Customer Service | Help | FAQ | PEP-Easy | Report a Data Error | About
Tip: To keep track of most cited articles…

PEP-Web Tip of the Day

You can always keep track of the Most Cited Journal Articles on PEP Web by checking the PEP Section found on the homepage.

For the complete list of tips, see PEP-Web Tips on the PEP-Web support page.

Glynn, S. (1987). Art and Psyche: By Ellen Handler Spitz. New Haven & London: Yale University Press. 1985. Pp. 188.. Int. R. Psycho-Anal., 14:564-567.

(1987). International Review of Psycho-Analysis, 14:564-567

Art and Psyche: By Ellen Handler Spitz. New Haven & London: Yale University Press. 1985. Pp. 188.

Review by:
Stephen Glynn

Dr Spitz defines her aim as 'to make a modest contribution to what has been an ongoing dialogue between psychoanalysis and aesthetics for some seventy-five years' (p. ix). She remarks that, although psychoanalysts have frequently addressed questions of art and aesthetics and that 'philosophers, art historians and literary critics' have rather less frequently seen psychoanalysis as a useful approach to their disciplines, 'there has been no thoroughgoing attempt to catalog or structure this dialogue between aesthetics and psychoanalysis' (p. 1). To remedy this, she addressed both psychoanalysts and critics. To the latter, she proposes 'a tripartite structure for understanding more clearly what different psychoanalytic authors are in fact doing when they approach the aesthetic and how their work mirrors and complements that of other disciplines'; to the former, 'ways of making their goals and methods more explicit and also more consonant with the modes of philosophy and criticism' (p. 1).

Her role is, then, doubly expository, and she writes for two audiences. The first, critics and aestheticians, she addresses as an explicator of, and apologist for, psychoanalytic forays into what they regard as their territory. The second, psychoanalysts interested in aesthetics, she addresses both as an explicator of aesthetics and philosophy and as one who can assist them in formulating their discussions in a manner acceptable to aestheticians and critics. This latter task, she implies, is perhaps the most important, since she regards 'the modes of philosophy and criticism' as 'the ultimate tribunals in affairs of the arts' (p.

[This is a summary or excerpt from the full text of the book or article. The full text of the document is available to subscribers.]

Copyright © 2020, Psychoanalytic Electronic Publishing, ISSN 2472-6982 Customer Service | Help | FAQ | Download PEP Bibliography | Report a Data Error | About

WARNING! This text is printed for personal use. It is copyright to the journal in which it originally appeared. It is illegal to redistribute it in any form.