scholarly journals A traumatikus élmények facilitáló szerepe a művészetben

2017 ◽  
Vol 158 (17) ◽  
pp. 668-677 ◽  
Author(s):  
József Gerevich

Abstract: Traumatic experiences can not only have unfavourable consequences, they can also contribute, with a kind of creative twist, to the development of the person affected by the trauma. The artistic responses to traumas can be examined on the basis of the different types of trauma. This study reports on an investigation focusing on six types of trauma: emotional deprivation/neglect; near-death experience; becoming the victim of violence; war; accident/sickness and emotional frustration. Examples taken from the history of art indicate that works of art can draw attention to the traumatic experiences of the artists with frequently repeated motifs and portrayal techniques (sun, mother image, objects referring to the person lost, motifs of violence or symbols of violence, artistic manifestations of an exaggerated self-image, surreal visions, dry irony, substituting other objects for the beloved person), or a sudden change of style and subject that can express a heightened interest in human suffering (Lovis Corinth). An emphasis placed on self-portrayal can indicate the artist’s increased self-examination, in cases of sickness, or continuous monitoring of the state of mind (Frida Kahlo, Otto Dix, Lovis Corinth, Edvard Munch). In some cases artistic activity can help to work through the trauma (Hans Bellmer, Oskar Kokoschka, Max Ernst, René Magritte), in other cases it is not able to prevent the development of psychological/psychiatric consequences of the trauma (Artemisia Gentileschi, Edvard Munch, Lajos Gulácsy). Traumas can be the sources of motivation and provide themes for works of art; and, although not in all cases, artistic creativity can contribute to effectively working through traumatic experiences. Orv Hetil. 2017; 158(17): 668–677.

Panoptikum ◽  
2018 ◽  
pp. 176-184
Author(s):  
Magdalena Howorus-Czajka

Inspired by David Lynch’s works of visual art, this paper is an attempt to identify some extra-artistic mechanisms (the art market) relating to artworks. As a result, his non-cinematic works have been analysed here in the context of the mechanisms operating in culture, as indicated by Mieke Bal (“cultural imperialism”) and James F. English (“economy of prestige”). The artistic works of the American film director have been located on the main axes identified in this context. In addition to the expressionist-surrealist origin and commonly acknowledged connotations with the works of Edvard Munch, Oskar Kokoschka and Francis Bacon, the author also shows ideological threads combining Lynch’s works with Tadeusz Kantor’s legacy.


2009 ◽  
pp. 51-63
Author(s):  
Giampaolo Nicolais ◽  
Anna Maria Speranza ◽  
Simona Guarino ◽  
Cristina Trentini

- Problem: maltreatment impacts on the quality of interactive exchanges, precociously putting the infant at risk for maladaptive outcomes. Method: research involved 37 mother-infant dyads at risk for maltreatment and 37 non-referred dyads. AAI has been administered to the mothers; furthermore, dyadic interactive exchanges were observed and video-recorded. Results: in comparison with the control group, the at-risk group shows a prevalence of disorganized models (X= 12,2; p < 0,01). Additionally, in the at-risk group an influence of maternal mental state on the interactive quality has been evidenced: dismissing mothers present lower sensitivity (F = 4,87; p < 0,01), whereas disorganized mothers express more negative affective states (F = 5,65; p < 0,01). Conclusions: early traumatic relational experiences influence maternal state of mind with respect to attachment, thus compromising the process of dyadic affective regulation.Key words: child maltreatment, traumatic experiences, attachment, dyadic interaction.Parole chiave: maltrattamento infantile, esperienze traumatiche, attaccamento, interazione diadica.


2014 ◽  
Vol 1 (1) ◽  
pp. 17-26
Author(s):  
Irma Damajanti ◽  
Setiawan Sabana ◽  
Ira Adriati

Pada era seni rupa kontemporer, pembacaan karya tidak lagi hanya terbatas padahasil analisis dan interpretasi unsur-unsur formal, namun juga mempertimbangkanketerkaitannya dengan psikobiografi seniman sehingga dapat memberikan gambaranyang lebih lengkap tentang karakter seni rupa yang multifaset. Penelitian inidirancang untuk mengidentifikasi representasi aspek ketidaksadaran dalam karya senirupa Indonesia dan menginterpretasikan simbol-simbolnya. Seniman yang karyanyadipilih sebagai studi kasus dalam penelitian ini adalah I Gusti Ayu Kadek Murniasih,Entang Wiharso, dan Ugo Untoro. Pendekatan yang digunakan adalah pendekatanmultidisiplin (psikologi seni dan semiotika. Berdasarkan hasil analisis, aspekketidaksadaran yang direpresentasikan melalui simbol-simbol visual yang khas dalamkarya ketiga seniman cenderung lahir dari pengalaman traumatik yang melahirkanketakutan, kesakitan, dan agresi. Melukis bagi ketiganya adalah proses katarsis,media untuk mensublimasikan/memperhalus dorongan-dorongan naluri ketakutan,kesakitan, dan agresi ke dalam bentuk karya yang dapat diterima dan diapresiasidengan baik oleh masyarakat. A Study on Unconsciousness Aspect in the 2000-2011 Works of Indonesia VisualArt. In the era of contemporary visual art, the works of art cannot be read merelylimited to the analysis and interpretation of the formal elements but have to include theconsideration about the artist’s psychobiography so that there will be a more completepicture about the multifaceted visual arts. This research is carried out to identify therepresentation of the unconsciousness aspect in the works of visual arts and then interpretthe symbols. The selected samples are the works of I Gusti Ayu Kadek Murniasih,Entang Wiharso, and Ugo Untoro. The multidisciplinary (art psychology and semiotics)approach is applied within the qualitative method used. Based on the analysis result,the unconsciousness aspect represented in unique visual symbols in the works of thethree artists is originated in their traumatic experiences which generate fear, pain, andaggression. For them, painting is their catharsis process, the media to sublime/smoothentheir impulse of fear, pain, and aggression so that the society can accept and appreciatetheir works.


2021 ◽  
Vol 18 (3) ◽  
pp. 431-449
Author(s):  
Zuhal Köse ◽  
Gülsün Şahan

The woman, has been one of the main themes of art throughout all art processes. Social processes and the place of women in society were also reflected in art and shaped the image of women in art. The same, artwork sheds light on the social conditions of the period. The fact that women remain in the background in social life is seen in the art of painting as in many other fields since the transition to the patriarchal order. Although the image of the woman has changed over the years, the woman is outside of her identity; It continued to be processed as a mother, wife or sexual object. Despite many advances in the individual works of contemporary artists and in the art that values women, a prejudiced view towards women has not yet been prevented. When the number of women engaged in art increases, women's self-expression has brought a different dimension to this commodification instead of the male gaze. The inclusion of feminist discourse and the changing structure of the world in art has also affected the role of women in social life. Art is one of the methods that can be used to achieve social change. For this reason, it can be said that women should continue to raise their voices for their rights and freedoms through art. One of the biggest roles in this regard falls to female artists. In this research; Throughout history, the image of women in painting and women painters have been examined, and the process of women's existence in art has been evaluated. For this purpose, written documents on the image of women, women painters and their lives from past to present have been examined. The image of women in art and its change throughout history, prominent female painters in the world, the image of women in Turkish painting and Turkish women painters, have revealed the place of women in the field of painting. Levina Teerlinc, Artemisia Gentileschi, Rosa Bonheur, Käthe Kollwitz, Frida Kahlo, Jeny Saville, Mihri Müşfik, Fahrünnisa Zeid, Şükriye Dikmen, Neşe Erdok, Nur Koçak and Gülsün Karamustafa, among the prominent painters in terms of Turkish and world history, were discussed. ​Extended English summary is in the end of Full Text PDF (TURKISH) file.   Özet The woman, has been one of the main themes of art throughout all art processes. Social processes and the place of women in society were also reflected in art and shaped the image of women in art. The same, artwork sheds light on the social conditions of the period. The fact that women remain in the background in social life is seen in the art of painting as in many other fields since the transition to the patriarchal order. Although the image of the woman has changed over the years, the woman is outside of her identity; It continued to be processed as a mother, wife or sexual object. Despite many advances in the individual works of contemporary artists and in the art that values women, a prejudiced view towards women has not yet been prevented. When the number of women engaged in art increases, women's self-expression has brought a different dimension to this commodification instead of the male gaze. The inclusion of feminist discourse and the changing structure of the world in art has also affected the role of women in social life. Art is one of the methods that can be used to achieve social change. For this reason, it can be said that women should continue to raise their voices for their rights and freedoms through art. One of the biggest roles in this regard falls to female artists. In this research; Throughout history, the image of women in painting and women painters have been examined, and the process of women's existence in art has been evaluated. For this purpose, written documents on the image of women, women painters and their lives from past to present have been examined. The image of women in art and its change throughout history, prominent female painters in the world, the image of women in Turkish painting and Turkish women painters, have revealed the place of women in the field of painting. Levina Teerlinc, Artemisia Gentileschi, Rosa Bonheur, Käthe Kollwitz, Frida Kahlo, Jeny Saville, Mihri Müşfik, Fahrünnisa Zeid, Şükriye Dikmen, Neşe Erdok, Nur Koçak and Gülsün Karamustafa, among the prominent painters in terms of Turkish and world history, were discussed.


Author(s):  
Simone Rocha de Abreu

ResumoEste artigo busca reunir elementos para pensar a arte como o lugar da memória individual e também coletiva, investiga o caráter subjetivo da memória, que faz com que o artista adicione às memórias, os seus desejos, medos, fantasias e crenças. O artigo também aborda os esquecimentos, pois a memória também pode revisitar fatos e desvelar o que se quis esconder, decorre-se daí o enfrentamento das histórias oficiais que legam ao esquecimento a versão dos vencidos. Para defender essas ideias o artigo apoia-se em algumas obras de Frida Kahlo, Pavel Egüez e Ana Maria Pacheco. Palabras chave: Arte, Memória, Individual, Coletiva, Subjetivo, Esquecimento, Frida Khalo, Pavel Egüez, Ana Maria Pacheco.*********************************************************Memory and Obliviousness in Art: Studies of some worksAbstractThis article aims to gather elements so that art is thought as a place of both individual and collective memory. It investigates the subjective feature of memory, which leads the artist to add his desires, fears, fantasies and beliefs to these memories. The article also discusses the obliviousness seeing that memory can also revisit facts and unveil what one wanted to conceal, hence the confrontation of official stories takes place passing on to obliviousness the version of the vanquished . To defend this concept, the article has been based on some works of art made by Frida Kahlo, Pavel Egüez and Ana Maria Pacheco.Key words: Art, Memory, Individual, Collective, Subjective, Obliviousness, Frida Khalo, Pavel Egüez, Ana Maria Pacheco.**********************************************************Memoria y olvido en el Arte: estudios de algunas obrasResumenEste articulo busca reunir elementos para pensar el arte como el lugar de la memoria individual y también colectiva, investiga el carácter subjetivo de la memoria, que hace con que el artista adicione las memorias, sus deseos, miedos, fantasías y creencias. El artículo también aborda los olvidos, pues la memoria también puede revisitar hechos y desvelar lo que se quiso esconder, y de esta forma puede darse el enfrentamiento de las historias oficiales que llevan al olvido la versión e los vencidos. Para defender estas ideas el artículo se apoya en algunas obras de Frida Kahlo, Pavel Egüez y Ana María Pacheco.Palabras clave: Arte, Memoria, Individual, Colectiva, Subjetivo, Olvido, Frida Khalo, Pavel Egüez, Ana Maria Pacheco.


Author(s):  
J C Walmsley ◽  
A R Lang

Interest in the defects and impurities in natural diamond, which are found in even the most perfect stone, is driven by the fact that diamond growth occurs at a depth of over 120Km. They display characteristics associated with their origin and their journey through the mantle to the surface of the Earth. An optical classification scheme for diamond exists based largely on the presence and segregation of nitrogen. For example type Ia, which includes 98% of all natural diamonds, contain nitrogen aggregated into small non-paramagnetic clusters and usually contain sub-micrometre platelet defects on {100} planes. Numerous transmission electron microscope (TEM) studies of these platelets and associated features have been made e.g. . Some diamonds, however, contain imperfections and impurities that place them outside this main classification scheme. Two such types are described.First, coated-diamonds which possess gem quality cores enclosed by a rind that is rich in submicrometre sized mineral inclusions. The transition from core to coat is quite sharp indicating a sudden change in growth conditions, Figure 1. As part of a TEM study of the inclusions apatite has been identified as a major constituent of the impurity present in many inclusion cavities, Figure 2.


Praxis ◽  
2002 ◽  
Vol 91 (38) ◽  
pp. 1527-1527
Author(s):  
W. Vetter
Keyword(s):  

PsycCRITIQUES ◽  
2005 ◽  
Vol 50 (23) ◽  
Author(s):  
Michael Fass
Keyword(s):  

2017 ◽  
Vol 8 (3) ◽  
pp. 209-223
Author(s):  
Elizabeth Davies-Mercier ◽  
Michelle W. Woodbridge ◽  
W. Carl Sumi ◽  
S. Patrick Thornton ◽  
Katrina D. Roundfield ◽  
...  

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