Journal articles on the topic 'Psychoanalysis and art Case studies'
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Forrester. "On Kuhn's Case: Psychoanalysis and the Paradigm." Critical Inquiry 33, no. 4 (2007): 782. http://dx.doi.org/10.2307/4497753.
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Forrester, John. "On Kuhn’s Case: Psychoanalysis and the Paradigm." Critical Inquiry 33, no. 4 (June 2007): 782–819. http://dx.doi.org/10.1086/521570.
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Bitonte, Robert A., and Marisa De Santo. "Art therapy: an underutilized, yet effective tool." Mental Illness 6, no. 1 (March 4, 2014): 18–19. http://dx.doi.org/10.1108/mi.2014.5354.
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Art therapy has been recognized as beneficial and effective since first described by Adrian Hill in 1942. Even before this time, art therapy was utilized for moral reinforcement and psychoanalysis. Art therapy aids patients with, but not limited to, chronic illness, physical challenges, and cancer in both pediatric and adult scenarios. Although effective in patient care, the practice of art therapy is extremely underutilized, especially in suburban areas. While conducting our own study in northeastern Ohio, USA, we found that only one out of the five inpatient institutions in the suburban area of Mahoning County, Ohio, that we contacted provided continuous art therapy to it's patients. In the metropolitan area of Cuyahoga County, Ohio, only eight of the twenty-two inpatient institutions in the area provided art therapy. There could be many reasons as to why art therapy is not frequently used in these areas, and medical institutions in general. The cause of this could be the amount of research done on the practice. Although difficult to conduct formal research on such a broad field, the American Art Therapy Association has succeeded in doing such, with studies showing improvement of the patient groups emotionally and mentally in many case types.
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Bartlett, Vanessa. "Psychosocial curating: a theory and practice of exhibition-making at the intersection between health and aesthetics." Medical Humanities 46, no. 4 (October 9, 2019): 417–29. http://dx.doi.org/10.1136/medhum-2019-011694.
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A recent Manifesto for a Visual Medical Humanities suggested that more in-depth analysis of the contribution of visual art to medical humanities is urgently required. This need perhaps arises because artists and curators experience conflict between the experimental approaches and tacit knowledge that drive their practice and existing audience research methods used in visitor studies or arts marketing. In this paper, I adopt an innovative psychosocial method—uniquely suited to evidencing aesthetic experiences—to examine how an exhibition of my own curation facilitated audiences to undertake psychological processing of complex ideas about mental distress. I consider the curator working in a health context as a creator of care-driven environments where complex affects prompted by aesthetic approaches to illness can be digested and processed. My definition of care is informed by psychosocial studies and object relations psychoanalysis, which allows me to approach my exhibitions as supportive structures that enable a spectrum of affects and emotions to be encountered. The key argument of the paper is that concepts from object relations psychoanalysis can help to rethink the point of entanglement between curating and health as a process of preparing the ground for audiences to do generative psychological work with images and affects. The case study is Group Therapy: Mental Distress in a Digital Age, an exhibition that was iterated at FACT (Foundation for Art and Creative Technology), UK and University of New South Wales Galleries Sydney, with an emphasis on audience response to key artworks such as Madlove—A Designer Asylum (2015) by the vacuum cleaner and Hannah Hull. It is hoped that this paper will help to reaffirm the significance of curating as a cultural platform that supports communities to live with the anxieties prompted by society’s most complex medical and social issues.
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Sinal, Aysin. "How Psychoanalytic Process’s Work: Considering the Relation between Traditional Theory and Contemporary Scientific Theory and Techniques." Mediterranean Journal of Social Sciences 11, no. 5 (September 23, 2020): 1. http://dx.doi.org/10.36941/mjss-2020-0049.
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The main aim of this article is to try and demonstrate the difficulties and obstacles involved during the process of psychoanalytical therapy, mainly a case conceptualization by taking both traditional Psychoanalytical theory and contemporary scientific findings into consideration. By looking at the traditional theory of psychoanalysis, it is palpable that interpretation and the study of the human mind will eventually deem the issue of subjectivity undeniable, as you will see from the reference section, of those used; essential materials from the International Journal of psychoanalysis, introductory lectures of Freud, and studies of hysteria and also for the contemporary reference, lecture notes of Wilma Bucci (2009). This article will focus mainly on resistance, and what then is the cure? Freud described the notion of an analytic cure in ‘Introductory Lectures on Psycho-Analysis’. Through this method, psychoanalysis sets itself up as the ‘talking cure’ and communication, its weapon. Any process of communication which does not have the aim of providing a cure isn’t in the strict sense of the word, psychoanalysis. According to Freud, the ego is the source for three types of resistance while the super-ego and the Id is responsible for each other. This article has no methodology since all the information used is based on theoretical information obtained from reliable sources and all references have been included accordingly. According to Wilma, the contemporary psychoanalytic process differs. Due to the nature of this article, the conclusion is the fact that further research is required to observe how exactly theory relates to technique and therapy becomes more effective.
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Barnard-Wills, Katherine, and David Barnard-Wills. "Invisible Surveillance in Visual Art." Surveillance & Society 10, no. 3/4 (December 14, 2012): 204–14. http://dx.doi.org/10.24908/ss.v10i3/4.4328.
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Contemporary art has recently started to engage with surveillance. Before this trend developed art theory had developed a rangeof approaches to understanding identity in art, sometimes borrowing from social, psychoanalytic and political theory. Art work atthe intersection of surveillance and identity tends to focus upon the representation of the human body as subject of surveillanceand bearer of identity. However, contemporary surveillance is data, categorisation and flows of information as much as it isCCTV and images of the person. There are notably fewer works of art that engage with ‘dataveillance’. This paper engages withsuch artwork as a case study for assessing the suitability of contemporary art historical theories of identity to make sense ofidentity in a surveillance society.
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Newsome, Rachel. "Walking with shadows: Writing trauma, short fiction and Jungian psychoanalysis." Short Fiction in Theory & Practice 12, no. 1 (April 1, 2022): 55–68. http://dx.doi.org/10.1386/fict_00049_1.
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A growing field at the intersection of literary and trauma studies makes the persuasive case for creative writing as a means to represent and process trauma across a range of genres from traditional memoir to hybrid and fictionalized approaches. Yet, despite this, how the specific qualities of short fiction can expand on existing modes remains theoretically underexplored. This article offers an intervention into the aforementioned field through an exploration into how the qualities of brevity and experiment that are associated with short fiction can be employed to mirror and synthesize aspects of the psychoanalyst Carl Jung’s ground-breaking work on the unconscious and his narrative approaches to processing trauma. First, this article presents the short story ‘Disappearing Act’, a hybrid of memoir and short fiction based on a personal traumatic experience of childhood abuse and informed by the Jungian concept of individuation (commonly referred to in contemporary psychoanalytic circles as shadow work). Second, it includes an accompanying critical reflection on the story’s creative process and the ways in which autobiographical short fiction can be employed as a mode of shadow work to demonstrate how the form operated as a creatively rich device to process traumatic life material for this writer.
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Troxell, Jenelle. "“Light Filtering through Those Shutters”: Joyless Streets, Mnemic Symbols, and the Beginnings of Feminist Film Criticism." Camera Obscura: Feminism, Culture, and Media Studies 34, no. 3 (December 1, 2019): 63–95. http://dx.doi.org/10.1215/02705346-7772387.
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This article examines the origin myth of the feminist film journal Close Up, namely, an excursion by its founders Bryher and H.D. to see G. W. Pabst’s Die freudlose Gasse (The Joyless Street, 1925) in a small cinema in Montreux, Switzerland. Throughout the essay, I use Joyless Street as a case study to analyze the ways in which theories of trauma can be effectively brought to bear on melodramas of the post–World War I era and, in the process, demonstrate the appeal Pabst’s works held for the Close Up editors, who shared his interest in trauma, psychoanalysis, and healing. By analyzing Joyless Street through the lens of Close Up, I demonstrate how Bryher and H.D. anticipate the development of trauma theory, which emerged in the early 1990s. Unlike traditional, often totalizing, applications of psychoanalysis (which emphasize notions of spectator desire and lack), the Close Up writers’ engagement of psychoanalysis focuses on issues of history, memory, and the response of spectators to historically specific situations. Their theory further suggests that in addition to surrogate fantasy fulfillment, film—in its recurring representation of trauma—might aid in mastering shared cultural symptoms, which women often experienced in isolation. Through their sustained analysis of film melodrama, the Close Up writers demonstrate that the war, beyond its devastating effects on combatants, also impacted the (female) civilian population—resulting in Close Up’s call for a critical film culture that speaks to that experience.
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Elahi, Babak. "Mirrors of Entrapment and Emancipation." American Journal of Islam and Society 33, no. 3 (July 1, 2016): 115–19. http://dx.doi.org/10.35632/ajis.v33i3.924.
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In 1992, Farzaneh Milani’s groundbreaking Veils and Words brought into dialoguethe fields of Iranian studies and feminist critical theory – two areas ofhumanist inquiry that, in some sense, need each other. Moreover, with workslike Hamid Naficy’s The Making of Exile Cultures (1993), interdisciplinarycritical theory has informed many humanist and social science approaches toIranian literature and culture. These links between integrated critical theoryand Iranian studies can produce compelling and insightful analyses. However,the cadence of such work might be more in tune with one subfield than another.While the content and subject of these studies might include Iranian society,culture, or art, it is often the case that the critical method being deployedis more important than the historical, literary, or social content to which it isapplied. Methodology eclipses the subject of analysis.This is the case with Leila Rahimi Bahmany’s Mirrors of Entrapment andEmancipation (Mirrors). Bahmany’s work tells us more about the feministcritical genealogy brought to bear on the work of Sylvia Plath (d. 1963) andForrough Farrokhzad (d. 1967) than it does about the works and lives of thesepoets themselves. But if, as I note above, these fields do “need” each other,then this book is worth exploring for both feminist scholars and Iranian studiesspecialists. Beyond specialists, however, the work does little to draw in areader not already at least slightly familiar with debates in psychoanalyticfeminist theory of the twentieth century.Bahmany begins her book with the highly suggestive images of Narcissusand Echo from Ovid’s Metamorphoses. However, she quickly movesfrom this basis in classical western mythology to the relevance of these imagesfor psychoanalysis and feminism. Thus, she rapidly establishes a ...
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Blakeman, Rachel, and Marianne Goldberger. "Will This Case Count? The Influence of Training on Treatment." Journal of the American Psychoanalytic Association 64, no. 6 (December 2016): 1133–52. http://dx.doi.org/10.1177/0003065116680079.
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Mandated use of the couch—whether specifically stated or tacitly communicated by supervisors and colleagues—to fulfill requirements for graduation or certification is a significant disservice to candidates and their patients. In its training standards, it is argued, APsaA and its member institutes should state explicitly that a treatment can qualify as a psychoanalysis, regardless of whether the patient is using the couch, as long as the process is analytic and the candidate’s thinking is demonstrably analytic. The mandate, however conveyed, that one must use the couch interferes with candidates’ optimal analytic functioning, jeopardizing their patients’ analyses. Data from infant observation, neuroscience, and facial expression studies—unavailable to earlier generations of analysts—support a more nuanced view of use of the couch. Each analysis is unique, and some analyses might well benefit from use of both the couch and the chair at different phases of treatment, but unless this is spelled out by ApsaA and its member institutes, candidates and junior analysts will be prevented from freely contemplating the clinical benefits or detriments of their use in specific cases.
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Popović-Bodroža, Ana. "Constructing of the narcissistic artistic character in the autobiography of Salvador Dali: Salvador Dali with an insight into the painting metamorphosis of narcissus, and the Dali museum/bequests." Kultura, no. 170-171 (2021): 167–78. http://dx.doi.org/10.5937/kultura2171167p.
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By applying the methodology of transdisciplinary studies, this work examines the phenomenon of Narcissism and narcissistic artistic character in the autobiography of Salvador Dali "I am the genius" (The Secret World of Salvador Dali), in the paining "The Metamorphosis of Narcissus", and in Dali's original poetry through the prisms of mythology, psychoanalysis and psychosexuality by constructing of the narcissistic character (artistic "Persona") as a model for identity strategies in contemporary art practices. The text is analysing some of Dali's unique personality characteristics and creative and personal expression, with a special insight into his childhood and the term of narcissistic personality structure according to Sigmund Freud, also analysing the key-role of Gala Dali. The text includes some postulates of the art movement of Surrealism that Dali applied in his work, from the "Surrealism Manifesto" and the Surrealism practices. In a case study, the text analyses the painting "Metamorphosis of Narcissus", its content, symbolism, style and visual elements. A possible influence of Sigmund Freud is described, and Dali's original method of "Critical Paranoia" is elaborated. The closing sections are describing the fascinating dimensions of the personality cult that Dali and his narcissistic character reached in the last years of his life. A special focus is made on the musealisation of Dali - his numerous museums and bequests, memorials and collections, the founding of which has contributed to the building of a permanent monument to the artist and finally to the establishment of his status of a mythical personality - the "Dali" brand.
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Meyer, Jon K. "Psychoanalytic Case Studies." Journal of the American Psychoanalytic Association 42, no. 3 (August 1994): 934–37. http://dx.doi.org/10.1177/000306519404200325.
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Sarmento-Pantoja (UFPA), Augusto. "DOSSIER: RESISTANCE STUDIES IN THE FRONT OF CATASTROPHE AND THE STATE OF EXCEPTION." Margens 16, no. 27 (December 23, 2022): 1. http://dx.doi.org/10.18542/rmi.v16i27.13626.
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The production of a dossier entitled Studies of resistance in the face of catastrophe and the state of exception arises from the need to strengthen research on forms of resistance in different lines of action that assert themselves in the field of literary studies. In this sense, we seek to bring together texts by researchers who collaborate with the qualification and development of scientific and intellectual dissemination in dialogical processes between the areas of History, Philosophy, Psychoanalysis, Cinema, Visual Arts and Literature. This is affirmed due to the significant reflections on ways contrary to totalitarianism, authoritarianism and other forms of oppression. The categories Resistance and Testimony are present in studies such as those by Alfredo Bosi, Augusto Sarmento-Pantoja, Bárbara Harlow, Giorgio Agamben, Jaime Ginzburg, Márcio Seligmann-Silva, Michel Foucault, Paul Ricœur, Tânia Sarmento-Pantoja, Sigmund Freud, Stuart Hall, Theodor Adorno, Tzvetan Todorov, Walter Benjamin, among others, who have shown a broad theoretical-critical insertion in investigations related to Cultural Studies, Sociological Criticism, Historical Materialism and Discourse Analysis. This mobility through different theoretical-methodological approaches is a consequence of the principles and reasons that govern the Resistance and Testimony categories: the need to oppose forces that try at all costs and in the most varied ways to domesticate, subdue, submit, massacre, destroy. The struggles for freedom, for fundamental human and civil rights, for justice and dignity are imperatives that make up the speculative core of Resistance, as the category offers many possibilities for reflection on authoritarianism related to States of Exception, as is the case of Dictatorships. The production of a Dossier that discusses the topic at hand is, finally, an effort to consolidate, disseminate and interconnect scientific knowledge with regard to research guided by social commitment. This is strengthened even more when we find that, at the present time, extremist groups occupy the streets of our country in defense of the values and practices of the civil-military dictatorship, idealizing them to simultaneously obstruct the critical knowledge pertinent to that period and also silence its reverberations in the cultural, educational, social and political spheres. Thinking about alternatives contrary to such actions and strategies of oppression, like the dossier Studies of resistance in the face of catastrophe and the state of exception, becomes an indispensable act for contemporary scientific thought.KEYWORDS: Resistance. A testimony. Catastrophe. State of Exception.
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Schneider, Laurie. "Art and psychoanalysis: The case of Paul Cezanne." Arts in Psychotherapy 13, no. 3 (September 1986): 221–28. http://dx.doi.org/10.1016/0197-4556(86)90047-x.
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REINELT, JANELLE. "Generational shifts." Theatre Research International 35, no. 3 (October 2010): 288–90. http://dx.doi.org/10.1017/s0307883310000593.
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Thirty-five years, the age of TRI, is roughly the length of time I have been involved in our discipline. I completed my Ph.D. in 1974 and entered the profession on the cusp of a generational shift. During my first decade in the academy, a number of new young scholars emerged and began to take the places of an older cohort who were primarily theatre historians and/or drama critics and interpreters. The theory explosion changed the way that both theatre history and dramatic criticism were carried out, and a whole new range of methods and objects of study began to appear in our journals and conferences. Post-structural and postmodernist ideas upset the reigning conventions of scholarship and also influenced creative artists who changed their practice to reflect these new ideas. Feminism transformed our field, as did new research on race, class and sexuality, while competing theories of the subject brought forward psychoanalysis and phenomenology as important tools for performance analysis. Cultural studies and the new historicism challenged positivist historiography and began to change the kind of theatre history (including subjects and documents) scholars researched and wrote about. Political critique was in the ascendency, after a battle to discredit what many of us perceived as a false objectivity in previous scholarship. This became, eventually, the new orthodoxy for many of us, and the senior scholars in our field today (for example Sue-Ellen Case, Elin Diamond, Josette Féral, Erika Fisher-Lichte, Freddie Rokem, Joseph Roach) all participated in making these major changes happen as young scholars – while not necessarily agreeing with each other: the new generation was thoroughly heterodox in its approach to methods and topics.
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Miller, Martin A. "Freudian Theory Under Bolshevik Rule: The Theoretical Controversy During the 1920s." Slavic Review 44, no. 4 (1985): 625–46. http://dx.doi.org/10.2307/2498538.
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“The Bolshevik party is not yet clear whether it should accept or reject the psychoanalytic theory of Freud.”René Fülöp-Miller, 1925“Psychoanalysis has a future only under socialism because it undermines bourgeois ideology.”Wilhelm Reich, 1929“You as Marxists should know that in its development the mentality of man lags behind his actual condition.”Stalin, 1933For a little more than a decade following the Revolution of 1917, Russia experienced an unparalleled social transformation. Hardly any area of daily existence was left untouched by this juggernaut of change, from social mobility in the villages to the nature of the fine arts in the cities. If the term had not been appropriated by Stalin to describe the process of proletarianization in a somewhat later period, it would perhaps be more accurate to describe the decade of the 1920s in the Soviet Union as a genuine “cultural revolution.” Parallel and independent efforts were made in many areas—politics, economics, philosophy, science, literature, painting, health care—to reconceptualize society in a socialist context.
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Frosh, Stephen. "Psychosocial studies with psychoanalysis." Journal of Psychosocial Studies 12, no. 1 (July 1, 2019): 101–14. http://dx.doi.org/10.1332/147867319x15608718110952.
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Psychosocial studies is methodologically and theoretically diverse, drawing on a wide range of intellectual resources. However, psychoanalysis has often taken a privileged position within this diversity, because of its well-developed conceptual vocabulary that can be put to use to theorise the psychosocial subject. Its practices have become a model for some aspects of psychosocial work, especially in relation to its focus on intense study of individuals, its explicit engagement with ethical relations, and its traversing of disciplinary boundaries across the arts, humanities and social sciences.This article begins with a brief description of some principles of psychosocial thinking, including its transdisciplinarity and criticality and its interest in ethics and in reflexivity. It then explores the place of psychoanalysis in this genealogy, presenting the case for psychoanalysis’ continuing contribution to the development of psychosocial studies. It is argued that this case is a strong one, but that the critique of psychoanalysis from the discursive, postcolonial, feminist and queer perspectives that are also found in psychosocial studies is important. The claim will be made that the engagement between psychoanalysis and its psychosocial critics is fundamentally productive. Even though it generates real tensions, these tensions are necessary and significant, reflecting genuine struggles over how best to understand the socially constructed human subject.
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Sayers, Janet. "Art, psychoanalysis, and bipolar ll: The case of Adrian Stokes." Psychotherapy Section Review 1, no. 57 (2016): 86–87. http://dx.doi.org/10.53841/bpspsr.2016.1.57.86.
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Lewis, Katie. "Methodological Innovations in Psychoanalytic Case Studies: Introduction to Rabinowitz." Journal of the American Psychoanalytic Association 68, no. 6 (December 2020): 1021–22. http://dx.doi.org/10.1177/0003065120979619.
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Niaz, Azadkhan, Sultn Mohammad Stanikzai, and Javed Sahibzada. "Review of Freud’s Psychoanalysis Approach to Literary Studies." American International Journal of Social Science Research 4, no. 2 (July 3, 2019): 35–44. http://dx.doi.org/10.46281/aijssr.v4i2.339.
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The purpose of this review article is to identify theories of Psychoanalysis by Sigmund Freud that play major roles in interpreting literary works. Psychoanalysis is among one of the modern theories used in literary analysis. Whether psychoanalysis has close connection with literature or not has been most controversial issues for many readers and least appreciated. In spite of being one of famous approach for interpreting literary text, it has become one of the mechanisms for interpreting hidden meaning of the text. The finding of this paper revealed Psychoanalysis is not simply branch of medicine, it has helped and is used to understand various fields as philosophy, culture, religion and first and for most used in literature. It also revealed that there is similarities and controversial issues between Carl Jung and Sigmund Freud’s theories of psychoanalytical criticism. Id, which is part of human personality playing a major role in forming literary work for its repressed behaviors, laid in unconscious mind. The human actions which are suppressed feelings because of superego and can be expressed with the help of Ego which balance the conflict between id and superego in the right time in form of dreams, art, literary work and slip of tongue. Psychoanalysis approach is used to analyze piece of art by investigating closely the author and his/her life and literary work for providing evidence in analyzing, one or more of the character’s behavior and inspiration, the audience’ appealing and motivation to which react more closely or less unconsciously and the text for examining the role of language and symbolism in the work.
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Dedić, Nikola. "On Yugoslav Poststructuralism: Introduction to “Art, Society/Text”." ARTMargins 5, no. 3 (October 2016): 93–101. http://dx.doi.org/10.1162/artm_a_00160.
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“Umetnost, družba/tekst” was an editorial published in the Slovenian journal Problemi-Razprave (Problems-Debates) in 1975. The journal was the central outlet of the so-called Slovenian Lacanian school and as such the most important place for the reception of French anti-humanist philosophy in the former Yugoslavia. The concept of the journal was based on interpreting French post-structuralism in the spirit of the Tel Quel magazine, anti-humanist Marxism in the spirit of Louis Althusser, theoretical psychoanalysis in the spirit of Jacques Lacan and his followers, as well as on a special blend of Lacanian psychoanalysis and Althusserian ideology critique, which characterised the French journal Cahiers pour l'Analyse. One might also find theoretical and conceptual similarities between Problemi and other French post-structuralist periodicals, such as Peinture, cahiers théoriques and Cahiers du cinéma. The editorial presented here is thus a unique example of introducing structuralism, post-structuralism, and Lacanian psychoanalysis into debates about society, culture, ideology, and art in Yugoslavia in that time.
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Rabinovich, Merav. "Elephant in the Room: A Methodology for Case Studies Metasynthesis." Journal of the American Psychoanalytic Association 68, no. 6 (December 2020): 1023–50. http://dx.doi.org/10.1177/0003065120979613.
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The Relationships Between Categories (RBC) technique is a qualitative methodology for the metasynthesis of psychoanalytic case studies. By analyzing repetitive bilateral, trilateral, or quadrilateral relationships of transference themes, this methodology seeks to analyze case studies with existing theoretical concepts, thereby formulating a new theory. The proposed tool attempts to explore and validate hidden connections between different psychotherapy components, thus enhancing integration of various bodies of knowledge and decreasing the gap between practice and theory. This methodology is demonstrated here by research on transference case studies that connect transference to components of cognitive behavioral therapy.
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Sanyal, Debarati. "A Soccer Match in Auschwitz: Passing Culpability in Holocaust Criticism." Representations 79, no. 1 (2002): 1–27. http://dx.doi.org/10.1525/rep.2002.79.1.1.
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IT HAS BECOME SOMETHING of a commonplace in recent criticism to claim that the Holocaust inaugurates a ''crisis of representation.'' To read, understand, and transmit a historical trauma of this magnitude is to confront the boundaries of the thinkable and the sayable. This essay critically examines the emergence of a theoretical current that presents the Holocaust primarily as a trauma that - as trauma - opens up unlocatable and unrepresentable forms of knowledge. It argues that the overwhelming focus on trauma as an optic for viewing the Nazi genocide leads to a dangerous conflation of the differences between victims, executioners, witnesses (primary and secondary); between literal and metaphorical survival and culpability; and between historical event and metaphorical, transhistorical condition. For a generation that did not live through the Holocaust but encountered it as secondary witnesses, as readers and viewers of films and documentaries, a sense of metaphorical survival and second-hand guilt seems to be an inescapable condition of Holocaust reception. Theoretical approaches to representations and testimonies of the Holocaust, especially in the wake of deconstruction, increasingly rely on models of contamination, complicity, and trauma. Such models complicate not only the difference between victims and executioners within the camps, but also the differences between witnesses, bystanders, and successive generations of secondary witnesses. Primo Levi's description of a ''gray zone'' in the concentration camp (in The Drowned and the Saved) has played a crucial role in this recent focus on the traumatized culpability of the secondary witness. The ''gray zone'' describes situations that blurred and even dismantled the opposition between victims and executioners (as in the case of the Special Squads, or Sonderkommando s, composed primarily of Jewish prisoners working in the crematorium). This essay argues that Levi's ''gray zone'' is now deployed as a figure in the recent work of Giorgio Agamben, Cathy Caruth, and Shoshana Felman. Identifying proximities in their views of trauma and testimony, the essay shows how Levi's ''gray zone'' is transformed into an overarching metaphorical framework for thinking not only about the Holocaust, but more broadly, about history, subjectivity,and ethics in the fields of psychoanalysis, political philosophy, and literary criticism. This hypostasis of the ''gray zone'' not only erases the historical specificity of the Nazi genocide, but also subsumes the irreducibly distinct positions of victim, executioner, witness, accomplice, and proxy-witness under a general condition of traumatic complicity. The essay concludes with a paired reading of Albert Camus's La chute and Levi's The Drowned and the Saved, suggesting that Camus's novel, while often read as an exemplary testimony to historical trauma, instead stages some of the ethical and political problems of reading history through the optic of trauma.
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Brohm, Megan, Rowyn Campbell, Sibel Isikdemir, Dina Theleritis, Anna Yermolina, Yang Zhou, Charlotte Koch, and B. Myburgh. "Art & Oceania: Case Studies." Re:Locations - Journal of the Asia-Pacific World 4, no. 1 (April 28, 2021): 1–31. http://dx.doi.org/10.33137/relocations.v1i1.35282.
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These case studies were produced for FAH489: Art &Oceania, instructor Brittany Myburgh.This course offered an introduction to the history of art produced within Oceania from prehistory to present day. The Pacific Ocean (The Great Ocean/Te Moana Nui a Kiwa) spans a vast geographic territory. Through central ideas of navigation and migration, the course explored the important role of connectivity, mobility, and exchange in Oceanic art and visual culture. Participating Authors: Megan Brohm, Rowyn Campell, Sibel Isikdemir Charlotte Koch, Dina Theleritis, Anna Yermolina, Yang Zhou
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Chua, C. K., H. B. Lee, R. K. L. Gay, and S. K. F. Cheong. "Art-to-part case studies." Computing & Control Engineering Journal 5, no. 6 (December 1, 1994): 285–91. http://dx.doi.org/10.1049/cce:19940609.
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Vetö, Silvana. "Psychoanalysis and Marxism in Chile. Two Case Studies: Juan Marín Rojas and Alejandro Lipschütz." Psychoanalysis and History 19, no. 1 (April 2017): 99–120. http://dx.doi.org/10.3366/pah.2017.0202.
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Drawing on a new critical history of psychoanalysis in Chile, this paper analyses the appropriations of psychoanalysis in the Chilean political field, particularly in Marxist theory, as it appears in the work of two important intellectuals who published their contributions from the 1930s to the late 1950s. These two case studies are of Juan Marín Rojas, a medical doctor, writer and diplomat born in Chile in 1900, and of Alejandro (born Alexander) Lipschütz, an endocrinologist, physiologist and anthropologist born in Latvia in 1883 and who migrated to Chile in 1926 and naturalized as a Chilean citizen in 1941. This study provides the context and looks at the interactions, debates and problems that arose at the crossroads of psychoanalysis and Marxism in Chile between the 1930s and the 1950s, and consequently opens the door for new perspectives from which to address the local history of psychoanalysis.
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Cohen, Josh. "Aesthetic Theory, Psychoanalysis and the Ironic End of Art." Parallax 11, no. 4 (October 2005): 71–80. http://dx.doi.org/10.1080/13534640500264198.
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WRIGHT, E. "Review. The Freudian Body: Psychoanalysis and Art. Bersani, Leo." French Studies 41, no. 4 (October 1, 1987): 492–93. http://dx.doi.org/10.1093/fs/41.4.492.
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Feller, C., E. R. Landa, A. Toland, and G. Wessolek. "Case studies of soil in art." SOIL 1, no. 2 (August 13, 2015): 543–59. http://dx.doi.org/10.5194/soil-1-543-2015.
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Abstract. The material and symbolic appropriations of soil in artworks are numerous and diverse, spanning many centuries and artistic traditions, from prehistoric painting and ceramics to early Renaissance works in Western literature, poetry, paintings, and sculpture, to recent developments in film, architecture, and contemporary art. Case studies focused on painting, installation, and film are presented with the view of encouraging further exploration of art about, in, and with soil as a contribution to raising soil awareness.
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Kharka, Damber Singh. "Art of Teaching with Case Studies." INTERNATIONAL JOURNAL OF MANAGEMENT & INFORMATION TECHNOLOGY 10, no. 9 (November 30, 2015): 2488–94. http://dx.doi.org/10.24297/ijmit.v10i9.563.
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In this paper I have shared some of my experiences on how to handle case studies in teaching with the intent to facilitate more discussions during our meeting over the two day conference on “research informed teaching†at Samtse College of Education organized by the Royal University of Bhutan in October 2014. We know that case studies are stories used as knowledge and skill transfer vehicles by which a lot of real life scenario is brought into the classroom to be discussed by the students and instructors. How we use case studies dependsuponthe objectives and the format of the course. My experience suggest that if it is a regular university dictated course with astrict timetable (one hour period everyday per subject) with pre-identified contents and has a large class size,it is not normally possible or at least not meaningfully efficient to go beyond the use ofsimple cases that will only help to illustrate the subject concepts and demonstrate afew practical aspects. However, if the class is smaller and the course is more discussion based with properly designed sessions, we choose to use cases through complex analysis thereby guiding the students in a step-wise fashionin the analysis of relevant information, problem identification and option evaluation. Whatever may be the format of the course or the class in which we use case studies, it is important that we, as case teachers, prepare ourselves well and know all the issues involved in the case, prepare questions in advance and prompt discussions and debate in the class, and anticipate where students might run into problems. Needless to mention that we encounter within the class, few or even all students findingthemselves out of place when case studies are used; it particularly true in the Bhutanese situation as our teaching and learning system is historically predominant with the traditional lecture method. To overcome such problems, it is essential to prepare students for case based learning methods. We must know about our students’ backgrounds in advance so that wecan productively draw on their areas of expertise, experiences and personalities to enhance the discussionandenrich learning across the board as facilitators rather than acting as a traditional teacher[1].Â
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Hrabovska, Iryna, and Serhii Hrabovskyi. "The Philosophy of the “Late” Era of the UkrSSR: Specificity of Criticism of Bourgeois Theories (a Case Study of the Books by Larysa Levchuk)." Ukrainian Studies, no. 2(79) (August 3, 2021): 152–63. http://dx.doi.org/10.30840/2413-7065.2(79).2021.236505.
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The article examines the specifics of philosophical criticism in the period of the “late” UkrSSR Western concepts of philosophy, psychology, and arts using Larysa Levchuk’s books “Art in the Struggle of Ideologies” and her “Psychoanalysis: From the Unconscious to ‘Fatigue of Consciousness’”. The specific involvement in the Soviet philosophical discourse of the theoretical achievements of psychoanalysis in all its forms is shown, as well as the acquaintance of the Soviet reader with the ideas of the cult artists of the West with the help of these books. Among the representatives of “neorealism”, which played a significant role in the development of art, especially in Italy and France, L. Levchuk focuses on the works of R. Guttuso, C. Levy, V. Pratolini, R. Rossellini, V. de Sica, A. Fougeron, and others.The book “Art in the Struggle of Ideologies” was published in 1985, when at the official level it was not so much about “perestroika” but “acceleration of socio-economic development”. The book is written from the standpoint of “philosophical socialistic realism”, when the presentation and conclusions are adjusted to the externally set ideological pattern, although it differs in professionalism and breadth of coverage. The author’s application of the theory of psychoanalysis in the study of the phenomena of Western art deserves special attention. The book “Psychoanalysis: From the Unconscious to ‘Fatigue of Consciousness’” was published in 1989, at the peak of perestroika. It is built on the same typological material (only with the involvement of a much wider range of ideas and sources) and testifies the author’s free possession of this material, its statement introducing the readers to the range of problems stated in the book.The conclusions indicate that the introduction of concepts of Western philosophical thought and the names of Western artists in the intellectual circulation of society of the UkrSSR expanded its worldview, creating a sense of richness and diversity of artistic and philosophical life abroad. The removal of ideological pressure in the midst of perestroika showed that some philosophers of the Soviet era were freely oriented in the global philosophical, culturological, and psychological thought.The study of the past, including the philosophy of the USSR, is a necessary condition for creating a holistic picture of that era and clarifying a number of current trends.
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Katz, Maya Balakirsky. "An Occupational Neurosis: A Psychoanalytic Case History of a Rabbi." AJS Review 34, no. 1 (April 2010): 1–31. http://dx.doi.org/10.1017/s0364009410000280.
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In consultation with Sigmund Freud, the Viennese psychoanalyst Wilhelm Stekel (1868–1940) treated the first Jewish cleric known to undergo analysis, in 1903. According to the case history, published in 1908, a forty-two-year-old rabbi suffered from aBerufsneurose, an occupational neurosis associated with the pressures of his career. Stekel's case history forms an indelible portrait of a religious patient who submitted himself to the highly experimental treatment of psychoanalysis in the early years of the discipline. However, scholars never integrated the rabbi's case into the social history of psychoanalysis, more as a consequence of Freud's professional disparagement of Stekel than of the case history's original reception. Psychoanalytic historiography has largely dismissed Stekel's legacy, resulting in a lack of serious scholarly consideration of his prodigious publications compared to the attention paid to the work of some of Freud's other disciples. Stekel's most recent biographers, however, credit him as the “unsung populariser of psychoanalysis,” and claim that he is due for reconsideration. But in his published case history of the rabbi, Stekel also warrants introduction to the field of Jewish studies, not only because of the literary treatment of the rabbinical profession by a secular Jewish psychoanalyst, but also because the rabbi incorporated aspects of that experience into his own intellectual framework after treatment.
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Catasús, Natalie. "Mimicking Seas and Malefic Mirrors in Suzanne Césaire." Small Axe: A Caribbean Journal of Criticism 26, no. 3 (November 1, 2022): 52–66. http://dx.doi.org/10.1215/07990537-10211850.
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While scholarship on Suzanne Césaire has illuminated the critical role of ecopoetics in her writing, the strong psychoanalytic resonances that underpin her theory of Caribbean aesthetics and identity remain underexplored. This essay suggests that these resonances must be read alongside her reflections on aesthetics—specifically, the relationship between art and nature—in order to elucidate a fuller picture of Césaire’s ecopoetic theory of Caribbean subject formation. The author examines Césaire’s writing on art and civilization within the context of her explicit engagement with surrealism and her more camouflaged engagement with Freudian psychoanalysis. Taken together, these threads reveal Césaire’s vision of Caribbean art as a collaborative rather than conquest-oriented relation between the self and the environment. The essay ultimately argues that Césaire’s investigations of aesthetics, visuality, and psychoanalysis led her to an ecologically grounded theory of Caribbean subject formation articulated through her vision of a totalité-vie (life-totality) that is accessed through artistic production.
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Zarytska, Olena. "FEMINIST ART GRIZELDY POLLOK AS A CHALLENGE TO THE ART OF THE PAST." Sophia. Human and Religious Studies Bulletin 17, no. 1 (2021): 40–44. http://dx.doi.org/10.17721/sophia.2021.17.8.
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The theoretical work of one of the founders and leading figures of modern feminist art Griselda Pollock is considered. Representing researchers whose ideas were shaped by the radical cultural and social revolution of the 1960s and 1970s, she belongs to the second generation of feminist art criticism. The author points to the eclectic methodological position of G. Pollock, which combines a number of areas associated with its "radicalism" in relation to the classical areas of art history and social thought. In particular, it is Marxism, poststructuralism of R. Bart and M. Foucault, Freudian psychoanalysis etc. Methodological eclecticism G. Pollock suggests that the leading in her work is her ideological attitude, rather than research position. Although G. Pollock's theoretical constructions are formally based on specific biographical and art studies of artists of the past, methodological eclecticism does not allow to characterize them as scientific or at least consistently logical in their construction. The author concludes that substantively, the concept of G. Pollock is based on the interpretation of female (and male) principles in the artist's work as a gender category, defined by the prevailing social roles and stereotypes in society. G. Pollock uses the concept of "bourgeoisie" in relation to the culture of the masculine society of the past; attempts to develop the concept of "death of the author" by R. Bart in the interpretation of the socially determined figure of the artist (on the example of W. Van Gogh); quite arbitrarily uses the apparatus of Freudian psychoanalysis to read ("deconstruct") works of art, in particular, paintings by W. Van Gogh and A. de Toulouse-Lautrec. Thus, G. Pollock turns feminist art criticism into an ideological platform for the development of a range of ideological and theoretical currents, united by their radicalism and opposition to classical art and the ideological foundations of modern civilization as a whole.
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Antoniou, Phivi, and Richard Hickman. "Children's engagement with art: Three case studies." International Journal of Education Through Art 8, no. 2 (May 24, 2012): 169–82. http://dx.doi.org/10.1386/eta.8.2.169_1.
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Weintraub, Laural. "Vaudeville in American Art: Two Case Studies." Prospects 24 (October 1999): 339–75. http://dx.doi.org/10.1017/s0361233300000417.
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In 1891, the influential literary realist William Dean Howells stated that “the arts must become democratic” in order to have “the expression of America in art.” This vision of a democratic culture, though modified, continued to inspire American writers and artists well after the turn of the century. The idea of democracy in American culture remained an important touchstone for conservative as well as progressive-minded writers on art and literature even as modernism took hold in the second decade of the century. For James Oppenheim, for example, editor of the eclectic little magazine The Seven Arts, which published some of the most significant cultural criticism of the day, the role of democracy in American art was an unresolved yet still vital issue. “Our moderns slap democracy on the back,” he wrote in 1916, “but what are they giving it in art?” “Yes,” he goes on to state, “we have magazines that circulate in the millions: we have cities sown thick with theaters: we have ragtime and the movies.” These manifestations are signs of cultural democracy, he implies, albeit devoid of art.
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Beaumont, Matthew. "A Psychoanalysis of Milk: The Case of Alfred Hitchcock." Critical Quarterly 63, no. 2 (July 2021): 50–79. http://dx.doi.org/10.1111/criq.12600.
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Abeledo, Ryanorlie B., and Chona Camille E. Vince Cruz. "Art, Environment, and Sustainability: Case Studies on the Philippine Art Practice." Environmental Practice 18, no. 4 (December 2016): 260–66. http://dx.doi.org/10.1017/s1466046616000429.
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Collins, Bradford R. "Dick Tracy and the Case of Warhol's Closet: A Psychoanalytic Detective Story." American Art 15, no. 3 (October 2001): 54–79. http://dx.doi.org/10.1086/444647.
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Patterson, Anne. "The publication of case studies and confidentiality – an ethical predicament." Psychiatric Bulletin 23, no. 9 (September 1999): 562–64. http://dx.doi.org/10.1192/pb.23.9.562.
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Writing about psychoanalysis or psychotherapy has traditionally included illustrative clinical material which helps to clarify and enliven complex theories. However, there is increasing interest in the ethical questions raised by the publication of confidential clinical material, informed by a post-modern culture emphasising individual rights and empowerment, increasingly supported in law, and equally, fascinated by celebrity and disclosure. It seems important for psychiatrists to engage in this debate which has implications for the future communication of clinical findings between psychotherapists and psychiatrists.
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Griffies, W. Scott. "Incorporating Brain Explanations in Psychoanalysis: Tennessee Williams as a Case Study." Psychodynamic Psychiatry 50, no. 3 (September 2022): 492–512. http://dx.doi.org/10.1521/pdps.2022.50.3.492.
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Despite Tennessee Williams's genius as a playwright who could represent his inner emotional struggles in his art, psychoanalysis was unable to free him from the powerful “blue devils” within him. Williams's inability to engage with psychoanalysis presents an opportunity to discuss ways that contemporary thinking about brain structure and function might guide our understanding and treatment of patients such as Williams. One of the core defensive behaviors that made analysis difficult for Williams was his avoidance of painful emotions through compulsive writing, sex, alcohol, and drug-addictive behaviors. These pre-mentalized reactions became Williams's habitual procedural body response, which occurs below the level of the self-reflective brain. Within a relatively traditional ego psychological frame, Lawrence Kubie, Williams's analyst in 1957, attempted to prohibit the compulsive behaviors to be able to process the underlying painful affects in the analysis. However, given that this level of mind and brain functions was Williams's chief means of regulation, Williams could not engage in the psychoanalytic process and left the treatment after one year. I propose that Williams was operating in brain circuits below the level of “higher” reflection or interpretation-receptive circuits and therefore he was unable to make use of a traditional ego psychological model. A review of these brain circuits seeks to encourage therapists to utilize simplified brain explanations for patients, which can destigmatize the pathologic behaviors and enhance engagement in the treatment process.
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Kim, Eun Jin. "Case Studies for the Conservation of Contemporary Art." KOREA SCIENCE & ART FORUM 18 (December 31, 2014): 149. http://dx.doi.org/10.17548/ksaf.2014.12.18.149.
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Moore, Ronald. "Aesthetic Case Studies and Discipline-Based Art Education." Journal of Aesthetic Education 27, no. 3 (1993): 51. http://dx.doi.org/10.2307/3333247.
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Nieberding, William. "Visual culture in the art class: Case studies." Visual Arts Research 35, no. 1 (July 1, 2009): 120–26. http://dx.doi.org/10.2307/20715493.
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KUNZEL, REGINA. "THE “DURABLE HOMOPHOBIA” OF PSYCHOANALYSIS." Modern Intellectual History 17, no. 1 (April 3, 2018): 215–19. http://dx.doi.org/10.1017/s1479244318000045.
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Psychoanalysis is at once a system of thought, a toolkit for cultural diagnosis and criticism, and a therapeutic practice. In Dagmar Herzog's exciting new book Cold War Freud: Psychoanalysis in an Age of Catastrophes, psychoanalysis is among the most transformative intellectual events of the twentieth century and is itself transformed by that century's roiling forces, shaping and profoundly shaped by politics and culture. Foregrounding the historicity of psychoanalysis requires Herzog to wrest psychoanalysis from its own claims to historical transcendence. “While psychoanalysis is often taken to be ahistorical in its view of human nature,” Herzog writes, “the opposite is the case” (2). After Freud's death, during the heyday of psychoanalysis in the 1940s and 1950s, through challenges to its authority in the 1960s and 1970s, to what Herzog calls its “second golden age” in the 1980s, the analytic frame offered by psychoanalysis (and the debates it generated) helped people grapple with the aftermath of the horrors of the Second World War and offered novel ways of thinking about the most important questions of the postwar decades: about aggression, guilt, trauma, the capacity for violence, indeed about “the very nature of the human self and its motivations” (1).
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Gee, Malcolm, and Jill Steward. "Art and the modern European city: survey and conference report." Urban History 22, no. 2 (August 1995): 181–86. http://dx.doi.org/10.1017/s0963926800000456.
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Arguably, art history has always had an interdisciplinary vocation, though this was at times underplayed during its establishment as an academic subject. Recent intellectual trends have tended to work in the opposite sense, encouraging art historians to highlight the relationship between visual art and a range of cultural and economic discourses. This has often involved discussion of specifically urban contexts, since cities have been the principal sites for the production, distribution and interpretation of works of art, and their fabric a means by which cultural practices have been allied to political, class and gender interests in modern society. The language and approaches currently adopted for this enterprise are often deeply marked by excursions into literary theory, psychoanalysis, anthropology and urban history and geography.
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Lepecki, André. "Teleplastic Abduction: Subjectivity in the Age of ART, or Delirium for Psychoanalysis: Commentary on Simon's “Spoken Through Desire”." Studies in Gender and Sexuality 14, no. 4 (October 2013): 300–308. http://dx.doi.org/10.1080/15240657.2013.848323.
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MinHie Yun and Jeongwook Choi. "Louis Vuitton Fashion House's Art Collaboration Case Studies & Art Marketing Semantic Analysis." Journal of Integrated Design Research 17, no. 3 (September 2018): 79–92. http://dx.doi.org/10.21195/jidr.2018.17.3.007.
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Crowe, Kate. "Sexual Assault and Testimony: Articulation of/as Violence." Law, Culture and the Humanities 15, no. 2 (March 30, 2015): 401–20. http://dx.doi.org/10.1177/1743872115577917.
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Testifying to sexual assault can re-traumatize a victim-survivor. This article applies a psychoanalytic framework to existing debate to provide a new interpretation as to why this is still the case despite legal and policy reform. The trauma of testifying to sexual assault is located at the same site where a victim-survivor imagines the law understands and transforms an experience of sexual assault. The sexual assault victim-survivor’s testifying voice is both a medium for fantasy and a violent disruption to it, paradoxically constituting and imposing a violence to their subjectivity. Violence is inflicted through the testifying victim-survivor’s act of speaking, in directing their voice toward the law, and in the ideology associated with sexuality which coats voice and informs fantasy.
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Koering, Jérémie. "The other “Sch,” or When Damisch Met Schapiro." October 167 (February 2019): 3–24. http://dx.doi.org/10.1162/octo_a_00336.
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French art-historian/philosopher Hubert Damisch and American art-historian Meyer Schapiro maintained an intellectual friendship of rare intensity for nearly forty years. Their many letters bear witness to this: From art history to psychoanalysis, philosophy, anthropology, sociology, and literature, they exchanged ideas in almost every field of the humanities and social sciences. The special issue which this text introduces focuses on the years 1972 and 1973, a period during which Damisch spent much time in the United States and met, in addition to Schapiro, Michel Foucault, Max Black, M. H. Abrams, and Norman Malcolm. “The Other ‘sch,’ or When Damisch Met Schapiro” seeks to put into perspective the forty-four letters gathered here as well as the several essays devoted to the Freud-Signorelli case.