Academic literature on the topic 'Psychological aspects of Prehistoric art'
Create a spot-on reference in APA, MLA, Chicago, Harvard, and other styles
Consult the lists of relevant articles, books, theses, conference reports, and other scholarly sources on the topic 'Psychological aspects of Prehistoric art.'
Next to every source in the list of references, there is an 'Add to bibliography' button. Press on it, and we will generate automatically the bibliographic reference to the chosen work in the citation style you need: APA, MLA, Harvard, Chicago, Vancouver, etc.
You can also download the full text of the academic publication as pdf and read online its abstract whenever available in the metadata.
Journal articles on the topic "Psychological aspects of Prehistoric art"
1
Ottenberg, Simon. "Psychological Aspects of Igbo Art." African Arts 21, no. 2 (February 1988): 72. http://dx.doi.org/10.2307/3336531.
Full text
2
Blum, Harold P. "The psychological birth of art: A psychoanalytic approach to prehistoric cave art." International Forum of Psychoanalysis 20, no. 4 (December 2011): 196–204. http://dx.doi.org/10.1080/0803706x.2011.597429.
Full text
3
Taçon, Paul S. C. "The power of stone: symbolic aspects of stone use and tool development in western Arnhem Land, Australia." Antiquity 65, no. 247 (June 1991): 192–207. http://dx.doi.org/10.1017/s0003598x00079655.
Full textAbstract:
For want of other secure evidence, the study of art in prehistoric societies normally amounts to looking at pictures, though there must have also been sound, and surely music. The long lithic tradition of central northern Australia permits a rare insight into another kind of prehistoric art, the meaning and aesthetic order that may lie behind a lithic industry.
4
Nenakhova, Yuliya N. "Siberian Scientific School of Prehistoric Art Founded by Academician A. P. Okladnikov." Archaeology and Ethnography 18, no. 7 (2019): 19–41. http://dx.doi.org/10.25205/1818-7919-2019-18-7-19-41.
Full textAbstract:
Purpose. One of the most important research areas studied by A. P. Okladnikov was prehistoric art, in particular its origin and correlation with the concept of “aesthetic beginning”, as well as issues of ancient art development and a number of other related aspects. Siberian scientific school of prehistoric art founded by academician A. P. Okladnikov has already made a significant contribution to the study of prehistoric art on a worldwide scale. Results. A. P. Okladnilov’s scientific interest in prehistoric art issues formed at the beginning of the 1960s, when he moved to Akademgorodok in Novosibirsk. The scientific school was formed on the basis of the Institute of History, Philology and Philosophy of SB RAS. A group of scientists from the institute organized a team which started to develop projects in several aspects: a) studied specific issues of the research program based on the leader’s ideas; b) provided training for specialists; c) organized and coordinated efforts of different research groups studying prehistoric art issues. Conclusion. Academician A. P. Okladnikov is an outstanding Soviet archaeologist, historian and anthropologist, an initiator and the first Director of the Institute of History, Philology and Philosophy of the AS in the USSR (currently the Institute of Archaeology and Ethnography of SB RAS), which was founded in 1966. Ancient history aspects under investigation at those times included the study of initial human settlements and the spread of Paleolithic traditions on the Asian continent, old cultural ties between Asia and America, ethnogenesis and early history of indigenous Siberian and Far Eastern peoples and their inclusion into the Russian state, the formation of Russian culture in Siberia and many others. A. P. Okladnikov organized a series of archaeological expeditions, and the geography of his Siberian expeditions covered a vast region from the Ural Mountains in the west to the Pacific Ocean in the east, from the Arctic Ocean in the north to Central Asia in the south. Dozens of talented researchers followed A. P. Okladnikov and made important archaeological discoveries. Their research areas cover a wide range of topical issues. Today it is the students of this researcher who largely determine the vector of archaeological development.
5
Dhiman, Kiran. "COLOURS IN PAINTING (CHITRKALA ME RANG)." International Journal of Research -GRANTHAALAYAH 2, no. 3SE (December 31, 2014): 1–3. http://dx.doi.org/10.29121/granthaalayah.v2.i3se.2014.3555.
Full textAbstract:
Colours are life of paintings. Without colours ‘painting’ seems incomplete and dull. Painting is visual expression, which is made combining two basic elements ‘drawing’ and ‘colouring’. Colours add the charm to an artwork. Monochrome shade is also having its own value but colours make it more appealing and lively.Since the upper paleolithic prehistoric times human being practice 'art' specially paintings in rock shelting to express their thoughts, which means it was a mode of communication from the beginning. This art creates, for the viewer, a degree of experiential contact with prehistoric art. It provides the basis for entering into the changing aspects of the living arts of man.
6
Prikhoda, Igor V. "Art of Personal Health Creation: Modern Psychological and Pedagogical Aspects." Volga Region Pedagogical Search 29, no. 3 (2019): 47–51. http://dx.doi.org/10.33065/2307-1052-2019-3-29-47-51.
Full text
7
Volkov, Alexey Department of Philosophy and Culture studies. "TRANSPLANT TECHNOLOGIES AND ORGAN DONATION: CULTURAL AND PSYCHOLOGICAL ASPECTS." Studia Humanitatis 15, no. 2 (August 2020): 24–30. http://dx.doi.org/10.15393/j12.art.2020.3564.
Full textAbstract:
The purpose of the study is to reconstruct the basic concepts of the mind-body continuum underlying transplantation technologies. Using modern research, the author shows that the application of transplantation technologies is based on ambivalent ideas: on the one hand, tissues and organs act as purely biological entities, on the other hand, they also imply the values of the subject’s personal and сultural identity. This involves an understanding of the challenges and requirements that accompany contemporary transplantation technologies: patients need to develop the ability to switch from one bodily identity to another (so-called «intercorporeality»), while transplant physicians need the ability to work with an intentional sphere of human mind. Using a number of cross-cultural studies, this paper offers a view of how the conception of death, body and identity varies in different cultural and social settings.
8
Kiseleva, Marina, and Anatolii Kiselev. "Social and psychological aspects of environment-based health risk assessment." Vestnik of Saint Petersburg University. Medicine 15, no. 2 (2020): 142–52. http://dx.doi.org/10.21638/spbu11.2020.206.
Full textAbstract:
The authors are mainly focused on special features of using art-therapeutic techniques to facilitate adaptation of several categories of the population to the information about environment- based health risks. They consider the methodological issues of presenting the ideas about health risks within the medical ecological content, of informing about those risks, since the lack of attention to those issues leads to additional anxiety in the population, as well as methods of correction of the latter through art-therapy methods developed by the authors. A psychological support program is suggested, which consists of three stages: diagnostic, psychological correction, psychological and social support. The first stage suggests psychological diagnostics, which include methods that allow for psychological and emotional background assessment. Based on the results of the diagnostics and social data, a complex assessment is made about the main problems of a person and a decision is made about the participation in psychological correction, which consists of individual and groups sessions. The second stage is aimed at the correction of negative emotions and feelings, as well as reaching solutions that are more complex. Art-therapy is suggested as the main psychosocial correction method, the use of which can create safe art-therapeutic environment, where the main means of interaction is a constructive dialogue, based on creating and examining an art product of a client, ‘clientart product-psychologist’, where the client feels protected enough to express their feelings. At the third stage, the clients continue to work with the psychologist as part of the psychological social support, the essence of which is given in this article as well.
9
Sidabrienė, Jurga. "Some of primary school students artistic individuality recognition aspects." Pedagogika 113, no. 1 (March 5, 2014): 90–99. http://dx.doi.org/10.15823/p.2014.1753.
Full textAbstract:
Then a child is creating, he is expressing individuality of emotions and attitudes towards the world around him. Art teacher’s task – the language of art is to help learners focus on contemporary cultural change, the emotional relationship with the art of promoting individual maturity. Student’s individuality search by observing the creative process and analysis of his work – is the chosen theme and novelty implies a problem. The aim and objectives determine the student’s knowledge of the possibilities of artistic individuality of elementary school art education process; provide individualision artistic conception; reveal the teacher‘s artistic and psychological skills required for artistic indiduality student learning and development, the importance of interaction and to name that individuality ways of understanding the art education process.Artistic individuality identified as the author of many traits (creativity, originality, rich imagination, generation of ideas and originality, emotionality, artistry) as a whole. It will be divided into multiple artistic individualities types emotional – intuitive, reflex – the intellectual, the active – will power Artistic personality course of development can improve. Formation of student artistic individuality is heavily influenced by art teacher accumulated pedagogical – psychological and artistic skills targeting the individual student’s abilities, skills, and dispositions search.This article identifies a student‘s individuality and cognitive aspects, seen through the emotional needs (work caused the expression of feelings through the mood, theme-making, survival situation and specific circumstances); over interpretations and repetitions, released by the expression of ideas and drawings of their relationship with the child’s psychological state and analysis through passive student‘s expression of his opinion monitoring and assessing the observancion of creativity, friendly conversation form of an exploration of what it means its design, choice of colors, plot, mood piece, through the student’s personal communication environment and search for creative reflection analysis, observing how the child accepts the feedback. Recommendations of the feedback above article include all discussed aspects the child‘s cognitive aspects of artistic individuality.Modern art education is based on the diffusion of artistic and pedagogical-psychological competencies interaction. The study revealed a significant part of the psychological art teacher excellence and artistic literacy and the lack of artistic individuality disrupting students learning process. Meanwhile, the art teacher’s ability to know the student as artistic individuality, the interpretation and evaluation of his work, helping him to participate in the student personality development process.
10
WERNIK, URI. "Psychological Aspects of Criticism in an Academy of Art and Design." Journal of Creative Behavior 19, no. 3 (September 1985): 194–201. http://dx.doi.org/10.1002/j.2162-6057.1985.tb00659.x.
Full textDissertations / Theses on the topic "Psychological aspects of Prehistoric art"
1
Douglas, Blanche Daw. "Understanding the image in art therapy: a phenomenological-hermeneutic investigation." Thesis, Rhodes University, 1999. http://hdl.handle.net/10962/d1002475.
Full textAbstract:
Part One of the research seeks to establish a context wherein certain assumptions pertaining to the interpretative dimensions of understanding the image in art therapy can be considered and reviewed. Notions about the image, meaning and reality are discussed both in terms of how they relate to current art therapy practice, and how they may be alternatively thought about, both from the perspective of ancient Hellenic Greek thought, and more contemporary thought, particularly that of phenomenological and philosophical-hermeneutics. Part Two of the research investigates the phenomenon of understanding the image in an art therapy situation, with a view to reconsidering certain of the assumptions raised in the first part of the thesis (phrased in the form of research questions). It did this utilizing a qualitative method, by exposing four respondents (patients), and two therapists to an art therapy situation in which images were created out of clay. The respondents (patients) and therapists articulated their understanding of the image production procedure, and the meaning of the images created. The way understanding occurred in the empirical part of the research was explained and illustrated by means of the hermeneutic circle, which was operational on a number of different levels. The results of the research suggest that the meaning of the image in art therapy is a creative synthesis, which emerges from within a dialectics of exchange. This exchange involves a number of meaning-generating contexts, of which the patient’s experience, and the therapist’s knowledge, form only a part. The outcome of this exchange is the derived meaning of the image, which represents a ‘fictional’ world that gives the patient and therapist a way of understanding the patient’s situation. The process of the research, which investigates the way understanding of the image in art therapy occurs, is at the same time, an application of the principles of understanding
2
Webb-Ferebee, Kelly. "Expressive Arts Therapy with Bereaved Families." Thesis, University of North Texas, 2001. https://digital.library.unt.edu/ark:/67531/metadc2861/.
Full textAbstract:
Most current grief programs support the children and/or parents of bereaved families rather than the family as a whole. This exploratory study was a quantitative and qualitative investigation of the use of expressive arts therapy with bereaved families during a weekend camp experience and a series of followup sessions. The purpose of the study was to determine the effectiveness of using expressive arts activities in improving the functioning of the bereaved family as a whole as well as individual family members. Participants included eight families who lost a child to a chronic illness between 2 to 36 months months prior to the onset of the study. Children ranged in age from 3 to15, and parents ranged in age from 26 to 66, for a total of 27 participants. The Child Life Department at Children's Medical Center of Dallas, a division of The University of Texas Southwestern Medical Center in Dallas, Texas recruited the families. Participants received flyers and invitational letters and registered through the mail. Families attended a weekend camp where they experienced a wide variety of expressive arts activities in a combination of group formats: multi-family groups, parents' group, developmental age groups for children, total childrens' group, individual family group, mothers' group, and fathers' group. The research design was a pretest/posttest quasi-experimental control group design, but a control group could not be established. Therefore, one-tailed t-tests were used to compare participant functioning between the beginning and end of the study. Instruments used in this study included the Family Environment Scale, the Behavior Assessment System for Children the Beck Anxiety Inventory and the Beck Depression Inventory. In addition, the researcher used qualitative analysis to assess contents of family members' and counseling staff's journals, expressive arts products, and family members' evaluations. Results of this exploratory study indicated some improvements in children's, parents' and total family functioning. Expressive arts therapy shows promise in effecting constructive change in bereaved families and is deserving of further research.
3
Mole, Amanda Lee. "Irony in the art of architectural construction." Thesis, Georgia Institute of Technology, 1990. http://hdl.handle.net/1853/22409.
Full text
4
Belan, Kyra. "The effect of sexist attitudes on the perception of visual artists by community college and university students." FIU Digital Commons, 1992. http://digitalcommons.fiu.edu/etd/1507.
Full textAbstract:
This study compared the effects of sexist labeling on the perceptions of visual artists by the community college and university students and determined their sex role orientation.
The 370 students were shown five slides of an artist's works and were given six versions of an artist's biography. It contained embedded sexual labeling (woman, girl, person/ she, man, guy, person/he). The Artist Evaluation Questionnaire was administered to the female and male community college and university students that required the students to evaluate the female and male artists on several aspects of affective and cognitive measures. The questionnaire consisted of 9 items that had to be rated by the participants. In addition, the students filled out the Demographic Questionnaire and the BEM Sex Role Inventory, titled the Attitude Questionnaire. The Analysis of Variance testing procedures were administered to analyze the responses.
The results disclosed gender differences in students' ratings. The female artist's work, when the artist was referred to by the neutral sexual label, "person", received significantly higher ratings from the female students. The male students gave the female artist her highest ratings when she was referred to by the low status sexual label, "girl". Both sexes did not express statistically significant preferences for any of the male sexual labels.
Gender difference became apparent when it was found that female students rated both sexes equally, and their ratings were lower than those of the male students. The male students rated the female artist's work higher than the work of the male artist.
The analysis of the sex role inventory questionnaire revealed the absence of the feminine (expressive) and masculine (instrumental) personalities among the students. The personalities of almost all the students were androgynous, with a few within the range of the near feminine, and a few within the range of the near masculine.
The study reveals that there are differences in perception of sexual labels among the community college and university students.
5
Lloyd, Sharni, and mikewood@deakin edu au. "Exploratory surgery of the female psyche." Deakin University, 1996. http://tux.lib.deakin.edu.au./adt-VDU/public/adt-VDU20051111.115947.
Full textAbstract:
The thesis explores the visual narrative concerning a journey of empowerment for women. To enable the journey to advance the inquiry is directed into two areas. The first area is female gender, which is argued to be socially constructed and implicit in the marginalisation of women in western society. The second area is feminine authority, which is gained by developing an understanding and acceptance of the characteristics which have historically been considered as belonging to the feminine. Granting these characteristics agency would recognise their authority and assist in the elevation of the female to a position of equality in western society.
Beginning from a feminist position, the research supported the belief that the female is marginalised in western society. It also confirmed the notion that empowerment and authority can be attained by women if they actively pursue the following;
Explore their own psychology beyond the existing socially constructed gender roles.
Develop an understanding of their feminine self by applying Jung's theories on individuation and archetypes.
Expose the underlying patriarchal influence in western epistemology and science by challenging existing deeply held cultural and scientific beliefs and by actively contributing as feminists to the areas of epistemology and science.
Archetypal myths of the feminine have developed from an androcentric position. They enforce and perpetuate gender imbalance which contributes to the disenfranchisement of women in western society, Individuation is a process in which a person explores aspects of themselves to bring forth parts of their unconscious into their conscious mind in an attempt to gain a deeper understanding of themselves. As a consequence the consciousness develops closer links with archetypal memories which assists the exploration. The true feminine is the feminine not restricted or defined by the dominant androcentric view. Knowledge of the feminine empowers women to address the marginalisation of the female in western society and assists in the process of gaining female authority.
This enquiry also investigated the four stages of female psychological development with regard to patriarchal influences. Of particular importance is the second stage of psychological development where the female identifies with historically perceived inferior characteristics of the female. This is when she rejects her connections with the primacy of female power and her deep connections with nature which were inherited from archaic times. It is at this stage that she absorbs the myths associated with western patriarchal society which effectively disempower her.
Western epistemology, with its emphasis on objective investigation and empiricism contributes to the support for and promotion of inferior female gender. This type of investigation is brought into question when areas of research into primates and human evolutionary theory is shown to develop from an androcentric view.
Western knowledge has associations with power and justice and power is commonly associated with dominance. Regard for truth and absolute can be viewed as key elements in the support for knowledge and its associations with power. Knowledge has historically maintained suppression of individual experience which promotes a universalised account. This suppression of beliefs other than the dominant authority maintains the existing dominant social structure.
Foucault's view of the genderised or inscribed body alerts us to areas where dominance, resistance and power play a part in maximising masculine power and control. Gender becomes an instrument of power within the existing patriarchal structure. Gender, knowledge and power are identified as areas obstructing female empowerment.
Part 3 of this exegesis examines the imagery which embodies the visual narrative. Particularly, the harlequin image, its historical background and connections with ancient mythology including reference to Jungian psychology. The harlequin image is developed sequentially in the earlier black and white drawings on paper. These drawings contained a female figure which was often placed in juxtaposition with a Venus or goddess image, reference was also made to eve and the siren. These elements provided the framework which enabled the harlequin image to emerge and evolve. The narrative developed with an understanding of the feminine aspects of the psyche which resulted in the harlequin acquiring the elevated authority of a goddess.
The Harlequin evolved from my need for symbolic representation of the female psyche. It represents contradiction and dualism. It is a composition of opposites, reflects masculine and feminine traits, the dark and light of the conscious and unconscious mind, it houses both comic and sinister elements, is a trickster and menace. The costume, colours and patterns are expressive elements conducive to fragmentation and layering within the composition of the paintings.
Jung examined the harlequin in Picasso's paintings. He concluded that as Picasso drew on his inner experiences the harlequin became important as a symbol; it was a pictorial representation from the unconscious psyche. It travelled freely from the conscious to the unconscious and represented the masculine and feminine, chthonian and apollonian.
The final painting in the series, a triptych, completes the narrative and stands alone as a salutatory work. It unites the series by combining existing compositional devices
and technique while making reference to imagery from previous works, The Three Graces Victorious, expresses the authority of the feminine. It completes a victorious stage of a journey where the harlequin is empowered by archaic memories and knowledge of the psyche. The feminine is hailed, elevated and venerated.
Other elements which assist in expressing the visual narrative are; colour, technique and influence. Colour is explored and its use as an emotive devise in expressionism. Paul Klee's writing on the use of colour and it's symbolic meaning and Julia Kristeva's investigation on colour from a psychoanalytic and semiotic view are also discussed.
To indicate influences and connections within my oeuvre, reference is also made to the following: Jasper Johns' for his use of imagery in his Four Seasons series with it's reference to a journey of maturation and Louise Bourgeois' work which deals with issues of gender, memories and past journeys.
Although The Three Graces Victorious; the concluding painting for the investigation is celebratory and represents a finality to the thesis, it points to further areas that impede feminine development and need future examination. Reference is made to a continuation of the exploratory journey by plotting the Harlequin/Goddesses future directions. Although the Harlequin/Goddess is empowered with newly acquired authority, her future journey does not need to be bound by mathematics or limited by rationality. She does not require power to dominate or gender structures to subjugate, but requires limitless boundaries and contexts. The Harlequin/Goddess's future journey is not fixed.
6
Tang, Cheong Wai Acty. "Gazing at horror: body performance in the wake of mass social trauma." Thesis, Rhodes University, 2006. http://hdl.handle.net/10962/d1002381.
Full textAbstract:
This thesis explores various dilemmas in making theatre performances in the context of social disruption, trauma and death. Diverse discourses are drawn in to consider issues of body, subjectivity and spectatorship, refracted through the writer’s experiences of and discontent with making theatre. Written in a fractal-like structure, rather than a linear progression, this thesis unsettles discourses of truth, thus simultaneously intervening in debates about the epistemologies of the body and of theatre in context of the academy. Chapter 1: Methodological Anxieties Psychoanalytic theory provides a way in for investigating the dynamics of theatrical performance and its corporeal presence, by focusing on desire and its implication in the notions of loss and anxiety. The theories of the unconscious and the gaze have epistemological implications, shifting definitions of “presence” and “truth” in theatre performance and writing about theatre. This chapter tries to outline the rationale for, as well as to enact, an alternative methodology for writing, as an ethical response to loss that does not insist on consensus and truth. Chapter 2: (Refusing to) Look at Trauma This chapter examines the politics that strives to make suffering visible. Discursive binaries of public/private, dead/living, and invisible/visible underlie the politics of AIDS and sexuality. These discourses impact on the reception of Bill T. Jones's choreography, despite his use of modernist artistic processes in search of a bodily presence that aims to collapse the binary of representation (text) and its subject (being). The theory of the gaze shows this politics to be a phallocentric discourse; and narrative analysis traces the metanarrative that results in the commodification of oppositional identities, so that spectators participate in the politics as consumers. An ethical artistic response thus needs to shift its focus to the subjectivity of the spectator. Chapter 3: The Screen and the Viewer’s Blindness By appealing to a transcendent reality, and by constituting spectators as a participative community, ritual theatre claims to enact change. The “truth” of ritual rests not on rational knowledge, but on the performer’s competence to produce a shamanic presence, which director Brett Bailey embraces in his early work. Ritual presence operates by identification and belonging to a father/god as the source of meaning; but it represses the loss of this originary wholeness. Spectators of ritual theatre are drawn into an enactment of communion/community, the centre of which is, however, loss/emptiness. The claim of enacting change becomes problematic for its absence of truth. Bailey attempts to perform a hybrid, postcolonial aesthetics; but the problem rests in the larger context of performing the notion of “South Africa”, a communal identity hardened around the metanarrative of suffering, abjecting those that do not belong to the land of the father/god – foreigners that unsettle the meaning of South African identity. Conclusion: Bodies of Discontent The South African stage is circumscribed by political and economic discourses; the problematization of national identity is also a problematization of image-identification in the theatre. In search for a way to unsettle these interrogative discourses, two moments of performing foreignness are examined, one fictional, one theatrical. These moments enact a parallel to the feminine hysteric, who disturbs the phallocentric truth of the psychoanalyst through body performance. These moments of disturbing spectatorship are reflected in the works of performance artist Marina Abramovic. Her explorations into passive-aggression, shamanism and finally theatricality and the morality of spectatorship allow for an overview of the issues raised in this thesis regarding body, viewing, and subjecthood. Sensitivity to the body and its discontent on the part of the viewer becomes crucial to ethical performance.
7
Bader, Angela. "A personal exploration of the creative process." Thesis, Link to the online version, 2006. http://hdl.handle.net/10019/960.
Full text
8
Wedderburn, Michael Roderick. "Living in the Shadow of death: purging the unconscious for the creation of a personal visual language." Thesis, Nelson Mandela Metropolitan University, 2016. http://hdl.handle.net/10948/13250.
Full textAbstract:
This visual arts based research explores the autonomous process of mark-making from the unconscious for the sake of expressing inner turmoil that comes with ‘Living in the Shadow of Death series’ (2014). The manner by which emotions are, in a sense, naturally released in automatic drawing and painting underpin the basis of this research as part of the development of an expressive visual language. ‘Living in the Shadow of Death’ is definitively concerned with how an emotional predisposition, a severe case of unconscious aggression due to struggles with the illness of Marfan Syndrome comes to the surface naturally and is expressed visually. Essentially, this research aims to answer the main research question: How might the act of drawing convey the power and complexity of emotion through the exploration of autonomous mark-making with unconventional tools, mediums and methodologies? This research inquiry rests upon three important benefactors and influences: Illness, anatomy and unconventional tools. What is discussed is an interdisciplinary regime of theoretical and practical research into Surrealist Automatism and a progressive development of this methodology formed from the perspective and approach of a Marfan Syndrome sufferer. The research includes an analysis of Automatism in the works and practice of artists Roberto Matta, Joan Miro and Andre Masson and their influence on the working methods of Jackson Pollock. To this end, the contribution made by Jungian therapy to Pollock’s Action Painting technique and experimentation with unconventional methodologies is explored. Furthermore, the practice-led analysis and documentation of information gained on Surrealist Automatism aided development of working procedures and how this guided the creation of a body of works entitled ‘Living in the Shadow of Death’ is discussed. Ultimately, the content of this research expands the discourse on what constitutes drawing tools, media and format, and how suffering from Marfan Syndrome extended and amplified the expressive potential of Surrealist Automatism and Action Painting exemplified in the development of an innovative methodology known as ‘Anatomical Automatism’.
9
Wentzel, Andrieta. "The four cycles of Herakles : towards the visual articulation of myth as psychological process." Thesis, Nelson Mandela Metropolitan University, 2006. http://hdl.handle.net/10948/642.
Full textAbstract:
My research involves the reassertion of mythic experience in a manner considered contemporaneously relevant. The relevancy resides in the Jungian assumption that myth structures psychic experience to the benefit of the individual and ultimately, society. To this end, I have taken the hero myth of Heracles, and, by filtering it through Jung’s system promoting psychological maturation, that is what he called the individuation process, I have reconfigured it in fine art form
10
Bliss, Shirley E. "The Art Process in Therapy: A Phenomenological Study." Thesis, University of North Texas, 1991. https://digital.library.unt.edu/ark:/67531/metadc935726/.
Full textAbstract:
This study utilized a phenomenological research methodology based on Husserl's work to explore the content of subjective internal experiencing during the art process. The study was designed to examine what transpired during the art experience in therapy to provide a better understanding of the therapeutic dimensions of the subject's interaction with the art medium, in this case drawing with pastels. This phenomenological study involved four subjects who participated in eight therapy sessions each, in which art was the principal medium, for a total of 40 hours of therapy over a period of 10 weeks. On the basis of the findings and conclusions of this study, recommendations were made for a series of studies to be conducted to gain broader insight into the therapeutic modalities of the art process. Some considerations for training programs of therapists in the use of art in therapy and recommendations for therapists trained in the use of art in therapy were also included.
Books on the topic "Psychological aspects of Prehistoric art"
1
Pizzato, Mark. Beast-people onscreen and in your brain: The evolution of animal-humans from prehistoric cave art to modern movies. Santa Barbara, California: Praeger, 2016.
Find full text
2
Psikhologii︠a︡ pervobytnogo i tradit︠s︡ionnogo iskusstva. Moskva: Progress-Tradit︠s︡ii︠a︡, 2007.
Find full text
4
Kut︠s︡enkov, P. A. Psikhologii︠a︡ pervobytnogo i tradit︠s︡ionnogo iskusstva. Moskva: Progress-Tradit︠s︡ii︠a︡, 2007.
Find full text
5
Muskett, G. M. Mycenaean art: A psychological approach. Oxford: Archaeopress, 2007.
Find full text
9
National Endowment for the Arts. Design Arts Program., ed. Places as art. New York: Publishing Center for Cultural Resources, 1985.
Find full text
10
Prilik, Pearl Ketover. The art of stepmothering. Waco, Texas: WRS Publishing, 1994.
Find full textBook chapters on the topic "Psychological aspects of Prehistoric art"
1
Durband, Arthur C. "Prehistoric Human Art." In Encyclopedia of Evolutionary Psychological Science, 1–2. Cham: Springer International Publishing, 2016. http://dx.doi.org/10.1007/978-3-319-16999-6_1839-1.
Full text
2
Durband, Arthur C. "Prehistoric Human Art." In Encyclopedia of Evolutionary Psychological Science, 6139–40. Cham: Springer International Publishing, 2021. http://dx.doi.org/10.1007/978-3-319-19650-3_1839.
Full text
3
Lenssen-Erz, Tilman, and Andreas Pastoors. "Reading Spoor." In Reading Prehistoric Human Tracks, 101–18. Cham: Springer International Publishing, 2021. http://dx.doi.org/10.1007/978-3-030-60406-6_6.
Full textAbstract:
AbstractThe spoor of animals and humans alike contain rich information about an individual and about a momentary activity this individual performed. If the – arguably hard-wired – human ability to read spoor and tracks is sufficiently trained, a footprint allows to glean from it various physical, kinetic, medical, social and psychologic data about an individual, as has been observed among various populations across the globe. The Ju|’hoansi San from northern Namibia still today practice traditional hunting so that tracking is a skill that is required and trained on a daily base. For a good tracker, the information she or he gets from spoor is equally rich on animal and human footprints, and it is not necessary that the tracker has been exposed before to the individual whose spoor she/he reads. In order to allow an assessment of how tenable are the interpretations by contemporary hunter-gatherers of prehistoric human footprints, this chapter elucidates methodological aspects of tracking and situates this ability in an epistemological framework.
4
"Some Psychological Aspects of the Mother-Child Relationship in Western Art." In Art and Psychoanalysis, edited by Laurie Schneider Adams, 198–224. Routledge, 2018. http://dx.doi.org/10.4324/9780429502200-8.
Full text
5
Brown, Michelle P. "The Jellinge Stone: from prehistoric monument to petrified ‘book’." In Aspects of knowledge, 235–51. Manchester University Press, 2018. http://dx.doi.org/10.7228/manchester/9780719097843.003.0011.
Full textAbstract:
Like the previous chapter, Michelle Brown’s contribution represents an instance of the integration of Christian and pre-Christian Germanic knowledge in the early Middle Ages. Brown explores the context and meaning of the distinctive late-tenth-century rune-stone carved at the royal burial ground of Jellinge in Denmark, viewing the monument as a book in stone and a symbol of conversion and of changing political agendas in Scandinavia in the tenth century. Ranging widely across early medieval art, Brown explains that the stone (like the Auzon/Franks Casket, to which she also alludes) draws upon both Christian and pagan Norse traditions ‘to form a new, integrated iconography that formed a distinctive expression of the Scandinavian experience of cultural synthesis and conversion’.
6
Laneri, Nicola. "Defining the Canon of Funerary Archaeology in the Ancient Near East." In Testing the Canon of Ancient Near Eastern Art and Archaeology, 153–71. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780190673161.003.0007.
Full textAbstract:
In archaeology, funerary practices are a quintessential element in the process of interpreting ancient societies because of the widespread presence in the archaeological record of remains associated with mortuary depositions. For this reason, throughout the twentieth century, archaeologists have debated both methodologically and theoretically what value to assign to the remains of funerary rituals enacted by ancient communities in relationship to other social and cultural domains. The aim of this chapter is to define the canon of ancient Near Eastern funerary practices through a detailed interpretation of the relationship between funerary practices, socioeconomic organization, and religious beliefs. With the use of a diachronic perspective, transformation in one of these domains is shown to have had a direct impact on the others. Case studies test how specific aspects of mortuary and funerary practices among prehistoric through first-millennium BCE Near Eastern communities have become canonical.
7
Vogel, Nicolas, Tanja Huber, and Ilker Uçkay. "Diabetic Foot Osteomyelitis: Frequent Pathogens and Conservative Antibiotic Therapy." In Infectious Diseases and Sepsis [Working Title]. IntechOpen, 2021. http://dx.doi.org/10.5772/intechopen.98328.
Full textAbstract:
Chronic diabetic foot osteomyelitis (DFO) is a frequent complication in adult polyneuropathy patients with long-standing diabetes mellitus. Regarding the conservative therapy, there are several crucial steps in adequate diagnosing and approaches. The management should be performed in a multidisciplinary approach following the findings of recent research, general principles of antibiotic therapy for bone; and according to (inter-)national guidance. In this chapter we emphasize the overview on the state-of-the-art management regarding the diagnosis and antibiotic therapy in DFO. In contrast, in this general narrative review and clinical recommendation, we skip the surgical, vascular and psychological aspects.
8
Duncan, Randy. "Afterword." In The Supervillain Reader, 372–76. University Press of Mississippi, 2019. http://dx.doi.org/10.14325/mississippi/9781496826466.003.0035.
Full textAbstract:
The Maxx, like so many other productions of the 1990s, is currently enjoying a resurgence and return to cultural relevance in a remastered IDW edition (with new colors by Ronda Pattison) in celebration of the twentieth anniversary of its first printing with Image Comics.The Maxx remains equal parts provocative, disturbing, and inscrutable because of Sam Kieth’s confrontation of the psychological landscape and conditions of the superhero genre itself: the inherent schizophrenia of the masked split identity, the interdependent triangulation of hero/villain/victim, and the necessity of victimhood as a precondition of heroism and rescue. In tandem with this, Kieth’s aesthetics – particularly his use of panels, insets, colors, and gutters – almost weaponizes the technical aspects of sequential art in order to impose the scattered, unreliable, and atemporal experience of trauma itself on the reader.
9
Rodríguez, Adam J. "Assessment of Egg and Sperm Donors." In Handbook of Private Practice, 660–66. Oxford University Press, 2017. http://dx.doi.org/10.1093/med:psych/9780190272166.003.0052.
Full textAbstract:
The assessment of egg and sperm donors is an important area of niche practice for mental health professionals. With the appropriate training, mental health practitioners can offer these much-needed services to prospective parents who are using assisted reproductive technologies (ART) to deal with infertility. Due to the invasiveness of these procedures, as well as their physical and emotional ramifications, many clinics and hospitals require a psychological evaluation of any individual who provides egg donation or becomes a gestational carrier or surrogate. This chapter describes the details of this niche area of practice and how the author developed an interest in it. The author covers its joys and challenges, the business aspects of this area of practice, guidance on developing this niche area of practice, and resources to assist in this process.
10
Calonne, David Stephen. "Epilogue." In R. Crumb, 203–15. University Press of Mississippi, 2021. http://dx.doi.org/10.14325/mississippi/9781496831859.003.0008.
Full textAbstract:
The Epilogue brings Crumb’s life up to date with his residence in France and shows how he has continued to be a prolific creative artist, producing several Sketchbooks as well as R. Crumb’s Dream Diary, a valuable compilation of his dreams that demonstrate the ways ideas for his artwork have their origin in his dreams. We may also see how his struggle to find his authentic self continues in his later work as he returns obsessively to the effort to shed psychological conditioning and to arrive at his true identity. While in France, Crumb began to meditate regularly, and the Epilogue shows how his interests in Hinduism and Buddhism, the occult, out-of-body experiences, aliens, and UFOs continued to be central aspects of his intellectual life and central themes in his art. The Epilogue concludes with a discussion of the art Crumb provided for the French newspaper Charlie Hebdo in which he satirized Islamic extremism, thus emphasizing again his distaste for monotheistic, orthodox religions and stating his preference for the free, individual pursuit of spiritual knowledge and understanding.
Conference papers on the topic "Psychological aspects of Prehistoric art"
1
Schtein, S. Yu. "Art Studies: Between Discipline And Discourse. Socio-Psychological Aspects." In Psychology of subculture: Phenomenology and contemporary tendencies of development. Cognitive-Crcs, 2019. http://dx.doi.org/10.15405/epsbs.2019.07.77.
Full text
2
Gnatik, Ekaterina. "Socio-psychological Aspects of Informatization of Higher Education." In 4th International Conference on Education, Language, Art and Intercultural Communication (ICELAIC 2017). Paris, France: Atlantis Press, 2017. http://dx.doi.org/10.2991/icelaic-17.2017.5.
Full text