Статті в журналах: "Psychoanalysis and art"

1

Silberschatz, George. "The Art of Psychoanalysis and the Psychoanalysis of Art." Contemporary Psychology: A Journal of Reviews 34, no. 4 (April 1989): 392–93. http://dx.doi.org/10.1037/027923.

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2

Chessick, Richard D. "Psychoanalytic Peregrinations II: Psychoanalysis as Science and Art." Journal of the American Academy of Psychoanalysis 30, no. 2 (June 2002): 259–76. http://dx.doi.org/10.1521/jaap.30.2.259.21960.

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3

Adams, Laurie Schneider. "Art and Psychoanalysis." Journal of Aesthetics and Art Criticism 52, no. 4 (1994): 485. http://dx.doi.org/10.2307/432043.

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4

Mandelli de Marsillac, Ana Lúcia. "Communication disorder: contemporary art and psychoanalysis." Communication & Methods, no. 1 (June 27, 2019): 91–97. http://dx.doi.org/10.35951/v1i1.6.

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This revision seeks to analyze the methodological intersections of contemporary art and psychoanalysis, by considering the value attributed to communication disorders by both fields. I will analyze elements of "In the Face of time: History of art and anachronism of Images" (2000), by Didi-Huberman. In addition, I will single out two texts that are crucial to the psychoanalytic method: "The Uncanny” (1919), by Freud and "Function and field of speech and Language" (1953), by Lacan. The concept of the uncanny is central to this approach, since it reveals the proximity between strangeness and familiarity. It is through the concept of the uncanny that psychoanalysis unfolds the perspective of a negative aesthetics, which is not at the service of the completeness of communication. Instead, it focuses on the cracks that paradoxically allow us to say more and to look at the latent contents of communication. Contemporary art and psychoanalysis both use non-linear communication. Research performed at their intersection is based on qualitative methodologies and seeks to analyze exemplary situations in culture, such as the discourses of an epoch and works of art. In this methodological encounter, there isn’t a single meaning to be sought. On the contrary, it is the researcher’s task to reflect on the paths that lead to the creation of a work of art, as well as on the ideals it conveys, its singularity and its relationship with culture. He can then render visible the complexity and the multiple meanings embedded in the work of art.

5

Collins, Bradley I., John E. Gedo, and Ellen Handler Spitz. "Psychoanalysis and Art History." Art Journal 49, no. 2 (1990): 182. http://dx.doi.org/10.2307/777199.

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6

Taylor, Sue. "Art History and Psychoanalysis." Journal of the American Psychoanalytic Association 52, no. 4 (December 2004): 1303–4. http://dx.doi.org/10.1177/00030651030520040103.

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7

Ogden, Thomas H. "This art of psychoanalysis." International Journal of Psychoanalysis 85, no. 4 (August 2004): 857–77. http://dx.doi.org/10.1516/d6r2-9ngf-yfj2-5qk3.

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8

Collins, Bradley. "Psychoanalysis and Art History." Art Journal 49, no. 2 (June 1990): 182–86. http://dx.doi.org/10.1080/00043249.1990.10792685.

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9

Biancoli, Romano. "Radical Humanism in Psychoanalysis or Psychoanalysis as Art." Contemporary Psychoanalysis 28, no. 4 (October 1992): 695–731. http://dx.doi.org/10.1080/00107530.1992.10746784.

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10

Ren, Zhengjia, Maranda Yee Tak Sze, Wenhua Yan, Xinyue Shu, Zhongyao Xie, and Robert M. Gordon. "Future research from China on distance psychoanalytic training and treatment." Psychoanalysis and Psychotherapy in China 4, no. 1 (June 1, 2021): 49–58. http://dx.doi.org/10.33212/ppc.v4n1.2021.49.

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We present three recent research projects from China on distance psychoanalytic training and treatment. The first study explored how the internet could influence the process of psychoanalysis in three ways. First, choosing to accept online psychoanalysis is itself meaningful to the patients. Second, the internet connection itself can also be an organic component of the psychoanalysis. Third, the patients could see the real-time images of themselves during the online psychoanalysis, which could influence the analytic process. The second study found that psychoanalysis provides an important support to improve the process of individualisation among Chinese people. The results indicate that Chinese people have been through many traumatic events in the past century, such as civil wars, colonisation, and the Cultural Revolution. Through therapy, these hidden pains are expressed, understood, and healed. Psychoanalysis brings about a new dialectic relationship model: on the one hand, it is a very intimate relationship, you can talk and share everything in your life with a specific person; on the other hand, it is quite different from the traditional Chinese relationship model. They see psychoanalysis as a bridge, enabling the participants to achieve their connection with Chinese culture by using Chinese literature, art, religion, philosophy, to find their own path of individualisation. The third study surveyed 163 graduates of a distance psychoanalytic programme and found that the graduates developed a strong identification with the psychoanalytic field, with private practice clinical hours increased and fees increased. Looking forward to the future, 92% of the respondents plan to be supervisors, 78% to be analysts, 73% to be teachers, 46% to be authors, and 36% to be speakers.

11

Stavovy, Tania. "The evolution of psychoanalytic thought: a brief view through the lens of Western art and history: Freud and beyond." Australasian Psychiatry 25, no. 3 (February 7, 2017): 239–42. http://dx.doi.org/10.1177/1039856217690281.

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Objective: The aim of this paper is to explore the diversity and progress in psychoanalysis and psychotherapy post-Sigmund Freud from the perspective of Western art. Since 1900 the shift from one-person psychology to the more contemporary two-person psychology is reflected in the creativity of artists, particularly in their depiction of the mother–infant relationship. Conclusion: An alternative perspective in understanding the evolution of Man’s nature can be drawn from a discourse between art, history and psychoanalytic thought. Using art as evidence that reflects concurrent changes in psychoanalytic thought is a stimulating way to engage trainee psychiatrists and psychiatrists in their exploration of human nature.

12

Ryde, Julia. "Dancing with the unconscious: the art of psychoanalysis and the psychoanalysis of art." Psychodynamic Practice 20, no. 3 (May 28, 2014): 294–97. http://dx.doi.org/10.1080/14753634.2014.916849.

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13

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.

14

Williams, Meg Harris. "PSYCHOANALYSIS AS AN ART FORM." British Journal of Psychotherapy 25, no. 3 (August 2009): 381–92. http://dx.doi.org/10.1111/j.1752-0118.2009.01132.x.

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15

Meyer, Laura. "Book Review: Psychoanalysis and Art." Journal of the American Psychoanalytic Association 54, no. 3 (September 2006): 1015–21. http://dx.doi.org/10.1177/00030651060540030101.

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16

Kafka, John S. "Transitions in Art and Psychoanalysis." American Imago 74, no. 3 (2017): 391–96. http://dx.doi.org/10.1353/aim.2017.0024.

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17

Jurist, Elliot L. "Art and emotion in psychoanalysis." International Journal of Psychoanalysis 87, no. 5 (October 2006): 1315–34. http://dx.doi.org/10.1516/d0eb-y9hh-wy58-cnwl.

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18

Palombo, Stanley R. "Tools, Works of Art, Psychoanalysis." Journal of the American Academy of Psychoanalysis and Dynamic Psychiatry 33, no. 1 (March 2005): 215–24. http://dx.doi.org/10.1521/jaap.33.1.215.65871.

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19

Sayers, Janet. "Against Reason? Art and Psychoanalysis." History & Philosophy of Psychology 7, no. 1 (2005): 62–69. http://dx.doi.org/10.53841/bpshpp.2005.7.1.62.

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In this article I demonstrate, with examples from art and psychoanalysis, ways in which (a) Freud replaced directed with non-directed free association reasoning, and (b) post-Freudians, notably Merleau-Ponty and Bion, drew attention to the inter-subjective factors involved in bringing this form of reasoning into being.

20

Poirson-Dechonne, Marion. "Cinéma, théâtre et psychanalyse : la question de l’acte et sa représentation." Studia Universitatis Babeş-Bolyai Dramatica 66, no. 1 (March 30, 2021): 29–48. http://dx.doi.org/10.24193/subbdrama.2021.1.02.

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"Cinema, Theatre and Psychoanalysis: the Problem of Parapraxis and its Representation. At the intersection of the performing arts and psychoanalysis emerges the notion of act. This polysemic term has various meanings: missed act, agieren, psychoanalytic act, acting out, act of creation. If Freud and Lacan have theorized the notion of act, cinema and theater strive to represent its many facets. Today, Freud’s method of analyzing dream images has paved the way for figural analysis for the 7th art, focusing on exploring the incomplete dimension of some of his images. From La marquise d’O to the Mystères de Lisbonne, the altered quotation from the same painting, The nightmare of Füssli, which reveals the emergence of desire, comes to symbolize the representation of the Other Scene by cinema. Généalogies d’un crime, by Raoul Ruiz, shows how the interpretation and manipulation of missed acts leads, ironically, to the Act. The influence of the psychodrama exerted there is found in other films, where the scene becomes the place where the abreaction becomes visible. Repetition of a formula in the obscure and forgotten sense (8 and ½), a crisis orchestrated by Sade as a playmaker (Marat-Sade), or a collective explosion (La vie est un roman) show the complex and multiple faces of the Act in cinema. Keywords: Fehlleistung, Agieren, Psychoanalytic Act, Psychodrama, Unconscious, Enigma, Theater, Cinema. "

21

Haywood, Kirsten. "Failures of Form: Ideology and the Death Drive in the Work of Adrian Stokes." Psychoanalysis and History 18, no. 2 (July 2016): 183–201. http://dx.doi.org/10.3366/pah.2016.0188.

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On his return from Italy in 1929, the art writer Adrian Stokes went into psychoanalysis with Melanie Klein, to confront a depression ‘intent on frustrating and destroying him’. This paper looks at the strange, hybrid text that psychoanalysis gave rise to: an account of Hyde Park as the place where meaning itself was being generated, and destroyed. In particular, it looks at Stokes's preoccupation with waste and remainders, and the failed attempts of industrial capitalism's ‘mechanical restitutions’, to put them to rights. In giving an account of his own destructive thought process during these years, I propose that Stokes gives a vivid account of his socio-political moment, but also works through a particular debate that was emerging for the British Psychoanalytic Society during these years: a debate about whether the death drive or the ‘negative’ could be meaningful for psychoanalytic theory.

22

Frayze‐Pereira, João A. "Psychoanalysis, science, and art: Aesthetics in the making of a psychoanalyst." International Journal of Psychoanalysis 88, no. 2 (April 2007): 489–505. http://dx.doi.org/10.1516/m700-723v-55hu-3740.

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23

Cox, Olga. "Saussure and psychoanalytic feminism — a made match." Irish Journal of Psychological Medicine 6, no. 2 (September 1989): 100–102. http://dx.doi.org/10.1017/s0790966700015391.

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AbstractOver the past thirty years Lacanian psychoanalysis, by mapping psychoanalytic concepts onto the terminology of modern linguistics has seemed to radically alter the former, and to a large extent has done so. However, Lacan's insistence that we are formed by, and enmeshed in, language, occults an opposite truth; one that is evidenced by the history of politics and of art, and although psychoanalysis has traditionally remained rigidly apolitical, concentrating on the private and familial rather than the public sphere, it can hardly avoid, even in this sphere, a confrontation with the politics of feminism. Because of its particular appropriation of ‘word’ and ‘language’, Lacanian psychoanalysis finds itself in a contraditory position here. In the private sphere it liberates the little girl by the true ‘word’, while continuing to maintain, in the wider world of language, a now archaic discourse which subsumes both discourses into one, masculine one.

24

Wexler, Joan. "Book Review: Dancing with the Unconscious: The Art of Psychoanalysis and the Psychoanalysis of Art." Journal of the American Psychoanalytic Association 62, no. 1 (February 2014): 173–79. http://dx.doi.org/10.1177/0003065114522128.

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25

Castelloe, Molly. "Danielle Knafo: Dancing with the Unconscious: The Art of Psychoanalysis and the Psychoanalysis of Art." American Journal of Psychoanalysis 74, no. 2 (June 2014): 209–11. http://dx.doi.org/10.1057/ajp.2014.7.

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26

Lima, Ana Carolina Barbieri, Bianca Lopes Schulter, and Francisco de Assis Lima Filho. "A psicanálise: entre a arte e a clinica." Revista Científica Faesa 17, no. 1 (June 15, 2021): 49–64. http://dx.doi.org/10.5008/1809.7367.186.

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No meio da Psicanálise e da arte, circundam pontos que podem conversar entre si. No decorrer deste artigo, será visto um pouco sobre a história da arte e dos artistas, com enfoque no escritor Leon Tolstoi, no qual será percebido um pensamento análogo entre Freud e Tolstoi. Mais adiante, aparecerão noções da arte nas obras psicanalíticas de Freud e Lacan. Por final, em implicações da arte para a Psicanálise ficarão perceptíveis aproximações entre tais campos do saber. Sendo assim, em essência, este presente ensaio bibliográfico em sua totalidade pretende atualizar os referenciais teóricos, técnicos e éticos de como a arte atua como fonte de inspiração para a clínica psicanalítica.

27

Duren, Brian, Leo Bersani, and Ned Lukacher. "The Freudian Body: Psychoanalysis and Art." SubStance 17, no. 3 (1988): 60. http://dx.doi.org/10.2307/3684927.

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28

Hopkins, Boone J. "Art and Politics: Psychoanalysis, Ideology, Theatre." Ecumenica 1, no. 1 (January 1, 2008): 91–92. http://dx.doi.org/10.5325/ecumenica.1.1.0091.

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29

Morra, Joanne. "On Use: Art Education and Psychoanalysis." Journal of Visual Culture 16, no. 1 (April 2017): 56–73. http://dx.doi.org/10.1177/1470412917700766.

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In this article, the author uses a key moment in Michael Fried’s essay ‘Art and Objecthood’ – Fried’s reference to Tony Smith’s car ride on the unfinished New Jersey Turnpike with his Masters of Fine Art students – to think about the possibilities offered to art education by psychoanalysis. In considering Smith’s experience and Fried’s interpretation of it as instances of both pedagogy and Winnicottian ‘use’, the author allows this analogy to echo and expand throughout three different pedagogical moments in which she has put ‘Art and Objecthood’ to use within her teaching, and back through to Sigmund Freud’s idea of ‘after-education’. In this article, she asks: How have I used Fried’s text? How, in turn, do art students use it? How and why do we as teachers and students use theory? What does all this using tell us about art education and the academy? And, ultimately, what is the role of psychoanalysis within art education?

30

Caldwell, Lesley. "Image and Process: Psychoanalysis or Art?" British Journal of Psychotherapy 30, no. 3 (July 28, 2014): 337–48. http://dx.doi.org/10.1111/bjp.12098.

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31

Parment, Ulla-Britt, Bengt Collén, Jan Henriksson, Mona Serenius, and Viveca Wessel. "Editorial: Psychoanalysis Meets Art and Architecture." International Forum of Psychoanalysis 9, no. 1-2 (January 2000): 3–4. http://dx.doi.org/10.1080/080370600300055797.

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32

Blum, Harold P. "Psychoanalysis and Art, Freud and Leonardo." Journal of the American Psychoanalytic Association 49, no. 4 (August 2001): 1409–25. http://dx.doi.org/10.1177/00030651010490040501.

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33

Collins, Bradley. "Dancing with the Unconscious: the Art of Psychoanalysis and The Psychoanalysis of Art. by Danielle Knafo." Psychoanalytic Quarterly 82, no. 3 (July 2013): 771–79. http://dx.doi.org/10.1002/j.2167-4086.2013.00057.x.

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34

Shcherbina, Yu I. "Appeal to the Work of F. M. Dostoevsky by Russian Emigration in Chekhia: A. L. Bem and the Psychoanalytic Method of Interpreting a Work of Art." Philosophical Letters. Russian and European Dialogue 3, no. 4 (December 2020): 146–57. http://dx.doi.org/10.17323/2658-5413-2020-3-4-146-157.

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The article is devoted to the conversion around works of F. M. Dostoevsky which took place among Czech intellectuals, among whom there were a lot of immigrants from Russia. In this context, the example of Alfred Ludwigovich Bem is indicative. The article reveals main reasons for the interest in Dostoevsky in Czechoslovakia. An important role in the study of Dostoevsky was played by the so-called ‘Russian action of aid’ and ‘Russian trace’ left by the exiles in Prague. In this regard, A. L. Bem is interesting not only as a researcher who devoted many works to Dostoevsky’s work but also as one of the founders of Dostoevsky’s first international society. Bem was also one of the first researchers who applied psychoanalysis to the interpretation of Dostoevsky’s literary works. He was also one of those who also analyzed the specifics of using psychoanalytic methods in literary criticism. The article reveals the methodological basis of Bem’s interpretation: attention is drawn not only to the connection between the theme “Dostoevsky and his Reader” and psychoanalysis (Bem’s ‘method of small observations’), but also to the origins of Bem’s interpretation of psychoanalysis associated with the formal school in literary criticism; the disadvantages of psychoanalysis as a way of interpreting a work of art are emphasized.

35

Sheiko, V., and E. Trubaieva. "Mediation component of psychoanalysis in the evolution of culture and the formation of culturology as a science." Culture of Ukraine, no. 76 (June 29, 2022): 39–49. http://dx.doi.org/10.31516/2410-5325.076.04.

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The purpose of the article is to highlight the mediating role of psychoanalysis in the processes of evolution of culture and art and the formation of culturology as a new and young scientific field. The main attention is paid to the mediating role of psychoanalysis in the development of the cultural and artistic field and the formation of personality. The methodology of this scientific research is culturological principles and research methods. It is the culturological methodology that has convincingly proved the mediating role of psychoanalysis in the civilizational development of culture and art, in the processes of formation of culturology as a scientific field. The topicality is, firstly, the application of culturological methodology, which made it possible to clarify the mediating role of psychoanalysis in the civilizational evolution of culture and art and the formation of culturology as a science in general. The scientific result of this study is a positive attempt with the help of culturological methodology to clarify the mediating role of psychoanalysis in the evolution of culture and art and in the processes of formation of culturology as a science. The practical significance of the scientific results of the article is that they can serve as a source material for further research on this issue, and can be used as research material for the preparation of scientific and methodological and teaching handbooks for lectures on issues of culture, art and culturology.

36

Restuccia, Frances L. "Kristeva's Severed Head in Iraq: Antoon’s The Corpse Washer." Journal of French and Francophone Philosophy 26, no. 2 (December 7, 2018): 56–68. http://dx.doi.org/10.5195/jffp.2018.858.

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This paper offers a Kristevan reading of Antoon's The Corpse Washer. Although this text focuses specifically on Arab/Muslim culture, which cannot be translated into a racial category, this reading is meant to show the pertinence of Kristevan psychoanalytic theory in a non-Western context. One might go about linking such psychoanalytic work on non-Western writing to “race” in two ways. Insofar as The Corpse Washer demonstrates the validity of Kristevan psychoanalytic theory for non-Western art/artists, it implies the universality of that theory, despite ethnicity, race, religion, etc. Or if we presuppose the universality of Kristevan psychoanalytic theory, we may think of such work as testing the assumption that psychoanalysis can traverse all such culturally constructed boundaries.

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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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Peña, Saul K., and Ana‐María Rizzuto. "Psychoanalysis and art: A psychoanalytic view of the life and work of Cézanne." International Journal of Psychoanalysis 83, no. 3 (June 2002): 678–81. http://dx.doi.org/10.1516/33p4-v22j-4g8b-x884.

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39

Carey, Faye. "Freud's Art: Psychoanalysis Retold - By Janet Sayers." British Journal of Psychotherapy 25, no. 3 (August 2009): 393–98. http://dx.doi.org/10.1111/j.1752-0118.2009.01133_1.x.

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40

Townsend, Patricia. "Creativity and Destructiveness in Art and Psychoanalysis." British Journal of Psychotherapy 31, no. 1 (January 19, 2015): 120–31. http://dx.doi.org/10.1111/bjp.12123.

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41

Rivera, Tania. "Ethics, Psychoanalysis and Postmodern Art in Brazil." Third Text 26, no. 1 (January 2012): 53–63. http://dx.doi.org/10.1080/09528822.2012.641218.

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42

Choi, Young-Tae. "Psychoanalytic Implications in Western Modern Culture - Focusing on Freud and Lacan Theory -." Korea Association of World History and Culture 61 (December 30, 2021): 317–40. http://dx.doi.org/10.32961/jwhc.2021.12.61.317.

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The purpose of this study is to understand Western modern culture in various ways and in depth by looking into the psychoanalytic meaning implied in Western modern culture. A number of new phenomena have appeared in Western modern culture, and I want to investigate these phenomena from a psychoanalytic point of view, especially from the perspective of obsessive compulsive disorder and hysteria. In other words, in politics, absolutism maintains the order of the king through centralization of power, calculus and coordinates of time and space in science, and seizing space through perspective in art are phenomena that appeared during this period. If the obsessive compulsive disorder of this period is defined as ‘seeking order (maintaining)’, the revolt of the nobles who resisted the absolutism of the king in the political realm, and Manet’s <Olympia> in art threatened all the principles of neoclassicism, which was the norm of art at the time. The fact that Picasso’s <The Maids of Avignon> completely shaken the perspective order pursued by Western art for over 400 years signifies ‘disintegration of order’, which is a hysterical phenomenon in psychoanalysis. I can understand.(Daegu University)

43

Sohn, Jihyun. "‘Looking’ Images as Psychoanalysis and Socially Engaged Art." Society for Art Education of Korea 65 (February 10, 2018): 143–60. http://dx.doi.org/10.25297/aer.2017.65.143.

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44

Sohn, Jihyun. "ʻLookingʼ Images as Psychoanalysis and Socially Engaged Art". Society for Art Education of Korea 65 (10 лютого 2018): 143–60. http://dx.doi.org/10.25297/aer.2018.65.143.

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Cundy, Linda. "Art, creativity, and psychoanalysis: Perspectives from analyst-artists." Psychodynamic Practice 24, no. 4 (July 4, 2018): 395–400. http://dx.doi.org/10.1080/14753634.2018.1485050.

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de Meric, Natasha. "The art of personality in literature and psychoanalysis." Psychodynamic Practice 25, no. 4 (August 14, 2019): 406–9. http://dx.doi.org/10.1080/14753634.2019.1651670.

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Esman, Aaron H. "Art, Creativity, and Psychoanalysis: Perspectives from Analyst-Artists." Psychoanalytic Quarterly 87, no. 1 (January 2, 2018): 228–29. http://dx.doi.org/10.1080/00332828.2018.1420303.

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Knafo, Danielle. "Dancing With the Unconscious: The Art of Psychoanalysis." Psychoanalytic Inquiry 32, no. 3 (May 2012): 275–91. http://dx.doi.org/10.1080/07351690.2011.609081.

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Kaplan, Donald M. "The Psychoanalysis of Art: Some Ends, Some Means." Journal of the American Psychoanalytic Association 36, no. 2 (April 1988): 259–93. http://dx.doi.org/10.1177/000306518803600201.

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Papiasvili, Eva D., and Linda A. Mayers. "Psychoanalysis and art: Dialogues in the creative process." International Forum of Psychoanalysis 20, no. 4 (December 2011): 193–95. http://dx.doi.org/10.1080/0803706x.2011.598185.

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