the space of real dreaming in the oneiric text of the novel are studied: awakening by falling, sudden muteness of characters, sudden change of location, etc. Also, the specifics of using the plot device of an unannounced dream is considered contributing to the illusion of “reality” of everything that happens to the character in the city of dreams. An attempt is made to consider the oneirotop of the novel in terms of classification by genre and function, plot and composition, images and esthetics and characters, as well as artistic functions of dreams in the literature (plot function, psychological function, idea, and symbolic function). The oneiric text of Krzhizhanosky’s novel “Sideline” is viewed as an artistic realization of the author’s original idea of the subconscious, dreamy origin of a communist utopia.
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Rezvan, Maryam. "Russia and Its Oriental Other: Self‑Cognition Through Mutual Influence (Intermediate Results of One Research Project)." Manuscripta Orientalia. International Journal for Oriental Manuscript Research 26, no. 2 (December 2020): 85–87. http://dx.doi.org/10.31250/1238-5018-2020-26-2-85-87.
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The article aims at presenting the project Russian Orientalism (Science, Art, Collections), conducted by the team of researchers from the KunstkameraMuseum (St. Petersburg). We offer the reader an interpretation of orientalism, as having an inner unity of the way of perception and vision of the East, its co-creation, expressed in a wide variety of aspects: professional and scientific, artistic, everyday, etc. The resulting book shows that Russia's and “Orient” mutual history testifies to a continuous dialogue, through which we, realizing our dissimilarity, try to understand not only the Other, but also ourselves, through our reflection in it.
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Pavlinchuk, T. "THE PAINFUL EXISTENCE IN THE BOLESŁAW LEŚMIAN’S POEM "AT NIGHT"." Вісник Житомирського державного університету імені Івана Франка. Філологічні науки, no. 2(95) (December 17, 2021): 76–90. http://dx.doi.org/10.35433/philology.2(95).2021.76-90.
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The paper deals with poetic translation analysis of the poem "At Night"of the Polish poet Bolesław Leśmian. The appearance of Bolesław Leśmian’s poetry in Ukrainian translation (the collections of selected works "Садбожий спалахненець" and "Ангели" translated by M. Kiianovska) has become an important event. The researcher focuses their attention on the contextual, poetic, poetical, artistic and stylistic peculiarities of the poem "At Night", in connection with the philosophic and literary views of the poet. The wide range of scientific works on Bolesław Leśmian’s poetry in Polish literary studies allows us to study different aspects of this poet’s poetics: symbolism, peculiarities of the artistic images creation, the appeal to folk sources, the language of his literary works, the image of God in his poetry, the role of rhythm, immediacy of worldview and creating the world anew in "song without words" etc. The poetics of the poem has been studied, its interpretation is based on the unity of compositional, semantic, figurative elements of the poem.
The translation analysis, aimed at the study of structural and semantic features of the poem "At Night" in Ukrainian translation, is concentrated on the author’s peculiarities of creating images and their representation by M. Kiianovska in her translation of the poem. The author of the article focuses on the concept of the original and translation, the overall mood of the poem, its content, figurative system, structure, rhythmic organization, the rhyming system of the translation and the original. Special attention is paid to the analysis of the selection of lexical equivalents, the poetic syntax of the poem and other translation techniques on the way to better understanding of the text, the artistic images creation and grammatical and compositional integrity of the translation of the poem.
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Humennyi, Mykola, and Vira Humenna. "Context of the author’s view (Henri Barbusse, Erich Maria Remarue, Oles Gonchar)." LITERARY PROCESS: methodology, names, trends, no. 15 (2020): 36–42. http://dx.doi.org/10.28925/2412-2475.2020.15.5.
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The article is devoted to the research of the context of the author’s view in the architectonics of antiwar novels of the mentioned authors. The signs of a real military type, which appeared in the time on the pages of the humanities in the aspect of rationalism and individualism, are found out. The essence of the “lost generation” is characterised in philosophical, historical and aesthetic aspects. It is proved that the artistic system of anti-war novels is characterized by the dominant way of introducing the author’s view of the story. Aspects such as the author’s attitude to war disasters, the epic tone of the story, the aesthetic concept of the artist, his sociological, historical and psychological views are analysed. The objective-historical point of view, according to which narration extended the boundaries of space, created the background of time, overcame the static of the narrative, deepened the principle of mimesis, is investigated. The peculiarities of the authors’ artistic systems and some of their creative principles, the subjective interpretation of the feelings of the characters have been found out. The skill of each artist in reproducing the inner world of the characters under the influence of the bloody events of the war is outlined. The key words of novels, which serve as generalized forms of imaginative consciousness, as well as their influences on the artistic and psychological nature of the works, are characterised. The functioning of the author’s language of anti-war novels and the peculiarity of oral and written and professional language are traced. The stable correlation of the analysed novels with the most actual problems of the socio-psychological atmosphere of a specific historical era is studied. The originality of the writers’ literary world is revealed, the originality of their thinking is emphasized and the dominant typological similarities and differences are characterised. In studying the structure of the analysed novels, the peculiarity of the conciseness of the collective portraits, in which all the emotional and psychological capacity of each component is reproduced, is traced. It is emphasised that the context of the author’s view also manifests itself through various extravagant elements (authorial indentations, descriptions of exteriors, titles, epigraphs, etc.), which along with the story aspect of the novels give them artistic completeness and integrity. In addition, the specifics of the author’s language of anti-war novels are studied.
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Vinar, Olga. "Means of speech characteristics of the stage image in the context of decoding the signal space contemporary performances." National Academy of Managerial Staff of Culture and Arts Herald, no. 2 (September 17, 2021): 311–16. http://dx.doi.org/10.32461/2226-3209.2.2021.240110.
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The purpose of the article is to identify the features of speech characteristics in the context of the disclosure of the plot-content aspect of the performance of postmodern aesthetics. Methodology. A typological and systematic method is used to study the creative mechanisms of the actor's creation of the speech characteristic of the image in the context of the peculiarities of the aesthetics of postmodernism; cognitive method, thanks to which theoretical positions in the field of language psychology and speech therapy are extrapolated to the field of theatrical art; method oftheoretical generalization, etc. Scientific novelty. The influence of postmodernist theater tendencies on the process of the actor's voice work on the creation of the image – the development and implementation of speech features of the character; the peculiarities of the process of decoding the sign system of a modern production on the basis of the interpretation of the speech characteristic of the images created by the actors are analyzed. Conclusions. The verbal characteristic of the image contributes to the actor's representation of certain internal characteristics of the character, his emotional state, deep reaction to events and/or actions of other characters, changes in lifestyle and worldview, etc., and in the context of postmodern aesthetics, when stage texts double coding" – a complex phenomenon of postmodernism, artistic and aesthetic means of which in theatrical art is a synthesis of different languages and codes of literature and philosophy in a holistic hypertext of performance, contribute to the understanding and comprehension of semantic aspects of theatrical production. The actor's use of elements of speech characteristic contributes to the expansion of his professional speech competence, the diversity of speech sound of the stage word. The components of speech characteristics can act as expressive means that reveal important aspects of the character; the necessary form of revealing the internal content of the stage image; an important element of the psychophysical structure of the role; an artistic technique that enhances the expressive possibilities of the stage word, and, accordingly, helps to form verbal symbolic means of expressing the artistic meanings of the performance. In our opinion, for the organic process of forming the stage image in general and the speech characteristics of the character in particular, the actor must not only expand his attention, observation, and ability to understand and comprehend the psychological and social causes of human behavior, but also deepen knowledge of psycholinguistics and speech therapy. Because only the organic combination of these factors contributes to the design of optimal stage speech, which corresponds to the concept of each specific performance.
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Gorbunova, Irina B., and Konstantin Yu Plotnikov. "Music Computer Technologies in Education as a Tool for Implementing the Polymodality of Musical Perception." Musical Art and Education 8, no. 1 (2020): 25–40. http://dx.doi.org/10.31862/2309-1428-2020-8-1-25-40.
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The article reveals the psychological aspects of the perception of music and interaction with it when using music computer technologies, which are a software and hardware complex (musical computer, keyboard synthesizer, DJ console, smartphone with sound programs, etc.) in conjunction with the methodology of its application in creativity and in music training. Revealing the contradictions that are typical for the educational field “Art: Music”, the authors propose and use in their research an interdisciplinary approach (psychology, neurophysiology, pedagogy, computer science and Information & Communication Technology) in a holistic consideration of the phenomenon of music in connection with the phenomenon and processes of its perception, creation, and translation. The main problem is identified as the need to identify and take into account the psychophysiological factors that affect a person when interacting with music. The goal is to study the effect of convergence of the music computer technologies, manifested through the phenomenon of polymodality of perception of an artistic image is solved through the analysis of existing interpretations of polymodality, related connotations and classifications of synesthesia, using examples of technological and cultural manifestations of the polymodal nature of perception (syncretism of arts, associativity as a method of interpretation of an artistic image). Discussed insights on the future prospects of the study of polymodality of perception and representation of the artistic image of a musical work as one of the key features actualized in music computer technologies the effect of convergence and to explore the effect of virtualization, the use of potential of these technologies and multimodal nature of human perception for the holistic understanding of works of art.
Dissertations / Theses on the topic "Creation (Literary, artistic, etc.) – Psychological aspects"
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Bader, Angela. "A personal exploration of the creative process." Thesis, Link to the online version, 2006. http://hdl.handle.net/10019/960.
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Quinteros, Carmen Veronica School of Sociology & Anthropology UNSW. "Creativity, order and discipline." Awarded by:University of New South Wales. School of Sociology and Anthropology, 2004. http://handle.unsw.edu.au/1959.4/20741.
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For the past eighty years I have started each day in the same manner. It is not a mechanical routine but something essential to my daily life. I go to the piano, and I play two preludes and fugues by Bach??? It is a sort of benediction on the house??? It is a rediscovery of the wonder of which I have the joy of being a part. It fills me with awareness of the wonder of life, with a feeling of the incredible marvel of being a human being. The music is never the same for me, never. Each day it is something new, fantastic, and unbelievable. That is Bach??? a miracle! A whole radiance of space and poetry pours forth from them! They are the very essence of Bach, and Bach is the essence of music. (Casals:1974:17 & 47). Such comments, common among musicians, are usually ignored by the disciplines that study music. This thesis, however, is the result of a decision to take these comments seriously. This thesis addresses the issues of creativity, order and discipline, through the perspective of a sociology and phenomenology of everyday life. The main issues of this thesis are first introduced through Bachelard???s phenomenological study of poetry and Heidegger???s approach to art. Embodied modes of knowing are introduced through Buber???s dialogic I-Thou concept. This is followed by Winnicott???s discussion of creativity and Bohm and Peat???s discussion of order. Discipline is introduced through a counter-analysis of some central sociological theorists on authority and power: Lukes, Foucault and Durkheim. Among other writers influential for the thesis are Eliade on origins, sacred temporality and ???eternal return???, Simmel and Douglas on space, Levinas, Merton, Herrigel and Stendl- Rast on ethics and discipline. Hegel and Sartre on identity-logic and Serres on relational modes of knowing. The main issues are drawn from experiences with music and particularly with the music of J. S. Bach. These experiences raise ontological, cosmological and epistemological questions that are examined in this thesis. The material used in the analysis is drawn from musicians??? experiences and from a variety of sources non-academic and academic.
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Bliss, Shirley E. "The Art Process in Therapy: A Phenomenological Study." Thesis, University of North Texas, 1991. https://digital.library.unt.edu/ark:/67531/metadc935726/.
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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.
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Roux, Susan Elizabeth. "Van moi tot je : die verband tussen die ontwikkeling van die subjek en die kunsmaakproses." Thesis, Link to the online version, 2008. http://hdl.handle.net/10019/900.
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Chappell, Shelley Bess. "Werewolves, wings, and other weird transformations fantastic metamorphosis in children's and young adult fantasy literature /." Doctoral thesis, Australia : Macquarie University, 2007. http://hdl.handle.net/1959.14/226.
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Thesis (PhD)--Macquarie University, Division of Humanities, Department of English, 2007.Bibliography: p. 239-289.
Introduction -- Fantastic metamorphosis as childhood 'otherness' -- The metamorphic growth of wings : deviant development and adolescent hybridity -- Tenors of maturation: developing powers and changing identities -- Changing representations of werewolves: ideologies of racial and ethnic otherness -- The desire for transcendence: jouissance in selkie narratives -- Conclusion -- Bibliography -- Appendix: "The great Silkie of Sule Skerry": three versions.
My central thesis is that fantastic motifs work on a metaphorical level to encapsulate and express ideologies that have frequently been naturalised as 'truths'. I develop a theory of motif metaphors in order to examine the ideologies generated by the fantastic motif of metamorphosis in a range of contemporary children's and young adult fantasy texts. Although fantastic metamorphosis is an exceptionally prevalent and powerful motif in children's and young adult fantasy literature, symbolising important ideas about change and otherness in relation to childhood, adolescence, and maturation, and conveying important ideologies about the world in which we live, it has been little analysed in children's literature criticism. The detailed analyses of particular metamorphosis motif metaphors in this study expand and refine our academic understanding of the metamorphosis figure and consequently provide insight into the underlying principles and particular forms of a variety of significant ideologies.
By examining several principal metamorphosis motif metaphors I investigate how a number of specific cultural beliefs are constructed and represented in contemporary children's and young adult fantasy literature. I particularly focus upon metamorphosis as a metaphor for childhood otherness; adolescent hybridity and deviant development; maturation as a process of self-change and physical empowerment; racial and ethnic difference and otherness; and desire and jouissance. I apply a range of pertinent cultural theories to explore these motif metaphors fully, drawing on the interpretive frameworks most appropriate to the concepts under consideration. I thus employ general psychoanalytic theories of embodiment, development, language, subjectivity, projection, and abjection; poststructuralist, social constructionist, and sociological theories; and wide-ranging literary theories, philosophical theories, gender and feminist theories, race and ethnicity theories, developmental theories, and theories of fantasy and animality. The use of such theories allows for incisive explorations of the explicit and implicit ideologies metaphorically conveyed by the motif of metamorphosis in different fantasy texts.
In this study, I present a number of specific analyses that enhance our knowledge of the motif of fantastic metamorphosis and of significant cultural ideologies. In doing so, I provide a model for a new and precise approach to the analysis of fantasy literature.
Mode of access: World Wide Web.
[12], 294 p
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Cairns, Robert J. "A test of selected aspects of Peter Webster's conceptual model of creative thinking in music." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1997. http://www.collectionscanada.ca/obj/s4/f2/dsk2/ftp01/MQ28544.pdf.
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Lauro, Reno E. "Beyond the colonization of human imagining and everyday life : crafting mythopoeic lifeworlds as a theological response to hyperreality." Thesis, University of St Andrews, 2012. http://hdl.handle.net/10023/3207.
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This work takes up urban historian Lewis Mumford's concern for the phenomena of planned and imposed ordering of human life and societies. Mumford (and others) suggests the problem consists in the use of external plans, technologies (and media) to manipulate, dominate, and even coerce forms of life. It is seen at its worst in war, and even forced systems like Nazism and Stalinism. But these phenomena also take more attractive and seemingly enriching forms. We will focus (along with Daniel Boorstin and Umberto Eco in their own way) on forms which have massively developed in 20th and 21st century society: market and consumer saturation, shaped by dominating mass electronic media. This situation is developed imaginatively, and inventively, yet problematically, in Jean Baudrillard's theory of Hyperreality –a critique of the Western hyper-consumer and media saturated world. But his methods and pictures are not followed here. We take up a very different approach and diagnosis; This approach has become increasingly multidisciplinary: phenomenological, praxeological, anthropological, and philological. We build it up in a reading of human lifeworlds in philosophers Martin Heidegger and Ludwig Wittgenstein, and anthropologist Tim Ingold. This work does not go in for a picture of language (and cinema) as a system of signification, but as Ludwig Wittgenstein describes it, as tools always already involved in forms of life. We also offer a unique characterization of corporeal imagining and the imaginative creation of lifeworlds, paving the way for what is described as philological resistance: this resistance is seen in the development of a certain praxeological philology and fully realized in the 20th century author J. R. R. Tolkien's mythopoeic concerns. We focus particularly on what we call the double- transfer: the cyclic structure between human artistry and life-world building, each shaped by the other. We endeavor, along with Mumford and others, to counter colonization and find various less manipulated and un-coerced forms of life, and their informal organizing structures. We examine in detail Tolkien's literary and philological project; and the 20th and 21st century's first art form –cinema. Through the philosophical exploration of cinematic craft in Gilles Deleuze, and in the craft of Terrence Malick we see, and are taken up in, the inextricable relationship between how we make, what we make and how we live everyday life.
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Bindslev, Anne M. "Mrs. Humphry Ward a study in late-Victorian feminine consciousness and creative expression /." Doctoral thesis, Stockholm, Sweden : Almqvist & Wiksell International, 1985. http://books.google.com/books?id=l3ZbAAAAMAAJ.
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Way, Pamela Jo. "Redefining the muse self-regulatory aspects of creative behavior /." Thesis, 2002. http://wwwlib.umi.com/cr/utexas/fullcit?p3086732.
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"美的意義: 創作者的角度 = The meaning of beauty from the perspective of creators." 1998. http://library.cuhk.edu.hk/record=b5896282.
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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
Books on the topic "Creation (Literary, artistic, etc.) – Psychological aspects"
1
Igne, Minevra Pillot. Psicologia e psicopatologia dell'espressione artistica. Torino: UTET libreria, 2000.
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2
Gedo, John E. The artist & the emotional world: Creativity and personality. New York: Columbia University Press, 1996.
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3
The artist &the emotional world: Creativity and personality. New York: Columbia University Press, 1996.
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4
Rozhdestvenskai͡a, N. V. Psikhologii͡a khudozhestvennogo tvorchestva: Uchebnoe posobie. S.-Peterburg: Sankt-Peterburgskiĭ gos. universitet, 1995.
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5
György, Vikár. Válság, túlélés, kreativitás. Budapest: Balassi Kiadó, 1996.
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6
Wyndham, Thomas, ed. Composition, performance, reception: Studies in the creative process in music. Aldershot, Hants, England: Ashgate, 1998.
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7
The charismatic chameleon: The actor as creative artist. Portland: Sussex Academic Press, 2010.
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8
Mulḥim, Ismāʻīl. al-Tajribah al-ibdāʻīyah: Dirāsah fī saykūlūjīyat al-ittiṣāl wa-al-ibdāʻ. Dimashq: Ittiḥād al-Kuttāb al-ʻArab, 2003.
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9
Psychobiografie literackie: U źródeł twórczości. Warszawa: Wydawn. von borowiecky, 2000.
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10
Architecture of creativity: Profiles behind the mask. Yachats, Or: Dancing Moon Press, 1998.
Find full textBook chapters on the topic "Creation (Literary, artistic, etc.) – Psychological aspects"
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Zhuravleva, Anastasia A. "The Chekhov case: The world of Russian estate in the chronotope of the “large city”." In Estate real — estate literary: vectors of creative transformation, 53–65. A.M. Gorky Institute of World Literature of the Russian Academy of Sciences, 2021. http://dx.doi.org/10.22455/978-5-9208-0676-5-53-65.
Full textAbstract:
The article attempts to identify and describe one of the methods of the artistic embodiment of the Chekhov chronotope of the “large city” (according to the definition of I.N. Sukhikh), which replaced the “estate” and wider — epic, patriarchal-village chronotope of the Russian classics. Such a technique in Chekhov’s poetics is the introduction of common memories of heroes into the structure of works, rethinking their traditional functions and highlighting, sharpening the meaning of their characteristics such as cultural and psychological community. The commonality of memories is understood as the coincidence, identity, separability of the picture of the past by all participants of communication both at the level of factual events and at the level of value attitude to the subject of memory. Using the example of the writer’s works that differ in time of creation and genres, it is shown how the commonality of the heroes’ memories that arises or, conversely, does not arise becomes a marker of a psychological contact that has taken place or has not taken place, a sign of the changed structure of the world, the core of which for Chekhov, unlike I.S. Turgenev, L.N. Tolstoy, etc. classical writers, is the “large city” with its psychological heterogeneity and open-mindedness. The estate is depicted by Chekhov through the prism of a new dominant chronotope: the “estate chronotope” is replaced by the chronotope of the “large city”.
Conference papers on the topic "Creation (Literary, artistic, etc.) – Psychological aspects"
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Adascalița-Crigan, Lucia. "Nicolae Macarenco - representative artist of satirical graphics." In Patrimoniul cultural: cercetare, valorificare, promovare. Institute of Cultural Heritage, Republic of Moldova, 2021. http://dx.doi.org/10.52603/9789975351379.01.
Full textAbstract:
A prominent figure in the field of satirical graphics in the Republic of Moldova, Nicolae Macarenco, throughout his artistic career, conceived with great skill and dedication book illustrations for literary works signed by Aureliu Busuioc, Evgeniy Kopylov, Iosif Gherasimov, Alla Grekul, posters and aesthetically expressive and semantically valuable caricatures. Prodigious, talented, persevering and devoted to his profession, the protagonist is one of the established artists who, through his vocation and talent, marked an entire era in the satirical art of the Republic. Working successfully, especially in the genres of satirical-humorous graphics, the graphic designer gave birth to works that were frequently published in important periodicals such as the satire and humor magazine Chipăruş, the magazine Femeia Moldovei, the newspaper Tinerimea Moldovei and others. The study highlights both the thematic aspects of the artist’s creation and the determined, systematized, mirrored artistic options of the protagonist. Having examined the artist’s works, the author pays increased attention to problems of compositional image, the particularities of plastic representation through shape, line, tone of human characters, psychological states of anthropomorphic and zoomorphic characters. At the same time, the analytical approach is supported by highlighting the role of color in the process of amplifying expressions and messages generated by satirical works created by the graphic artist.