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Citation |
Leikert S. Int. J. Psychoanal. 2017; 98(3): 657-681. |
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Affiliation |
Lindenstraße 8, D-66128, Saarbrücken. |
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Copyright |
(Copyright © 2017, Institute of Psychoanalysis, Publisher John Wiley and Sons) |
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DOI |
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PMID |
28332712 |
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Abstract |
Even close to 80 years after Freud's words that psychoanalysis "has scarcely anything to say about beauty" (Freud, Civilization and its Discontents, SE 21, p. 82) the question of a specific psychoanalytic aesthetic is still faced with a deficit in theory. Since aesthetics is related to Aisthesis, the Greek word for 'perception', a psychoanalytic aesthetic can solely emerge from a psychoanalysis of perceptive structures. The term 'kinaesthetic semantic' is introduced in order to exemplify via music how perceptive experiences must be structured for them to be experienced as beautiful. The basic mechanisms - repetition of form (rhythm, unification) and seduction (deviation, surprise) - are defined. With the help of these mechanisms an intensive contact between perceiving object and kinetic subject, the physical self, is established. The intensive relatedness is a requirement for the creative process in art and also for psychic growth on the subject's level. The described basic mechanisms of the aesthetic process in music can also be encountered in painting and poetry. By the means of a self-portrait by Bacon it will be examined how, in art, terror and traumatization are represented via targeted disorganization of beauty endowing mechanisms, hence finding an enabling form of confrontation and integration of fended contents. Language: en |
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Keywords |
Francis Bacon; art; beauty; kinaesthetic semantic; music; painting; perception; poetry; tauma |