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Freud on Art and Literature, 2001.
The paper looks at Freud?s conceptions about art and literature and the creative forces of motivation on an author.
2,953 words (approx. 11.8 pages), 7 sources, MLA, $ 87.95
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Abstract
This paper is about Sigmund Freud's concept of 'unconscious' and its relevance in the arts. The author discusses how Freud is commonly recognized as having invented the concept of the ?unconscious?. The author explaines that the subordination of the ?pleasure principle? by the ?reality principle? is done through a mental process that Freud refers to as sublimation. According to Sigmund Freud, dreams and fantasies (or phantasies) are the symbolic expression and fulfillment of wishes and desires that as a result of sublimation by the ?reality principle? cannot be fulfilled through daily life and are consequently repressed into the ?unconscious.? To Freud, ?the motive forces of fantasies are unsatisfied wishes, and every single fantasy is the fulfillment of a wish, a correction of unsatisfying reality? (Freud 485). Freud affirms that dreams are disguised, hallucinatory fulfillment?s of repressed wishes. He concludes that if expressed in undisguised form, they would be so disturbing that it would wake the dreamer from sleep. Freud?s fundamental assumption is that the sublimation of the artist?s unsatisfied libido is responsible for producing all forms of art and literature whether it be painting, sculpting, or writing. David H. Richter notes in his introduction to ?Sigmund Freud? that Freud was once criticized by Carl Gustav Jung, a fellow psychoanalytic theorist, for insinuating that artists were diseased individuals creating art out of their own personal neurotic needs. The writer feels that Freud insinuates that art is primarily an escapist method, that ?in an ideal world in which everyone had matured sufficiently to replace the pleasure principle by the reality principle, there would be no need for art? (Storr 103).
From the Paper
"The historical tradition of scholarly theory has been one in which literary texts are subjected to scrutiny regarding whether they are either implicitly or explicitly ideological in nature. Arguably so, nothing reflects a society?s fears, hopes, and desires about gender, class, and power more than what the society maintains about art and artists. A literary text is credible of fully reflecting the culture in which it was written, that is to say, it has the potential to embody certain sociological assumptions presented in the dichotomy between ?normal? and ?abnormal.? Sigmund Freud, the patriarch of psychoanalysis, is associated with Charles Darwin and Karl Marx as being ?one of the three original thinkers who have most altered man?s view of himself in the twentieth century? (Storr 145). Yet, even literary theorists, including Freud, realized that ?any comprehensive vision of human nature such as he provides must have implications for the nature of happiness, and for the relation of man?s natural capacities to his normal or ideal state? (Sousa 196). That is, numerous later theorists and critics believe that Freud?s own theories about the function and nature of the mind uncovered some fundamental truths about how an individual?s notions of ?self? are formed and how culture and civilization operate and are affected by these notions. Coinciding with Freud?s own account, the significance of everyday action is determined by motives that are far more numerous and complex than people are aware of or commonsense understanding takes into account. The most basic and constant of motives that influence our actions are those of the unconscious, moreover, those that are difficult to acknowledge or avow. Freud?s conception of the unconscious and his rediscovery of the importance of dreams encouraged painters, sculptors and writers to pay serious attention to their inner world of dreams; to find significance in thoughts and images they previously would have dismissed as absurd or illogical. Therefore it is plausible that notions of art and literature as described by Sigmund Freud, are created through the ramifications of the unconscious or the sublimation of an unsatisfied carnal appetite."
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Plato and Freud on Art and Creativity, 2002.
A discussion of the views of both Freud and Plato on the creative process of writing.
1,650 words (approx. 6.6 pages), 2 sources, $ 62.95
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Abstract
This paper is an analysis on Freud's explanation of the creative process in writing. The focus of this paper will be the work titled "Writers and Day-Dreams (1908/7). This paper begins with a discussion of creativity as it is articulated in Plato, and then proceeds with a discussion of Freud. Whereas Plato maintain that there is such a thing as 'divine inspiration', and that poetry is the product of a seemingly intoxicated soul, Freud ground the process of creativity in the basic dynamics of 'play' and 'fantasy'. There is an extent to which this position essentially views creativity as 'child play', and it will be argued that in contrast to Plato, this is a fairly 'reductive' and 'problematic' view of the creative process with respect to the activity of writing.
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Art and Pop Art, 2002.
A comparative analysis of art with pop art using the works of Andy Warhol and Leonardo Da Vinci.
1,150 words (approx. 4.6 pages), 6 sources, $ 44.95
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Abstract
This discusses art and pop art, and distinguishes between the two by noting the characteristics of each form. As examples of each, two works of Andy Warhol are compared and contrasted to Da Vinci's "Last Supper" and Rembrandt's "Syndic of the Clothmaker's Guild.
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The "Art" of Art Forgery, 2002.
Shows that forgery is more than just a copying process, involving complex techniques found in art.
2,900 words (approx. 11.6 pages), 5 sources, $ 106.95
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Abstract
This paper examines the skill involved in producing 'true' forgeries within the world of art. It is stressed that the forger is to be seen as an artist, in that he or she must sometimes enter the mind of the original artist, master his or her techniques,and otherwise execute works that can withstand the expert eye. Forgery is a normal aspect of the art world.
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The Uncanny of Freud, Urban Life, and Contemporary Art, 2004.
A look at Freud's definition of the uncanny as explained in his 1919 paper, "The Uncanny".
2,346 words (approx. 9.4 pages), 27 sources, MLA, $ 72.95
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Abstract
This paper presents an overview of several interpretations of Freud's definition of the uncanny and then takes a look at how it relates to contemporary thought and postmodern theory and art.
From the Paper
"The uncanny is created or emerges in that fissure formed by a tension that results from a collapse of fixed certainties and accepted familiarity. Central elements in the idea of the uncanny, which has been adopted by the post-structural community and by elements of contemporary art, includes the idea of dislocation, de-centeredness, the un-homely and nothingness in place of habitual identity. Furthermore, the meaning of the uncanny has the potential to disturb the logocentric views of modernism."
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Psychoanalysis and Literature, 1997.
A discussion on Sigmund Freud's statement that psychoanalytic texts are no different from any other with reference to Freud's case studies, "Dora", "The Wolf Man" and "Katherina" and Edgar Allan Poe's "The Muders in the Rue Morgue."
3,875 words (approx. 15.5 pages), 7 sources, MLA, $ 105.95
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Abstract
Taking Freud's statement that "all life leads to death" as its starting point, this paper looks at the case studies of "Dora", "Katherina" and "The Wolf Man", examining the extent to which these can be compared to a fictional narrative, such as Poe's "The Muders in the Rue Morgue." The paper goes on to discuss how psychoanaltic theory can be applied to literature, with both the analyst and the author engaging in an attempt to "narrate" lives, bringing them to a satisfactory end point or conclusion.
From the Paper
"Before the scene itself has been discovered, Freud describes the ?unconscious memory traces? as being in a state of ?chaos?. He can only bring order from this apparent chaos once he has brought the element of narratability to the case history, and therefore to the analysand?s life. Once this has been done, the Wolf Man?s history has been brought to its symbolic death. In the same way that a great deal of fictional texts end with a literal death, or a marriage, the Wolf Man, like Dora, reaches the ?death? of his own narrative by being ?cured?, and is then free to marry - which, Freud tells us, he does. "
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Influences of Ancient Egyptian Art on Ancient Greek Art, 2005.
A paper on how Egyptian art influenced Greek artists.
1,350 words (approx. 5.4 pages), 5 sources, MLA, $ 47.95
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Abstract
This paper provides a discussion of the long tradition of the influence of ancient Egyptian art on ancient Greek artists. The paper looks at how the art of both are affected by their societies' world views. The paper discusses the primary functions of Egyptian art and the different style of Greek art, particularly in relation to depiction of figures.
From the Paper
"This paper compares ancient Egyptian art with ancient Greek art and considers the ways in which the Greeks were influenced by Egyptian art. Egypt established a long and enduring artistic tradition. Greek art drew heavily on that background, using many of the same kinds of subjects and incorporating many similar symbols but then reinterpreted them through very different eyes and a strikingly different cultural perception. Both visions continue to have a profound impact on artists in modern cultures from their representation of everyday life to the varied..."
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Art Found: The Database as an Alternative Art Space for New Media, 2001.
A different perception for databases and their potential.
3,010 words (approx. 12.0 pages), 10 sources, MLA, $ 88.95
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Abstract
This paper covers many complex ideas relating to the way that we view databases in our culture. It proposes that the database will be the canvas of the future for artistic and cultural exploration. This paper also includes many references from leading scholars in the field.
From the Paper
"Hail, hail to the menu driven computer interfaces that we have come to expect. These well made navigational systems of logical menus and clearly written labels, three button mice and ergonomic keyboards give us one of the most important technologies of our time the human computer interface (HCI). The HCI and the Graphical User interface (GUI) have been thought about and redefined as every new piece of computer hardware and software have been created. (The terms HCI and GUI will be used interchangeably as we are addressing the notion of interface.) The creation of the HCI has now mostly become the task of the new media artist. This becomes a very limiting constraint on the artist when the interface is the only element of a new media object that has any hope of becoming seen as a relevant area to create art. There are at least two other clearly definable media objects, the data and the database. I will focus here on the database. It is my contention is that a new media art piece can consist solely of a database without the need for the involvement of an interface. "
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Outsider Art, 2005.
This paper discusses the history and future of the term "outsider art", referring to art, made by self-taught artists, which stands outside the realm of "fine" art.
3,015 words (approx. 12.1 pages), 10 sources, MLA, $ 88.95
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Abstract
This paper explains that "outsider art", also called naif, naive or art brut, is collected by the most well-known collectors; therefore, the question arises when something becomes popular or "in" does it continue to be "outside"? Can "outsider art" continue in the years to come? The author points out that, for example, after World War I, the cultured in Europe began developing an interest in self-taught creators called "naives", such as Henri Rousseau, who were creating their artistic works throughout Europe especially France. The paper presents many examples of "outsider art" in the U.S., including Mexican-American, jailhouse and street art, some of which has entered the realm of collectors and museums, while other artist prefer to remain "Outside Art".
Table of Contents
Introduction of Thesis Statement
Introduction of Terms Based on Dubuffet and Cardinal
Move from Europe to United States
Definition of Outsider
Examples: Slaves, Mentally Ill, Spiritual, Folk, Recycled
Response to Thesis Statement
Conclusion
From the Paper
""Outsider art" continues to evolve along with changes in society. A new form of work, for example, called "recycled folk art," transform pieces of trash into new treasures. In Mexican-American Texas communities, houses are adorned by objects, colors and symbols that reflect a history over the past to present days. Many of the visually rich barrio decorations are made from everyday castoffs such as Styrofoam cups, tires and tile chips. Brightly colored trucks and cars, tree swings, and televisions act as shrines to the Virgin of San Juan. Windmills and whirligigs are made from soda cans, butterflies from scrapped tin and muffler robots from used auto parts."
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Fifteenth Century Art of the Netherlandish Region, 2002.
This paper discusses the development of art in the Netherlandish region during the fifteenth century and the influence this art had on European art in the centuries to come.
3,111 words (approx. 12.4 pages), 6 sources, MLA, $ 90.95
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Abstract
This paper examines the art of the Netherlandish region during the fifteenth century and suggests that, contrary to common scholarly opinion, the art of this region was important not only from the perspective of how it related to contemporary art in Italy, but, in its own right, was possibly one of the most important moments in Western art history. Also examined are the inventions, innovations, and impact Netherlandish art had the development of European art.
From the Paper
"Nevertheless, the depiction of the world was an unusually strong preoccupation of the Netherlandish painters. Among those artists who worked in the early part of the century, the output of the Tournai painter Robert Campin (c. 1378-1444) and that of the Master of Fl?malle, is sometimes regarded as distinct and sometimes as the work of one individual."
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Art Education, 1996.
Criticizes lack of art instruction & examines alternative curricula, theories, methods & benefits from teaching visual art & art history.
2,025 words (approx. 8.1 pages), 6 sources, $ 71.95
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From the Paper
"The decline in arts education in American schools is due largely to incomprehension regarding the role this branch of learning plays in the intellectual and educational development of children. Knowing and learning in art are different from these same activities in other areas. This idea is slowly penetrating the education field -- and as the idea of many different kinds of 'intelligences' takes root it becomes clear that they are served by different disciplines. But the problem is not limited to the general public. There is also a great deal of confusion, even among arts educators, over such basic questions as what is to be taught, who is to teach it, and whether children acquire skills from it that have broader relevance. Research in art education is slowly developing a new rationale for its existence on the basis of evolving ideas in developmental and educational..."
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The State of Arts Education in New Jersey, 2005.
A look at the situation of arts education in New Jersey following the No Child Left Behind Act.
16,584 words (approx. 66.3 pages), 13 sources, MLA, $ 249.95
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Abstract
This paper looks at the National Standards for Arts Education as a place to start in assessing any state's interest in and support of arts education. The paper explains that to assess New Jersey's positioning on the canvas of American arts education, the debate and its contributions were analyzed for the past decade; the findings were unequivocal that arts education has a place not only in humanities teaching, but also in creating an atmosphere in which all children can achieve. It explains that wealthier school districts are more likely to retain arts programs under pressure, although it is the disadvantaged districts that would most benefit. The entire issue is assessed in terms of the possibilities post-NCLB, and the current progress of the states in terms of adopting the National Standards for Arts Education are also discussed. The writer concludes that it appears that New Jersey has at least nominally found a niche among the states more dedicated to providing arts education. It remains to be seen whether that education will be of the 'media' sort, or the more substantive arts education that demands continued student/teacher involvement in pursuit of generalized goals contributive to developing an aesthetic sense and possibly some mastery in an arts area.
Chapter I: Statement of Problem
National Standards for Arts Education: History
The Standards Themselves
Budget Issues
Quantitative Information
Qualitative Findings
Chapter II: Literature Review
Merits of Fine Arts Education
Educational Reform and Arts Education
How to Conduct Arts Education
The Standards Themselves
References
Appendix A: New Jersey Standards for Arts Education
Appendix B: U.S. Hunger in the Year 2000
Appendix C: Jasmine's Story
List of Tables
Table 2.1: States requiring arts credits for high school graduation
Table 2.2: Mandatory Status of Arts Education by State
List of Figures
Figure 1.1: Reasons to Support Arts Education: New Jersey
Figure 1.2: Budgeted Funds for Arts Expenditures by Type of School
Figure 1.3: Budgeted Funds for Arts Expenditures by School Size
Figure 1.4: Budgeted Funds for Arts Expenditures by Region
From the Paper
"Four years ago, discussion concerning the place and presence of fine arts education in public schools would have been primarily a discussion of the need for the curricula in the first place and the financing of it. In the early 1990s, discussion of National Standards for arts education became prevalent in the professional media. Since the start of the Bush administration's No Child Left Behind initiatives, however, any public discussion of the present and future of arts programs in public schools is clouded by a new dominant educational debate; the new debate concerns whether NCLB signals the death-knell of learning in U.S. public schools, or is a way to raise up the academically disadvantaged. While this investigation does not attempt to find the definitive answer to that question, there is little doubt that the fact and progress of NCLB will have an impact, and arguably a negative one, on fine arts education generally. Whether it is having or has had a negative impact on fine and performing arts education in New Jersey is a proper question for the current research, however. It is probable that the answers to a statewide survey of fine arts faculty conducted for this investigation will help resolve it. Indeed, the question to be answered is how well New Jersey's Fine Arts Programs compare to National Standards, allowing for classification differences within the state."
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Art vs. Design, 1997.
An overview of the historical debate on the differences between arts and crafts, fine arts and applied arts, aesthetic requirements, and an example (19th Century French poster artist Jules Cheret).
1,125 words (approx. 4.5 pages), 4 sources, $ 39.95
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From the Paper
"The twentieth century's distinction between 'design' and 'art' derives from the sudden and overwhelming growth of technological innovation, and the commercial demand for applied design, during the Industrial Revolution of the nineteenth century. The primary distinction was between the so-called "high arts" of painting, sculpture and architecture, and "decorative or applied" design (Collins 17). This differentiation between art and design is sometimes perceived as an unfair elevation of art at the expense of design. Yet, so long as the distinction is based on such qualities as reproducibility, methods of production, or function, it is both valid and valuable. If, however, the differences between art and design are cited as criteria of aesthetic, or even moral, value, the distinction does not hold up, and is of little value to understanding either type ..."
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Primitivism in Modern Art, 2004.
Explores the influence that primitive art has had on modern art.
923 words (approx. 3.7 pages), 10 sources, MLA, $ 32.95
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Abstract
This paper describes how modern art appropriated images from so called "primitive" cultures and describes the social changes that prompted this attraction to primitive art forms. The paper also discusses some of Picasso's works and notes how these works were influenced by African culture and art.
From the Paper
"A central facet of modernist art was the questioning of and dissatisfaction with the traditional views of life and art, and the concomitant rejection of established standards in the search for the new and different. Social factors such as the First World War also lent impetus to this search for alternative views of reality that was expressed in modernist art. In their search for alternative styles and means of expression, artists were attracted to the unusual and exotic. African art was one of the areas that supplied images and artistic energy that inspired many artists of the time. Artists like Picasso and Gauguin found formal ideas and images in the so-called primitive societies that resonated with energy and a new artistic rhythm."
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The Great Depression and American Art in the 1930s, 2003.
A discussion of Depression Era Art and its impact on the art world.
969 words (approx. 3.9 pages), 1 source, MLA, $ 34.95
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Abstract
By 1933 at the peak of the Depression, nearly 25% of all Americans were unemployed. Under the leadership of President Franklin D. Roosevelt, the country struggled to recover from the recession that became known as The Great Depression. The paper explains that as part of his New Deal program, President Roosevelt enacted many domestic policies and projects to try to rebuild America. Several particular endeavors were designed to keep painters, sculptors, and photographers employed. Because of these projects, artists created many works throughout the Depression. The paper shows that while artist reaction to the New Deal was varied, the works of art that were created expressed individual attitudes about the Depression and left a lasting mark on American art. The paper includes several reproductions of works of art from the era.
From the Paper
"As America sank deeper into the Depression, artists quickly found themselves unemployed. Consequently, they questioned the effectiveness of a capitalist society. In comparing the United States to the Soviet Union, many of the artists came to believe that maybe a socialist system was a better option. They joined many left-winged organizations like the Artists? Union with the common goal of obtaining state-sponsored art initiatives. The group published its own journal, Art Front, which proved to be quite influential. Letters were sent to Public Works officials asserting, ?the State can eliminate once and for all the unfortunate dependence of American artists upon the caprice of private patronage? (Pohl 365)."
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