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Luba Kessler, M.D.
Laurie Wilson, Ph.D.
1. INTRODUCTION
Loewald, H. (1951) “Ego and Reality” IJP 32: 10 18.
Dahl, H. (1965) Observations on a “Natural Experiment”:
Hellen Keller. JAPA 533 50 -- see especially pp 539 541
Ogden, T. (1999) “The Music of what happens in Poetry and
Psychoanalysis” IJP 80:979 994.
2. METHODOLGY
Blum, H. (2001) Psychoanalysis and Art. JAPA 49:4 1408 25
Wilson, L. (1999) “Alberto Giacometti’s Woman with her
Throat Cut: Multiple Meanings and Methodology.” The Annual
of Psychoanalysis Vol. 26 27, 143 72.
Levine, Susan (2003) Beauty Treatment: The Aesthetics of the Psychoanalytic
Process; PQ 72: 989 1016.
3. PERCEPTION: BODY AND SENSES
Greenacre, P. (1957) Childhood of the Artist: Libidinal Phase Development
and Giftedness PSC 12:47
Rose, G. (1963) Body Ego and Creative Imagination (JAPA) 11:775
789.
Sartre, J P. (1938) (1964) Nausea , New York: New Directions Books.
126 135.
Arp. - “The Air is a Root” pp 59 60.
4. PERCEPTION: FORM AND EMOTION
Noy, P.(1979) Form Creation in Art: An Ego Psychological Approach
to Creativity Psychoanalytic Quarterly 48:229 256
Langer, S. (1957) Expressiveness, in Problems of Art, 13 26.
Rose, G., (1980) Power of Form New York: International Universities
Press, Chapter 9.
Conniff, Richard. (Jan, 2004) Reading Faces Smithsonian Magazine
44 50.
5. THINKING PROCESS
Noy, Pinchas (1972) About art and artistic talent IJP 53 243 9
Noy, P. (1969) A Revision of the Psychoanalytic Theory of the Primary
Process IJP 50:155 178.
Noy P. (1978) Insight and Creativity JAPA 26:717 748 (optional)
Klee, Paul. Selection from The Thinking Eye
2 5; 116 119.
6. SYMBOLIZATION
Beres, D. (1965) Symbol and Object, Bulletin of the Menninger Clinic,
Vol. 29, no. 1 3 23.
Wilson, L. (1985) Symbolism and Art Therapy: I Symbolism’s
Role in the Development of Ego Functions. American Journal of Art
Therapy. Vol. 23:3, 79 88.
Deri, S. (1978) Transitional Phenomena: Vicissitudes of Symbolization
and Creativity, 46 60 in Between Reality and Fantasy, ed. Grolnick,
S. and Barkin, L. New York: Jason Aronson.
7. PLAY AND TRANSITIONAL SPACE
Winnicott, D.W. (1967) Location of Cultural Experience. IJP 48:
368 72.
Winnicott D.W. (1960) Ego Distortion in terms of True and False
Self from The Maturational Processes and the Facilitating Environment
N.Y.: International Universities Press. 1965
Winnicott, D.W. (1971) Playing: Creative Activity and the Search
for the Self. From Playing and Reality. Penguin Books 1971
8. LOSS AND TRAUMA
Niederland, W. (1976) Psychoanalytic Approaches to Artistic Creativity.
PQ. 45: 185 212.
Segal, H. (1991) “Art and the Depressive Position” in
Dream, Fantasy and Art.
Mitrani, J. (1998) Unbearable Ecstasy, Reverence and Awe and the
Perpetuation of an Aesthetic Conflict. PQ 57:102 127
9. THE SPECTRUM NORMALITY TO PATHOLOGY
SUBLIMATION
Kramer, Edith (1979) Childhood and Art Therapy (1998) 74 132.
MacGregor, J. (1989) “The World of Adolf Wolfli” in
The Discovery of the Art of the Insane. Princeton University Press.
206 221.
Jamison,. K. Touched By Fire pp. 101 131; (optional)
Gedo, John. (1996) Paul Cezanne, Psychopathology, Subject Matter
and Formal Innovation in The Artist and the Emotional World. New
York: Columbia University Press. 193 204
10. THINKING: CONTENT AKA FANTASY
Unconscious Fantasy
Wilson, L. (2002) Dead Men Walking. Art in America May: 134 142.
Beres, D. (1962) The Unconscious Fantasy Psychoanalytic Quarterly,
July, 309 28.
Hartke, R. (2000) “The Primal Scene and Picasso’s Guernica”
IJP 81 (Feb.)
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