gri_2003_m_46_b05_f09_038
- Max. dissimilarity: 0.155
- Mean dissimilarity: 0.071
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Transcribers
- 68760695 - jesseytucker
- 68812150 - ALBECA
- 69365186 - Zooniverse2017
- 69830208 - pogostickies
- 71123884 - Preacher357
- WINNER - 71747985 - racjohn
68760695 - jesseytucker
THE SEXUAL BASIS OF ART *In classical psycho-analysis art was studied for several
reasons. Ernst Kris (i) has pointed out that the arts provided
a field of investigation outside pathology. It was necessary
in the first third of the 20c. to establish the ubiquity of
sexuality in the arts, as in the uncornsious minds of individuals.
Another point that was emphasized was the relationship between
an artist's work and his life: this has been convincingly demon-
strated in Marie Bonaparte's massive study of Edgar Allen Poe.
Applied psycho-analysis (with the brilliant exception of Frend's
Leonardo da Vince (2) has worked better with literature than with
the visual arts because psycho-analysts tend to have a better
knowledge of one than the other. (Ella Sharpe, for example,
once quoted, with equal respect, Van Gogh and Dame Laura Knight.)
Recently attempts have been made to study the arts with at-
tention to specific problems of technique and aesthetics. Harry
B. Lee, in uncollected articles (4), for example, has considered
the psychological distinction between masterpieces and bread-and-
butter pieces, and the specific nature of creativity. At pres-
ent this field is in a fragmentary but evocative condition. Oft
people who have not mastered the classical phase of psych-analysts
acquire a spurious modernity by rejecting the complexitites of re-
cent research. Our concern here is not the recent controversial
refinements but the classical work of psycho-analysis which it is
irresponsible and prejudiced to reject new. However, it is my
68812150 - ALBECA
THE SEXUAL BASIS OF ART *In classical psycho-analysis art was studied for several reasons. Ernst Kris (1) has pointed that the arts provided a field of investigation outside pathology. It was necessary in the first third of the 20c. to establish the ubiquity of sexuality in the arts, as in the unconscious minds of individuals. Another point that was emphasized was the relationship between an artist's work and his life: this has been convincingly demonstrated in Marie Bonaparte's massive study of Edgar Allen Poe. Applied psycho-analysis (with the brilliant exception of Frend's Leonardo da Vinci (2) ahs worked better with literature than with the visual arts because psycho-analysts tend to have a better knowledge of one than the other. (Ella Sharpe, for example, once quoted, with equal respect, Van Gogh and Dame Laura Knight.)(3)
Recently attempts have been made to study the arts with attention to specific problems of technique and aesthetics. Harry B. Lee, in uncollected articles (4), for example, has considered the psychological distinction between masterpieces and bread-and-butter pieces, and the specific nature of creativity. At present this field is in a fragmentary but evocative condition. Often people who have not mastered the classical phase of psycho-analysis acquire a spurious modernity by rejecting the complexities of re-cent research. Our concern here is not the recent controversial refinements but the classical work of psycho-analysis which it is irresponsible and prejudiced to reject now. However, it is my experience that hostile critics are reluctant to consider the psycho-logical background of the arts, despite the consequent gain in
69365186 - Zooniverse2017
THE SEXUAL BASIS OF ART*In classical psycho-analysis art was studied for several
reasons. Ernst Kris (1) has pointed out that arts provided
a field of investigation outside pathology. It was necessary
in the first third of the 20c. to establish the ubiquity of
sexuality in the arts, as in the unconscious minds of individuals.
Another point that was emphasized was the relationship betwee
an artist's work and his life: this has been convincingly demon-
strated in Marie Bonaparte's massive study of Edgar Allan Poe.
Applied psycho-analysis (with the brilliant exception of Freud's
Leonardo Da Vinci (2), has worked better with literature than with
the visual arts because psycho-analysts tend to have a better
knowledge of one than the other. (Ella Sharpe, for example,
once quoted, with equal respect, Van Gogh and Dame Laura Knight.) (3)
Recently attempts have been made to study the arts with at-
tention to specific problems of technique and aesthetics. Harry
B. Lee, in uncollected articles (4), for example, has considered
the psychological distinction between masterpieces and bread-and-
butter pieces, and the specific nature of creativity. At pres-
ent this field is in fragmentary but evocative condition. Often
people who have not mastered the classical phase of psycho-analysis
require a spurious modernity by rejecting the complexities of re-
cent research. Our concern here is not the recent controversial
refinement but the classical work of psycho-analysis which it is
irresponsible and prejudiced to reject now. However, it is my
experience that hostile critics are reluctant to consider the psycho-
logical background of the arts, despite the consequent gain in
69830208 - pogostickies
THE SEXUAL BASIS OF ART *In classical psycho-analysis art was studied for several
reasons. Ernst Kris (1) has pointed out that the arts provided
a field of investigation outside pathology. It was necessary
in the first third of the 20c. to establish the ubiquity of
sexuality in the arts, as in the unconscious minds of individuals.
Another point that was emphasized was the relationship between
an artist's work and his life: this has been convincingly demonstrated
in Marie Bonaparte's massive study of Edgar Allen Poe,
Applied psycho-analysis (with the brilliant exception of Frend's
Leonardo da Vinci (2) .has worked better with literature than with
the visual arts because psycho-analysts tend to have a better
knowledge of one than the other. (Ella Sharpe, for example,
once quoted, with equal respect, Van Gogh and Dame Laura Knight.) (3)
Recently attempts have been made to study the arts with attention
to specific problems of technique and aesthetics. Harry
B. Lee, in uncollected articles (4), for example, has considered
the psychological distinction between masterpieces and bread-and-
butter pieces, and the specific nature of creativity. At present
this field is in a fragmentary but evocative condition. Often
people who have not mastered the classical phase of psycho-analysis
acquire a spurious modernity by rejecting the complexities of recent
research. Our concern here is not the recent controversial
refinements but the classical work of psycho-analysis which it is
irresponsible and prejudiced to reject now. However, it is my
experience that hostile critics are reluctant to consider the psychological
background of the arts, despite the consequent gain in
71123884 - Preacher357
THE SEXUAL BASIS OF ART *In classical psycho-analysis art was studied for several
reasons. Ernst Kris (i) has pointed out that the arts provided
a field of investigation outside pathology. It was necessary
in the first third of the 20c. to establish the ubiquity of
sexuality in the arts, as in the unconscious minds of individuals.
Another point that was emphasized was the relationship between
an artist's work and his life: this has been convincingly demon-
strated in Marie Bonaparte's massive study of Edgar Allen Poe.
Applied psycho-analysis (with the birlliant exception of Freud's
Leonardo do Vinci (2). has worked better with literature than with
the visual arts because psycho-analysts tend to have a better
knowledge of one than the other. (Ella Sharpe, for example,
once quoted, with equal respect, Van Gogh and Dame Laura Knight.) (3)
Recently attempts have been made to study the arts with at-
tention to specific problems of technique and aesthetics. Harry
B. Lee, in uncollected articles (4), for example, has considered
the psychological distinction between masterpieces and bread-and-
butter pieces, and the specific nature of creativity. At pres-
ent this field is in a fragmentary but evocative conditon. Often
people who have not mastered the classical phase of psyco-analysis
acquire a spurious modernity by rejecting the complexities of re-
cent research. Our concern here is not the recent controversial
refinements but the classical work of psycho-analysis which it is
irresponsible and prejudiced to reject now. However, it is my
experience that hostile critics are reluctant to consider the psycho-
logical background of the arts, despite the consequent gain in
WINNER - 71747985 - racjohn
THE SEXUAL BASIS OF ART *In classical psycho-analysis art was studied for several reasons. Ernst Kris (i) has pointed out that the arts provided a field of investigation outside pathology. It was necessary in the first third of the 20c. to establish the ubiquity of sexuality in the arts, as in the unconscious minds of individuals. Another point that was emphasised was the relationship between an artist's work and his life: this has been convincingly demonstrated in Marie Bonaparte's massive study of Edgar Allen Poe. Applied psycho-analysis (with the brilliant exception of Freud's Leonardo da Vinci (2) has worked better with literature than with the visual arts because psycho-analysts tend to have a better knowledge of one than the other. (Ella Sharpe, for example, once quoted, with equal respect, Van Gogh and Dame Laura Knight.) (3)
Recently attempts have been made to study the arts with attention to specific problems of technique and aesthetics. Harry B. Lee, in uncollected articles (4), for example, has considered the psychological distinction between masterpieces and bread-and-butter pieces, and the specific nature of creativity. At present this field is in a fragmentary but evocative condition. Often people who have not mastered the classical phase of psycho-analysis acquire a spurious modernity by rejecting the complexities of recent research. Our concern here is not the recent controversial refinements but the classical work of psycho-analysis which it is irresponsible and prejudiced to reject now. However, it is my experience that hostile critics are reluctant to consider the psychological background of the arts, despite the consequent gain in