...First Lab 1879- Leipzig, Germany. Wilhelm Wundt, founder of psychology as discipline. Conscious experience and building blocks, trained many early psychologists 2. Identify the following, and the one or two main names (if applicable): Structuralists, Functionalists, Gestalt Psychology, Behaviorism Psychoanalysis, Humanistic Psychology, Cognitive Psychology b. Structuralists: Titchener- Wundt’s student. Wanted to examine the structure of mind and organization of basic elements of sensations, feelings, and images. “Structure of the mind” Example: I see a square as composed of four separate lines. Introspection: observing ones own conscious reactions. c. Functionalism- William James- first American psychologist. “Mental associations allow us to benefit from previous experience.” Deals with function, what does consciousness does to us, what is the purpose etc. d. Gestalt psychology- Max Wertheimer. Objects are well-organized structures, whole objects instead of parts. Ex. A square is a Square e. Behaviorism psychoanalysis – Sigmund Freud. Founded psychoanalysis in early 1900s, focused on unconscious thoughts in determining behavior. Psychoanalysis- feelings come from a hidden place in your mind called unconscious. f. Behaviorism- John Watson, B.F. Skinner. We can predict behaviors using behaviorism. Found that you can get animals to do things if you feed them. Skinner was Watsons student. g. Humanistic psychology- Carl Rogers and Abraham...
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...Vienna, Freud began focusing more on the studies of and theories of Charles Darwin. This attracted him and drew him toward the study of the sciences. His intention was to study the philosophically-scientific questions facing doctors and scientists in the late 19th century. One of the major influences on Freud and in his decision to change career paths was French psychiatrist Jean Charcot. When Freud met Charcot, Charcot being the Director and Head Instructor at Salpetriere Hospital in Europe, Freud showed intense interest in Charcot’s investigations on hysteria. The studies of Freud with Charcot led to Freud’s desire to learn and accelerate studies of psychopathology. Freud developed a new method of psychology and study of the psychosis, Psychoanalysis and the Theory of Dreams. The theory of dreams was to show symbolism and reference to our waking lives. Freud discussed this symbolism as distorting operations that he claimed were applied to repressed wishes in forming the dream as recollected: “it is because of these distortions (the so-called "dream-work") that the manifest content of the dream differs so greatly from the latent dream thought reached through analysis, and it is by reversing these distortions that the latent content is approached.” The...
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...Vyas 1 Rushit Vyas Professor Sircar 10/08/2014 Overview of Freudian Theories on Dreams and Sexuality In every intellectual field, there are those few individuals who shed light on new ways of thinking the status quo and ultimately having a profound and influential impact lasting generations independent of whether their work is agreed upon by scholars or simply a popular topic of conversation. Considering psychology and more specifically psychoanalysis, which is concerned with those factors that determine human emotions and behavior that individuals are often unaware of, there is no one more influential than the Austrian neurologist and the founding father of psychoanalysis, Sigmund Freud. In creating psychoanalytic theory, Freud himself developed various therapeutic methods to establish his central thought process. His analysis of dreams, outlined in his famous work, The Interpretation of Dreams, provided a framework that was used for clinical analysis and diagnosis. He redefined sexuality in his work, Three Essays on the Theory of Sexuality, and formulated the concept of the Oedipus complex. Although Freud’s work dates back to the late 19th and early 20th centuries, he is still relevant and his theories equivocally influential. In this essay, I will outline Freud’s key ideas with regards to dreams and sexuality as seen in his famous works, The Interpretation of Dreams, and Three Essays on the Theory of Sexuality as well as provide a critical background on both themes along...
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...worldwide, see History of art. For other uses, see Art history (disambiguation). This article needs additional citations for verification. Please help improve this article by adding citations to reliable sources. Unsourced material may be challenged and removed. (November 2011) Venus de Milo on display at the Louvre Art history has historically been understood as the academic study of objects of art in their historical development and stylistic contexts, i.e. genre, design, format, and style.[1] This includes the "major" arts of painting, sculpture, and architecture as well as the "minor" arts of ceramics, furniture, and other decorative objects. As a term, art history (also history of art) encompasses several methods of studying the visual arts; in common usage referring to works of art and architecture. Aspects of the discipline worms. As the art historian Ernst Gombrich once observed, "the field of art history [is] much like Caesar's Gaul, divided in three parts inhabited by three different, though not necessarily hostile tribes: (i) the connoisseurs, (ii) the critics, and (iii) the academic art historians".[2] As a discipline, art history is distinguished from art criticism, which is concerned with establishing a relative artistic value upon individual works with respect to others of comparable style, or sanctioning an entire style or movement; and art theory or "philosophy of art", which is concerned with the fundamental nature of art. One branch of this area of study...
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...Sigmund Freud is known as one of the most influential and recognized names in the field of psychology. Freud was one of the founding fathers of psychology and had many contributions such as the Oedipus complex, Freudian Slips and Dream Analysis to name a few. His study of the psychology on the mind and repressed feelings all attribute to his contributions to psychology. One of Freud’s most interesting was on Dream Analysis which encompasses the symbolism in the mind during the dreaming stage of the sleep cycle. Sigmund Freud was born in Austria in 1856 and studied as a neurologist and psychiatrist at the University of Vienna. While at the university he presented his studies on psychodynamics in Ernest Wilhelm von Brucke’s Lectures of Physiology. Later in 1879, Freud completed his studies and obtained his Dr. Med with his thesis on the spinal cord of lower fish species. Freud opened his own practice in 1886 focusing on Neurology. At his practice, Freud started initially used hypnosis to help his neurotic patients, but then stopped in favor of the psychotherapeutic approach. Patients would relay their feelings through speech, also coined as the “talking cure” by Anna O, one of Freud’s patients. As Freud continued his studies, he believed that sexual interaction hindered ones accomplishments in life and so he ceased sexual relations with his wife. According to Freud’s biographer, Ernest Jones, Freud was absolutely celibate “in order to sublimate the libido for creative purposes...
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...From: Cervantes: Bulletin of the Cervantes Society of America 19.1 (1999): 158-76. Copyright © 1999, The Cervantes Society of America FORUM Against Dualisms: A Response to Henry Sullivan* HOWARD MANCING n a recent essay entitled “Don Quixote de la Mancha: Analyzable or Unanalyzable?” published in this journal, Henry W. Sullivan makes the case for the psychoanalysis of literary characters. While there is much to ponder in Sullivan's essay, there are two points, both involving dualisms, that I would like to discuss. In the first case, Sullivan argues insightfully and convincingly against an absolute distinction between how we know and think about fictional characters and how we know and think about real people. In the second case, however, Sullivan insists on an absolute (Cartesian) mind-body dualism as a cornerstone of psychoanalytic theory. I would like to repeat and extend Sullivan's argument in the first case, but refute it and deny its validity in the second. First dualism: Fact/Fiction Sullivan cites as representative of a certain widely-shared approach Maud Ellmann's insistence that there is an important distinction between a “human being made of flesh and character made of words” (5), a distinction that allows us to make one kind statement about the former but not the latter. Ellmann is not alone in making the real-life/fictional distinction a fundamental matter of ontology. We are all familiar with arguments like hers, having heard * For a response to this...
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..."Visual Pleasure and Narrative Cinema" - Laura Mulvey In her "Visual Pleasure and Narrative Cinema" Laura Mulvey utilizes psychoanalysis theory as a "political weapon" to demonstrate how the patriarchic subconscious of society shapes our film watching experience and cinema itself. According to Mulvey the cinematic text is organized along lines that are corresponding to the cultural subconscious with is essentially patriarchic. Mulvey argues that the popularity of Hollywood films is determined and reinforced by preexisting social patterns which have shaped the fascinated subject. Mulvey's analysis in "Visual Pleasure and Narrative Cinema" combines semiotic methodology of cinematic means of expression with psychoanalytic analysis of desire structures and the formation of subjectivity. The semiotic end of Mulvey's analysis enables the deciphering of how films produce the meanings they produce, while the psychoanalytic side of the article provides the link between the cinematic text and the viewer and explains his fascination through the way cinematic representations interact with his (culturally determined) subconscious. Mulvey's main argument in "Visual Pleasure and Narrative Cinema" is that Hollywood narrative films use women in order to provide a pleasurable visual experience for men. The narrative film structures its gaze as masculine. The woman is always the object of the reifying gaze, not the bearer of it (this has something reminiscent of John Berger's "Ways of Seeing") ...
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...Comparisson of Masculinity and the Psychoanalytic theories using the example of the Fight Club. Introduction. Fight club is an interesting film to be reflected through psychoanalytic and masculinity theories. In this essay I will attempt to present the number of elements of narrative that can be explained by these theories. I intend to use citations from Marc A. Price's essay The Fight for Self: The Language of the Unconscious in Fight club regarding psychoanalytical concepts such as ego, super-ego and the id as well as Lynn M. Ta's dissertation Hurt So Good: Fight Club, Masculine Violence, and the Crisis of Capitalism (regarding masulinity in the film), as these works were the main sources of my research. Then I'll try to come to the conclusion on which of two theories have more strength at being applied to films (primarily Fight Club). Application of theories and analysis. The connection that we shall draw between psychoanalytic theory and the film Fight Club is simple and is this; the narrator is a representation of the ego, for Tyler Durden we can substitute the id. In the Freudian psychic model the ego is the civilized part of consciousness. The ego is that part of the psychic apparatus that is modified so that a being can interact safely with other beings and thus remain accepted within the social group. It is important for identity formation that the individual is accepted by the group (that is wider society) therefore, a controlled id is...
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...As Patricia Pisters (2003) asserts in her study of Deleuze and film theory The Matrix of Visual Culture, the Wachowski brothers’ film can be read from number of different theoretical perspectives. It invites readings via Lacanian psychoanalysis, Platonic notions of the cave and the disparity between the two strata of perception and also as a “New Age” (Pisters, 2003: 11) quasi-religious evocation of the second coming. However, here I would like to place the film’s visual sense and diegesis into a context of postmodern philosophy; drawing inferences and theoretical connections between the film and the work of Jean Baudrillard, Walter Benjamin and the neo-Marxists of the Frankfurt School, most notably Adorno and Horkheimer in Dialectic of Enlightenment (1979). The importance of postmodern philosophy and cyber culture to the visual sense of The Matrix is declared from its very opening titles. Random strings of green neon data are scrolled against a black background imbuing the viewer with a sense of the virtual and the cybernetic and this is concretised and given definite focus later on as Neo (Keanu Reeves) hides the two thousand dollars given to him by Anthony in a copy of Simulacra and Simulation by Baudrillard. This reference however is more than a mere visual joke it is a signifier for a number of the film’s sub-textual tropes and motifs. For Baudrillard, the notion of the simulacra was central to an understanding of the modern capitalist society. In his essay “The Precession...
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...Architecture has become in today’s society too dependent on the visual experience. The excess of images both in quantity and speed that afflicts our society has been observed by writers and philosophers and called “the unending rainfall of images” by Italo Calvino, “image addiction” by Richard Kearney, the civilization of the image” by Roland Barthes and “the society of spectacle” by Guy Debord. The critique of the dominance of visual aspects in architecture and the excessive rationalization of the design process is the ongoing work of a group of architects that somewhat loosely adapted the principals of phenomenology to architecture. The philosophical principals were partially applied to architecture at the beginning of the twentieth century, but reappeared as a viable alternative for architectural thought as a response to modernity and have gained a following in recent times. Juhani Pallasmaa has written: “In our time, architecture is threatened by two opposite processes: instrumentalisation and aestheticisation. On the one hand, our secular, materialist and quasi-rational culture is turning buildings into mere instrumental structures. devoid of mental meaning, for the purposes of utility and economy. On the other hand, in order to draw attention and facilitate instant seduction, architecture is increasingly turning into the fabrication of seductively aestheticised images without roots in our existential experience and devoid of authentic desire of life. Instead of being...
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...early plays and dances had elements common to film: scripts, sets, costumes, production, direction, actors, audiences, storyboards, and scores. Much terminology later used in film theory and criticism apply, such as mise en scene (roughly, the entire visual picture at any one time). Owing to an absence of technology for doing so, moving visual and aural images were not recorded for replaying as in film. In the 1860s, mechanisms for producing two-dimensional drawings in motion were demonstrated with devices such as the zoetrope, mutoscope and praxinoscope. These machines were outgrowths of simple optical devices (such as magic lanterns) and would display sequences of still pictures at sufficient speed for the images on the pictures to appear to be moving, a phenomenon called persistence of vision. Naturally the images needed to be carefully designed to achieve the desired effect, and the underlying principle became the basis for the development of film animation. With the development of celluloid film for still photography, it became possible to directly capture objects in motion in real time. An 1878 experiment by English photographer Eadweard Muybridge in the United States using 24 cameras produced a series of stereoscopic images of a galloping horse, is arguably the first "motion picture", though it was not called by this name.[1] This technology required a person to look into a viewing machine to see the pictures which were separate paper prints attached to a drum turned by...
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...Motivational: Is a psychological feature that arouses an organism to act towards a desired goal and elicits, controls, and sustains certain goal-directed behaviors. It can be considered a driving force; a psychological one that compels or reinforces an action toward a desired goal. For example, hunger is a motivation that elicits a desire to eat. Motivation is the purpose or psychological cause of an action. Cognitive: Social cognition came to prominence with the rise of cognitive psychology in the late 1960s and early 1970s and is now the dominant model and approach in mainstream social psychology. Common to social cognition theories is the idea that information is represented in the brain as "cognitive elements" such as schemas, attributions, or stereotypes. A focus on how these cognitive elements are processed is often employed. Social cognition therefore applies and extends many themes, theories and paradigms from cognitive psychology, for example in reasoning(representativeness heuristic, base rate fallacy and confirmation bias), attention (automaticity and priming) and memory (schemas, primacy and recency). It is very likely that social psychology was always a lot more cognitive than mainstream psychology to begin with, as it traditionally discussed internal mental states such as beliefs and desires when mainstream psychology was dominated by behaviorism. Learning: a perspective that states that people learn within a social context. It is facilitated through concepts...
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...Television Studies ------------------------------------------------- Professor Eduardo Cintra Torres 1ªAula, dia 22 de Setembro de 2015 Programme: 1. Introduction to Television Studies; 2. Television text (contents); 3. Television agency; 4. Television and technology; 5. Television history; 6. Viewer, audiences: I, We, They. Why study television? People wrote about television as a general media. There was a certain resistance to the study of TV. To study popular culture was parallel to the fear of the death of high culture. Umberto Eco (1964) and others gave special attention to TV and other “minor arts”. The interest in the study of reader/receiver increased in the 60’s in the universe of high culture and the academy. R.Barthes – encode/decode. Later the canonization of popular mass culture in Anglo-American countries changed the vision of the society about the TV. In the US they reflected about the industry. Cultural industries – television is culture but it’s also an industry. If we think in Hollywood as a dream factory we have also a culture industry. Nowadays popular culture is a part of our life. Common sense and TV – resisting the analysis of television is also a consequence of commons sense. But there is a paradox: it is so easy to watch that it becomes difficult to analyze. TV is inscribed in daily life. TV is transparent. Popular culture, namely TV, has a supposed transparency: what I see is what it looks likely...
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...This document is copyrighted by the American Psychological Association or one of its allied publishers. This article is intended solely for the personal use of the individual user and is not to be disseminated broadly. Dreaming, Vol. 1, No.4, 1991 The Effects of Dream Length on the Relationship Between Primary Process in Dreams and Creativity Glenn Livingston l and Ross Levin l ,2 The effects of dream length on the relationship between primaty process in dreams and a measure of creativity unconfounded by IQ was investigated in a sample of 93 graduate students using the Auld, Goldenberg, & Weiss (1968) Scale of Primary Process Thought (SPPT) and a modified Wallach-Kogan (1965) creativity batte/yo Consistent with previous research, total and mean primary process were found to correlate significantly with creativity (r = .28, P < .01 and r = .23, P < .05, respectively). Both significant relationships disappeared, however, once the effects of dream length were partialled out, confirming Wood, Sebba, & Domino's (1989-90) contention that this relationship may be artifactual. It is suggested that dream length as an individual difference in and of itself may thus be a more fruitful variable to examine in future research investigating the relationship between creativity and dreams. KEY WORDS: dreaming; dream length; primary process; creativity. The contention that creativity and dreaming may reflect similar psychological processes has long been maintained by...
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...As a researcher and a writer, Matthew Gribble analyzes his crime scene with diligence and care. The crisis: The shortage of nurses in America. The question: How and why did this shortage become a persistent problem? Matthew affixes strings of yarn to a number of gunshots: the increasing average age of the workforce, long hours, work that is often menial or clerical, and finally, relatively low salaries. But these strands lead to new questions, wider causes which have nothing to do with social yarn. These new questions have to do with rhetoric and the enduring association of nursing with “women’s work” and “femininity.” Matthew has the audacity to ask how the rhetoric of femininity actually functions. How and why are we compelled to accept images and tropes as ‘normal’ or ‘natural’ when they are anything but normal and natural? Is it possible that the rhetoric of nursing is responsible for the shortage? Or perhaps it is the rhetoric of femininity and masculinity as such? But how did such a crime take place, right under our noses, when so many of us never noticed that an injustice ever took place? This essay is brilliant and provocative because it will not stop until the crime...
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