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The definitive work on the profound and surprising links between manic-depression and creativity, from the bestselling psychologist of bipolar disorders who wrote An Unquiet Mind. One of the foremost psychologists in America, “Kay Jamison is plainly among the few who have a profound understanding of the relationship that exists between art and madness” (William Styron). The anguished and volatile intensity associated with the artistic temperament was once thought to be a symptom of genius or eccentricity peculiar to artists, writers, and musicians. Her work, based on her study as a clinical psychologist and researcher in mood disorders, reveals that many artists subject to exalted highs and despairing lows were in fact engaged in a struggle with clinically identifiable manic-depressive illness. Jamison presents proof of the biological foundations of this disease and applies what is known about the illness to the lives and works of some of the world's greatest artists including Lord Byron, Vincent Van Gogh, and Virginia Woolf.
Over the past two decades, there has been a major increase in research into the effects of the arts on health and well-being, alongside developments in practice and policy activities in different countries across the WHO European Region and further afield. This report synthesizes the global evidence on the role of the arts in improving health and well-being, with a specific focus on the WHO European Region. Results from over 3000 studies identified a major role for the arts in the prevention of ill health, promotion of health, and management and treatment of illness across the lifespan. The reviewed evidence included study designs such as uncontrolled pilot studies, case studies, small-scale cross-sectional surveys, nationally representative longitudinal cohort studies, community-wide ethnographies and randomized controlled trials from diverse disciplines. The beneficial impact of the arts could be furthered through acknowledging and acting on the growing evidence base; promoting arts engagement at the individual, local and national levels; and supporting cross-sectoral collaboration.
Perspectives on Creativity: Volume 2 extends the work of the first volume and examines creativity from multiple viewpoints. The volume contains contributions from writers, therapists, artists, and scholars from disciplines as diverse as psychology and French. The first section addresses the nature of creativity and highlights the role of self-discipline in the creative process. The second section asks what we can learn from studying artists and presents qualitative, phenomenological, quantitative, and archival research on both individuals and groups of artists. The third section discusses the use of creativity within the therapeutic setting, as well as the particular therapeutic needs of creative individuals. The final section of the book presents research exploring creative cognition and its relationship to mood and perception. What makes this book unique is the interdisciplinary consideration of the topic of creativity, the inclusion of works ranging from case studies to theoretical essays, making it appealing to individuals from a wide variety of backgrounds.
This book re-examines the common view that a high level of individual creativity often correlates with a heightened risk of mental illness.
In Perspectives in Creativity experts in the psychology of creativity take stock of the field by examining their own experiences. The contributors relate how they embarked on their work, how their ideas developed, what in their thinking remained the same, what had changed, and how they evaluate their successes and failures. The introductory chapter provides a historical context for subsequent contributions. J. P. Guilford then describes the development of the field of creativity from the perspective of the Structure of Intellect model. Donald W. MacKinnon describes his work at the Institute of Personality Assessment and Research. J. W. Getzels and Mihalyi Csikszentmihalyi recount in the following chapter how, though starting with a conception of creativity as a problem-solving process, they were driven through their work with artists to a conception of creativity as also a problem-finding process. In the fifth chapter, Frank M. Andrews describes his investigations of the social and psychological factors in scientific laboratories. Frank Barron examines the problem of creativity and alienation. Anne Roe analyzes the sources and development of paintings as reported by twenty artists. In the following chapter, Salvatore Maddi examines the widely held belief that social integration and a permissive environment are conducive to creative endeavor. In chapter 9, Calvin Taylor and Richard Ellison describe the development of the Utah program of assessment and intervention with regard to the creativity of children in the classroom. Next, Sidney Parnes discusses his work on "brainstorming" and its emphasis on a balance between imagination and judgment, freedom, and discipline. George Prince tells of the development of "synectics" since its early formulation and recounts its application to creative production in industry. E. Paul Torrance then examines recent creativity in the schools and describes his own efforts in devising diagnostic tests and educati
First published in 1986, neither the creative process nor the art object, singly or together, has been often in the forefront of sociological attention. This is a study building on Harry Murray's classic Explorations in Personality of the 1930s.
Creative Analysis: Art, Creativity and Clinical Process explores the dynamics of creativity in psychoanalytic treatment. It argues that the creative process of the analytic interaction is characterized by specific forms of feeling, thinking and most importantly, relating that result in the emergence of something new – therapeutic change. The artistic aspects of psychoanalysis and various features of creativity in analytic treatment are explored. Clinical examples are discussed at length. George Hagman presents a new model of the psychology of creativity and art that helps us to better understand the clinical process. The book explores and develops several important implications of Hagman’s main thesis: the psychodynamics of art, the creativity of the brain, aesthetic aspects of the treatment relationship, the creativity of the analyst and analysand. Change in analysis is driven not just by the analyst’s interventions but the patient’s own motivation and capacity for self-transformation. This change is depicted here as a depth psychological process which explores the sources of the patient’s resistance to self-actualization and identifies hidden potential, unrealized capacities and strengths. Creative Analysis: Art, Creativity and Clinical Process reformulates psychoanalytic therapy as a form of art that can help patients realize their potential which may have been blocked, inhibited, denied or derailed. The book will be of interest to psychoanalysts, psychotherapists, graduates and students, including the educated public interested in art.
In this book, well-known scholars describe new and exciting approaches to aesthetics, creativity and psychology of the arts, approaching these topics from a point of view that is biological or related to biology and answering new questions with new methods and theories. All known societies produce and enjoy arts such as literature, music and visual decoration or depiction. Judging from prehistoric archaeological evidence, this arose very early in human development. Furthermore, Darwin was explicit in attributing aesthetic sensitivity to lower animals. These considerations lead us to wonder whether the arts might not be evolutionarily based. Although such an evolutionary basis is not obvious on the face of it, the idea has recently elicited considerable attention. The book begins with a consideration of ten theories on the evolutionary function of specific arts such as music and literature. The theory of evolution was first drawn up in biology, but evolution is not confined to biology: genuinely evolutionary theories of sociocultural change can be formulated. That they need to be formulated is shown in several chapters that discuss regular trends in literature and scientific writings. Psychologists have recently rediscovered the obvious fact that thought and perception occur in the brain, so cognitive science moves ever closer to neuroscience. Several chapters give overviews of neurocognitive and neural network approaches to creativity and aesthetic appreciation. The book concludes with two exciting describing brain-scan research on what happens in the brain during creativity and presenting a close examination of the relationship between genetically transmitted mental disorder and creativity.
This ground-breaking book provides a unique insight into artistic creativity that lays the foundation for a new theory. Through a review of documents such as essays, published interviews, lecture notes, and more, the book uses case studies of six contemporary artists to provide a detailed phenomenological study of artistic creativity. The book offers a narrative account of six contemporary artists and their ways of approaching art-making. Through comprehensive accounts based on the individual artist’s descriptions, the book reveals an existential dimension of art-making that explores the inspirational moment, the state of mind during creativity, how creativity can originate in a spontaneous stream of consciousness, and how emotions play a major role in the creative process. The book sets out a unique understanding of artistic creativity as an alternative to the prevailing cognitive conceptions within psychology. Offering novel insights into how art is created and can influence the human psyche, the book will primarily appeal to academics, scholars, and post-graduate students within the area of creativity research, psychological aesthetics, and the psychology of art, as well as those with an interest in art and artistic work.