Art, psychotherapy, and psychosis by Katherine Killick, Visit Amazon's Joy Schaverien Page,
By Katherine Killick, Visit Amazon's Joy Schaverien Page, search results, Learn about Author Central, Joy Schaverien,
Art, Psychotherapy and Psychosis unearths the original function of paintings treatment within the remedy of psychosis. Illustrating their contributions with medical fabric and art created through consumers, skilled practitioners describe their paintings in numerous settings. Writing from diverse theoretical standpoints they mirror the present inventive range in the career and its hyperlinks with psychotherapy, psychoanalysis, analytical psychology and psychiatry.
In half I particular concerns concerned about operating with psychosis are explored. those contain dialogue of the healing dating, the method of symbolisation, the character and that means of artwork made by way of psychotic sufferers and the interaction among phrases and photographs. half II recounts the background of paintings treatment and psychosis, tracing its origins in artwork, to its present-day function as a revered remedy in psychiatric, neighborhood and healing settings.
Art, Psychotherapy and Psychosis extends the prevailing concept, develops analytical ways in paintings psychotherapy and gives leading edge views for college students and practitioners at the therapy of borderline states in addition to psychosis.
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Additional resources for Art, psychotherapy, and psychosis
8, London: Routledge & Kegan Paul (1960). ——(1963a) Mysterium Coniunctionis, in Collected Works, Vol. 14, Princeton: Bollingen. ——(1963b) Memories, Dreams and Reflections, London: Fontana. Klein, M (1935) ‘A contribution to the psychogenesis of manic-depressive states’, in Love Guilt and Reparation, London: Hogarth (1985). ——(1946) ‘Notes on some schizoid mechanisms’, in Envy and Gratitude and Other Works, London: Hogarth Press (1975). Killick, K. (1993) ‘Working with psychotic processes in art therapy’, Psychoanalytic Psychotherapy 7(1): 25–38.
Furthermore, in art theory the term fetishistic is sometimes used to describe repetitive marks in a painting and this too is sometimes a feature of the patient’s picture. Kris and Kurz (1979) describe incidents where works of art have been taken for ‘living beings’ and they also link the magical empowering of art objects with aesthetic experience. Therefore, when the art object is experienced as a fetish, it is not necessarily, nor solely linked to sexuality (although this is not excluded). The fetish, associated with a part of a person, is a sign; it stands for something outside of itself.
As a transactional object this picture was a fetish; it was a result of acting out of the unconscious state rather than a conscious enactment. The relationship to the picture was the dyadic client-picture-client-picture. This is different from the talisman which holds the feeling for another person in a conscious or semi-conscious manner and it is ‘an enactment in a culture’ (Schaverien 1991:152). Although it was associated with another person, the doctor, the picture did not hold a feeling state in relation to him.