Psychoanalytic Aesthetics: An Introduction to the British School

by Nicky Glover

Overview

'This is a book to which the attention of students of art theory and criticism, and all those interested in the important application of psychoanalysis to other fields of study, should be drawn. "Psychoanalytic Aesthetics" rethinks the classical account of the relation between art and madness, creativity and psychoneurosis, and the distinction between the primary and secondary processes. It covers a great deal of ground and reviews many psychoanalytic writers (predominantly of the British tradition) on aesthetics, as well as many of the aestheticians using a psychoanalytic background. It is well written and there is an impressive grasp of the many writers covered. More than this, the book is also a work of psychoanalytic scholarship, being a masterly overview of psychoanalytic schools of thought, and an in-depth study of the British object-relations schools. It amply achieves its overriding goal to demonstrate that the work of the British School presents a significant contribution to psychoanalytic aesthetics and criticism, updating Freud, Kris and the classical contributions to the field. It is therefore potentially a very useful source book for future scholars of both psychoanalysis and of aesthetics.' Robert D. Hinshelwood, Psychoanalyst and Professor, Centre for Psychoanalytic Studies, University of Essex

Product Details

ISBN-13:	9781780493374
Publisher:	Harris Meltzer Trust
Publication date:	02/03/2011
Series:	The Harris Meltzer Trust Series
Sold by:	Barnes & Noble
Format:	eBook
Pages:	286
File size:	423 KB

About the Author

Nicola Glover has a long-standing interest in psychoanalysis, culture, and social issues. She took her MPhil in Psychoanalysis and Art History at the University of Kent, and gained her MSc in Social Work from Southampton University. Nicola emigrated to Australia in 1999 and currently works as a psychotherapist in private practice in Adelaide, South Australia.

Table of Contents

Foreword Neil Maizels Introduction PART I - THE LEGACY OF FREUD 1. Freud's theory of art and creativity PART II - KLEIN'S CONTRIBUTION TO THE AESTHETICS OF THE BRITISH SCHOOL 2. Essentials of Kleinian theory 3. The development of Kleinian aesthetics PART III - DEVELOPMENTS IN THE BRITISH SCHOOL 4. The legacy of Wilfred Bion 5. Ehrenzweig and the hidden order of art 6. Art, creativity, and the potential space 7. Painting as the body: the aesthetics of Fuller and Wollheim Conclusion References Index

Editorial Reviews

This is a book to which the attention of students of art theory and criticism, and all those interested in the important application of psychoanalysis to other fields of study, should be drawn. Psychoanalytic Aesthetics rethinks the classical account of the relation between art and madness, creativity and psychoneurosis, and the distinction between the primary and secondary processes. It covers a great deal of ground and reviews many psychoanalytic writers (predominantly of the British tradition) on aesthetics, as well as many of the aestheticians using a psychoanalytic background. It is well written and there is an impressive grasp of the many writers covered. More than this, the book is also a work of psychoanalytic scholarship, being a masterly overview of psychoanalytic schools of thought, and an in-depth study of the British object-relations schools. It amply achieves its overriding goal to demonstrate that the work of the British School presents a significant contribution to psychoanalytic aesthetics and criticism, updating Freud, Kris and the classical contributions to the field. It is therefore potentially a very useful source book for future scholars of both psychoanalysis and of aesthetics.

Robert D. Hinshelwood

British psycho-analytic thinkers in a class of their own, where the theoretical cannot develop meaningfully unless it is anchored in the ‘sagacity of the body’—the partnership of body and mind, when the head and the heart are working together—whose crucible is the new mother, with her new child, developing and being developed by each other through interplay.

Neil Maizels

"When I was a student, philosophy in America, as well as Britain, was dominated by British Analytic Philosophy. To a degree this is still the case, but not as much as it once was. One thing this philosophy did was insist upon very strict boundaries. Many good discussions were brought to a halt by someone’s saying, ‘That’s not philosophy; that’s religion!’ or ‘That’s not philosophy: that’s psychology!’ But it turns out we simply cannot discuss Munch, or Hopper, or Picasso, while ignoring psychological considerations. So Glover’s very readable work is invaluable.

Elmer H. Duncan

"When I was a student, philosophy in America, as well as Britain, was dominated by British Analytic Philosophy. To a degree this is still the case, but not as much as it once was. One thing this philosophy did was insist upon very strict boundaries. Many good discussions were brought to a halt by someone’s saying, ‘That’s not philosophy; that’s religion!’ or ‘That’s not philosophy: that’s psychology!’ But it turns out we simply cannot discuss Munch, or Hopper, or Picasso, while ignoring psychological considerations. So Glover’s very readable work is invaluable.”

“British psycho-analytic thinkers in a class of their own, where the theoretical cannot develop meaningfully unless it is anchored in the ‘sagacity of the body’—the partnership of body and mind, when the head and the heart are working together—whose crucible is the new mother, with her new child, developing and being developed by each other through interplay.”

“This is a book to which the attention of students of art theory and criticism, and all those interested in the important application of psychoanalysis to other fields of study, should be drawn. Psychoanalytic Aesthetics rethinks the classical account of the relation between art and madness, creativity and psychoneurosis, and the distinction between the primary and secondary processes. It covers a great deal of ground and reviews many psychoanalytic writers (predominantly of the British tradition) on aesthetics, as well as many of the aestheticians using a psychoanalytic background. It is well written and there is an impressive grasp of the many writers covered. More than this, the book is also a work of psychoanalytic scholarship, being a masterly overview of psychoanalytic schools of thought, and an in-depth study of the British object-relations schools. It amply achieves its overriding goal to demonstrate that the work of the British School presents a significant contribution to psychoanalytic aesthetics and criticism, updating Freud, Kris and the classical contributions to the field. It is therefore potentially a very useful source book for future scholars of both psychoanalysis and of aesthetics.

From the Publisher