Conflict and Creativity: Reflections on Otto Rank's Psychology of Art

Spitz, Ellen Handler

doi:10.2307/3332767

Cited by 3 publications

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“…They must overcome convention and the very culture in which they are immersed. As Spitz (1989) puts it, " [T]he confl ict " is between a need " to participate in a tradition of some sort (be it technical, stylistic, iconographic, ideological, etc.) versus a powerful, contrasting wish to create that which is absolutely new and one ' s own " (pp.…”

Section: Emphasis On Creative Experiencementioning

confidence: 99%

“…Brief revivals of interest in Rank ( Progoff, 1956 ;Becker, 1973 ) brought attention to his work, and his writings have infl uenced researchers and scholars interested in the psychology of creativity and aesthetics (e.g., MacKinnon, 1965 ;Spitz, 1989 ), but except for Esther Menaker's treatment of Rank ' s approach (1982), his insights into the creative process of psychotherapy have been less frequently acknowledged.…”

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confidence: 98%

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The Art of Living in Otto Rank’s Will Therapy

Wadlington

2012

Am J Psychoanal

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Otto Rank's approach to psychotherapy, developed after his separation from Freud, encourages living life fully in spite of death and limitation. In his emphasis on the here and now, new experience in the therapeutic relationship, and collaboration and creativity in the therapy process, Rank was ahead of his time. As a theorist of personality and of creativity, his work is well known, but his influence on the practices of humanistic, existential, and post-psychoanalytic relational therapists is largely unacknowledged. Rank's creative legacy is an approach to psychotherapy that calls forth artistry and collaboration between therapist and client.

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Section: Emphasis On Creative Experiencementioning

confidence: 99%

mentioning

confidence: 98%

The Art of Living in Otto Rank’s Will Therapy

Wadlington

2012

Am J Psychoanal

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“…This tension between physically living but not actually living up to one’s potential is frightening (Tillich, 1955/2000). It is what Otto Rank calls life anxiety (Spitz, 1989; see also in Yalom, 1980).…”

Section: Why Freedom Is the Most Essential Existential Concern: A Mod...mentioning

confidence: 99%

Yalom, Strenger, and the psychodynamics of inner freedom: A contribution to existential psychoanalysis.

Shahar¹

2022

Psychoanalytic Psychology

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NegevCarlo Strenger was a unique person, for many reasons. One such reason was his ability to integrate the existential (humanistic) and psychoanalytic schools of thought into a seamless whole. Nowhere is this seamless integration more apparent than in Strenger's treatment of inner freedom. In this article, I juxtapose Irvin Yalom's seminal work on the four existential concerns in psychopathology and psychotherapy (death, responsibility, isolation, and meaning) against Strenger's work on the psychodynamics of inner freedom. More specifically, I touch upon Strenger's identification of three psychological processes that enable inner freedom: self-creation (the tendency of some people to create their own personality "from the ashes," in the face of serious traumatic life circumstances), Sosein (active self-acceptance of one's own mistakes through life), and the act of transcending the fear of insignificance (the ability to live life through one's own eyes rather than through the eyes of historical accounts). Strenger's illumination of these processes, I argue, construes inner freedom as a higher-order existential concern that underlies the four concerns discussed by Yalom. I then discuss the way I put these theoretical observations to use in my theoretical and clinical work, focusing on depression and suicidality.

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“…Literati painting (Spitz, 1989), also known as "the scholar-official freehand brush work" and "scholar-official painting", is a unique art form in Chinese painting. Literati painting sprouted in the Tang Dynasty and flourished in the Song and Yuan dynasty.…”

Section: Aesthetic Psychological Distance In Chinese Traditional Litementioning

confidence: 99%

Aesthetic Psychological Distance in Chinese Traditional Arts

Zhang¹,

Yang²

2020

RACP

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Aesthetic psychological distance is an important topic in the aesthetics field. Based on Bullough's theory of psychological distance and Zhu's extension of that theory, this paper studies the aesthetic psychological distance in Chinese traditional arts. The traditional literati painting was taken as an example to examine the aesthetic psychological distance. The results show that aesthetic psychological distance induces a unique painting technique in literati painting: there is a certain gap between the creator's intention and the real-world referent; aesthetic psychological distance promotes the shift from literati painting to modern ink and wash painting, without losing its aesthetic meaning. The research findings lay the theoretical basis for the aesthetic and artistic activities of contemporary ink and wash painting.

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Conflict and Creativity: Reflections on Otto Rank's Psychology of Art

Cited by 3 publications

References 0 publications

The Art of Living in Otto Rank’s Will Therapy

The Art of Living in Otto Rank’s Will Therapy

Yalom, Strenger, and the psychodynamics of inner freedom: A contribution to existential psychoanalysis.

Aesthetic Psychological Distance in Chinese Traditional Arts

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