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A psychological study of the artist, Diane Sloan, across three creative cycles (1962--1983).

机译:对艺术家黛安·斯隆(Diane Sloan)的三个创作周期(1962--1983)的心理学研究。

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Despite advances made by creativity researchers and feminist scholars in the last three decades, there remains a paucity of knowledge in our scientific and critical databases regarding the lived experience of women and, in particular, the struggles that exceptional or gifted women experience in creating artistic works. The research question was, "What was the role of the experience of creativity in the life and work of Diane Sloan (1940-2004), California iconoclast and Super-Realism artist of the 1970s and 1980s?";This qualitative case study included archival, psychobiographical, and intuitive-inquiry methods to investigate nine primary and secondary source materials including art work, published interviews, journals and letters, academic papers, critical reviews, photographs, feedback from "key informants," and an in-depth interview with a close friend and colleague of the artist. Interpretation from inter-subjective, existential, and Jungian theory was applied to narrative analysis of multiple data streams across three "creative cycles." Feminist perspective highlighted the discussion.;Findings showed that Sloan's experience of creativity served as a connecting "bridge" between herself and "the world" through activation of the archetypes of the trickster and trickSTAR in Jungian studies. With her stark humor and aggressive style (large, bold, colorful paintings), Sloan depicted cultural icons of "musclemen," "brides," and "guns" in shocking and unusual ways. In addition, painting enabled Sloan to enter a "field of healing," or state of wholeness (ease), in which her primal wound, created by early wounding, found resolution. Later, when faced with the collapse of empathic connections, she experienced an existential crisis, a horror vacui, with significant blocks to creativity.;The investigation was situated in the context of Sloan's life and demonstrated the value of case study methods in the study of women's lives and experiences of women's artistic creativity.
机译:尽管在过去的三十年中,创造力研究人员和女权主义学者取得了进步,但在我们的科学和批判性数据库中,关于妇女的生活经验,尤其是杰出或有天赋的妇女在创作艺术作品方面所经历的斗争,仍然缺乏知识。研究的问题是:“创造力的经验在黛安·斯隆(1940-2004),1970年代和1980年代的加利福尼亚偶像破坏者和超现实主义艺术家的生活和工作中起什么作用?”;该定性案例研究包括档案,心理传记和直观查询方法,以调查九种主要和辅助原始资料,包括艺术作品,已出版的访谈,期刊和来信,学术论文,评论,照片,“主要信息提供者”的反馈,以及对艺术家的亲密朋友和同事。主体间的,存在的和荣格理论的解释被应用于跨三个“创意周期”的多个数据流的叙事分析。女权主义者的观点强调了这次讨论。研究结果表明,斯隆的创造力经历通过激活Jungian研究中的骗子和把戏STAR原型,成为了她自己与“世界”之间的连接“桥梁”。斯隆凭借鲜明的幽默和进取的风格(大胆,彩色的绘画),以令人震惊且与众不同的方式描绘了“肌肉男”,“新娘”和“枪支”的文化偶像。此外,绘画使斯隆能够进入“康复领域”或整体状态(舒缓状态),在这种状态下,由早期伤口造成的原发伤口得到了解决。后来,当面对移情联系的崩溃时,她经历了生存危机,可怕的真空,严重阻碍了创造力。这项研究是在斯隆的生活背景下进行的,并证明了案例研究方法在研究斯隆的价值方面妇女的生活和妇女的艺术创造经验。

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