New PDF release: Aesthetic Experience: Beauty, Creativity, and the Search for

By George Hagman

“George Hagman seems to be anew at psychoanalytic principles approximately artwork and wonder throughout the lens of present developmental psychology that acknowledges the significance of attachment and affiliative motivational structures. In discussion with theorists akin to Freud, Ehrenzweig, Kris, Rank, Winnicott, Kohut, and so forth, Hagman brings the psychoanalytic knowing of aesthetic adventure into the twenty first century. He amends and extends outdated options and provides a wealth of stimulating new rules concerning the inventive technique, the right, good looks, ugliness, and –perhaps his most unusual contribution–the chic. in particular welcome is his grounding of aesthetic adventure in intersubjectivity and health and wellbeing instead of individualism and pathology. His emphasis on shape instead of the content material of an individual's aesthetic adventure is a stimulating new course for psychoanalytic idea of artwork. With this paintings Hagman stands within the corporation of his predecessors with this deeply-learned,! sensitively conceived, and provocative normal conception of human aesthetic experience.” Ellen Dissanayake, writer of artwork and Intimacy: How the humanities started and Homo Aestheticus: the place paintings Comes From and Why.

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The Arts and Measure
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(Selections from The Republic, Sophist, Laws)
Artistic Inspiration
(Selections from Ion, Phaedrus)
The Love of Beauty
(Selections from Symposium)
What Is Art?
(Selections from Metaphysics, Nicomachean Ethics)
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(Selections from elements of Animals, Physics, and Metaphysics)
Translated by way of William Ogle, R. P. Hardie, and R. okay. Gaye
Standard of creative Goodness
(Selections from Nicomachean Ethics)
Translated via W. D. Ross
(Selections from Metaphysics, Rhetoric)
Translated by means of W. D. Ross, W. Rhys Roberts
The Imitative paintings of Poetry
(Selections from Poetics, Rhetoric)
Translated via Ingram Bywater, W. Rhys Roberts
Theory of tune
(Selections from Politics)
Translated by way of Benjamin Jowett
Ennead I, 6th Tractate: Beauty
Ennead V, 8th Tractate: at the highbrow Beauty
Selections from Ennead VI, 7th Tractate: Multiplicity of the Ideal-Forms
Selections from Ennead III, 8 Tractate: Nature, Contemplation, and the One
Translated by means of Stephen MacKenna
Selections from De Ordine
Translated via Robert P. Russell
Selections from De Musica
Redaction and Translation via W. F. Jackson Knight
Marsilio Ficino
Selections from statement on Plato's Symposium
Translated through Sears Reynolds Jayne
Selections from features of fellows, Manners, evaluations, occasions . . .
Selections from moment Characters or the Language of Forms
Immanuel Kant
Selections from Critique of Judgment
Translated by way of J. H. Bernard
Friedrich Wilhelm Joseph von Schelling
Selections from process of Transcendental Idealism
Translated through Albert Hofstadter
Georg Wilhelm Friedrich Hegel
Selections from The Philosophy of good Art
Translated by means of F. P. B. Osmaston
Arthur Schopenhauer
Selections from the area as Will and Idea
Translated via R. B. Haldane J. Kemp
Friedrich Nietzsche
Selections from The delivery of Tragedy
Translated through Clifton P. Fadiman
Benedetto Croce
Selections from "Aesthetics" (Encyclopaedia Britannica, Fourteenth Edition)
John Dewey
Selections from artwork as Experience
Martin Heidegger
The beginning of the paintings of Art
Translated by means of Albert Hofstadter

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Extra info for Aesthetic Experience: Beauty, Creativity, and the Search for the Ideal (Contemporary Psychoanalytic Studies, Volume 5)

Example text

I would elaborate this viewpoint by pointing out the oscillating positions of the viewer and the artwork. The viewer experiences him- or herself at times as the active creator, and at other times, as the receptive subject of the aesthetic illusion. This shifting identification contributes to the dynamic tension in aesthetic experience. While I feel that developmental theorists such as Spitz and Lipscomb have much of value to contribute, their emphasis on the experience of fusion seems to ignore the fact that experiences of fusion can also be a source of terror and fragmentation.

36 AESTHETIC EXPERIENCE In his discussion of Natkin’s Face Paintings, art critic Peter Fuller (1988) described aesthetic form as an experience of interaction with the ideal, responsive face of the actual and/or fantasized mother: Here, one suspects, is the mother’s face (and not only he [the subject]) would have liked to have stared: this is the ideal of that which he was denied, or which he perceived only in glimpses, a face suffused with subtle tenderness, apperceived more than perceived, a face whose features are, in one sense, bound, yet in another fluid and mobile, a face that can transform itself infinitely in response to our gaze, which certainly has a skin which separates it from us but which, in the next moment, can engulf and enfold us into itself.

They argue that the adult’s experience of art is a form of regression to the powerful, emotionally charged, and psychologically ambiguous way in which the infant experiences the care-taking mother. These analysts have utilized the aesthetic approaches of the British Middle School, especially the writings of D. W. Winnicott. Unlike the Kleinians, who stressed the vicissitudes of defense against aggression, Winnicott emphasized the positive developmental thrust of illusion and creativity. Rather than viewing the mother/infant bond as a cauldron of rage and envy, he argued that the child enters the world eager to create, not to destroy.

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