O objetivo do estudo foi verificar evidência de validade simultânea para o Desenho da Figura Humana-Escala Sisto. Mais especificamente se o DFH-Escala Sisto diferencia as categorias de interpretação fornecidas pelo manual das Matrizes Progressivas Coloridas de Raven. Participaram 279 crianças do Ens..

O processo de resposta do Teste Pictórico de Memória (TEPIC-M) classifica seus itens em três categorias sequenciais (céu, terra e água). Assim, aventou-se a hipótese que pessoas com uma familiaridade diária com o mar (Aracaju-grupo A) lembrariam mais desses itens quando comparadas com pessoas sem es..

In 1962, Ernst Scheidegger published his first book using his own name as an imprint. This book was the German edition of Jean Genet's essay on Alberto Giacometti. The great artist and close personal friend of Ernst Scheidegger has been subject of a number of books published by Verlag Ernst Scheidegger and Verlag Scheidegger & Spiess since. The most successful of them has been "Traces of a Friendship - Alberto Giacometti", first published in 1990 and reprinted several times. (...) To mark the 50th anniversary of Verlag Ernst Scheidegger / Verlag Scheidegger & Spiess present a new, completely revised and expanded edition of this classic. It includes around 40 previously unpublished colour images which have recently been discovered in Ernst Scheidegger's archive. (shrink)

Giacometti's work is not comforting. Whether it is seen as driven by abandonment of faith in history, or the surrealist recognition that everything is part of pitiless connection and transmutation, the role of Giacometti's self-understanding in the critical and popular reception of his work is highly significant, and perhaps not sufficiently challenged. Through short discussions of the commentaries on Giacometti's work, by Krauss, Sartre, Sylvester and Danto, and using contrasts with other 20th-century art, it is suggested that (...) the search for the meaning and explanation of the specific creative works in the artist's subjectivity, while very often providing fascinating and invaluable narratives, cannot be taken as an adequate foundation for aesthetic understanding. (shrink)

Photographs by Ernst Scheidegger of Alberto Giacometti and his art work.

Reconnu depuis longtemps comme un des grands écrivains exemplaires de notre modernité, André du Bouchet nous lègue une oeuvre richement diversifiée, dense et transparente à la fois, transgénérique à bien des égards mais incontestablement poiétique dans sa conception et sa pratique. La présente étude cherche à privilégier les nombreux textes - essais, traductions, notes de carnet et autres accompagnements - où s'enlacent et s'entretissent une méditation critique profondément sentie, parfois obsessivement vécue, et une écriture poétique étonnamment originale visant à installer (...) naturellement, mais avec discrétion, ses propres spécificités, tout en creusant selon des angles d'approches très variés celles des grands auteurs et artistes constamment et librement interrogés. Ecriture d'altérité et de non-différence, d'automultiplication et d'harmonisation intersubjective, celle qu'on analyse ici - avec ses textes consacrés à Baudelaire ou Hugo, Tal-Coat ou Segers, Mandelstam ou Joyce, Poussin ou Hölderlin - ne cesse de révéler cet instinct de généreuse et fraternelle affinité qui, au coeur des brillantes explorations que voue le moi à son être-dans-le-monde, tisse son réseau de résonances subtiles et sûres. (shrink)

This article examines a key question emerging from the strong program in cultural sociology — can art provide a window into social life? An examination of Giacometti's Standing Woman shows that art attempts to express cultural structures via immersion into and through the material surfaces of aesthetic form. Through an analysis of the iconic significance of family photos, furniture and celebrities, the article goes on to suggest that such iconic experience remains at the basis of contemporary social life. It (...) explains how we feel part of our surroundings, how we experience the ties that bind us to the people we know and how we develop a feeling for cultural hierarchy. (shrink)

La 4e de couv. mentionne "Nous admirons la plupart du temps les peintures vénitiennes du Tintoret dans des conditions défavorables : il en est de même pour les textes de Sartre sur la peinture, disséminés au gré des Situations, parfois inédits. On croit alors y trouver une théorie de l'imaginaire focalisée sur l'irréalité du monde des images. La définition des "arts non-signifiants" dans Qu'est-ce que la Littérature, tout comme les articles sur la peinture, rédigés entre 1954 et 1970 corrigent certaines (...) idées reçues, traçant au sein de la philosophie sartrienne une nouvelle approche, plus "matiériste" de l'art. Ces "essais d'esthétique picturale" sauveraient ainsi Sartre d'une théorie iconoclaste de l'imaginaire, faisant apparaitre une possible redéfinition de l'analogon pictural. Mais ils permettent aussi d'inventer une toute nouvelle catégorie, celle des "peintres sartriens", où dialoguent ensemble Le Tintoret, Giacometti, Masson, Wols, Lapoujade et Rebeyrolle.". (shrink)

Résumé Les sculptures d’Alberto Giacometti révèlent une profonde ambiguïté dans leur caractère d’œuvre : à la pérennité et la solennité traditionnellement associées à l’œuvre d’art répond en effet une fragilité bouleversante qui expose parfois l’œuvre au risque de sa disparition. Comment donc comprendre les phénomènes de miniaturisation ou de dématérialisation dans ces sculptures? Dans un contexte historique de remise en question de la notion d’œuvre d’art, l’artiste entend tout à la fois faire œuvre et suggérer la menace de disparition (...) qui entoure toute vision. (shrink)

Qu'ont de commun Pascal et la peinture de La Tour? La théologie de Thomas d'Aquin et les fresques de Fra Angelico? La philosophie de Schelling et la musique de Liszt? La pensée de Diderot et les toiles de Fragonard, ou encore la phénoménologie de Maldiney et les sculptures de Giacometti? Et si œuvres d'art et œuvres philosophiques, dans leurs façons d'être au monde, tissaient de profondes correspondances, souvent même à l'insu de leur créateur? C'est la thèse de Philippe Grosos (...) qui revisite ici les grandes œuvres de la pensée humaine et les plus belles productions de l'art pour en dévoiler les liens les plus intimes et les intuitions communes. De telles correspondances, qui entendent mettre en évidence des gestes communs à l'élaboration de leurs œuvres, supposent alors que ce que nous nommons esthétique a bien davantage à voir avec l'existence qu'avec la seule œuvre d'art ou le jugement de goût. (shrink)

An accidental glance at a newspaper notice causes Rousseau to collapse under the force of a vision. A car accidentally hits Giacometti, and he experiences an epiphany. Darwin introduces accident to the basic process of life, and Freud looks to accident as the expression of unconscious desire. Accident, Ross Hamilton claims, is the force that makes us modern. Tracing the story of accident from Aristotle to Buster Keaton and beyond, Hamilton’s daring book revives the tradition of the grand history (...) of ideas. _Accident _tells an original history of Western thought from the perspective of Aristotle’s remarkably durable categories of accident and substance. Throughout antiquity and the Middle Ages, Aristotle’s distinction underwrote an insistence on order and subordination of the inessential. In a groundbreaking innovation, Hamilton argues that after the Reformation, the concept of accident began to change places with that of substance: accident became a life-transforming event and effectively a person’s essence. For moderns, it is the accidental, seemingly trivial moments of consciousness that, like Wordsworth’s “spots of time,” create constellations of meaning in our lives. Touching on a broad array of images and texts—Augustine, Dante, the frescoes of Raphael, Descartes, Jane Austen, the work of the surrealists, and twentieth-century cinema—Hamilton provides a new way to map the mutations of personal identity and subjectivity. (shrink)

En prenant comme point de départ la proposition d’André Breton d’une « physique de la poésie », nous analyserons ici les conditions de surgissement de diverses variations qui pris forme dans la pratique surréaliste de l’objet surréaliste, depuis la Boule suspendue (1930) de Giacometti aux sculptures crées par Miró dans les années cinquante, en prenant compte de la construction des objets à fonctionnements symboliques de Dalí, à l’« Équation de l’objet trouvé», écrit fondamental de Breton, et à la célébration, (...) en 1936, de l’exposition fondationale à la Galerie Charles Ratton. (shrink)

Philosopher Jean-Paul Sartre counted among his friends and associates some of the most esteemed intellectuals, writers, and artists of the twentieth century. In Portraits, Sartre collected his impressions and accounts of many of his notable acquaintances, in addition to some of his most important writings on art and literature during the early 1950s. Portraits includes Sartre's preface to Nathalie Sarraute's Portrait of a Man Unknown and his homages to André Gide, Albert Camus, and Maurice Merleau-Ponty. The essay on Merleau-Ponty casts (...) considerable light on the recent history of French philosophy, particularly with regard to dominant post-war political conceptions. Featured as well are lengthy studies of Sartre's close friend Paul Nizan and of the young André Gorz that are no less revealing, as well as Sartre's "Reply to Albert Camus," which sealed the ideological and personal break between the two writers on its publication in 1952. Alongside these major writings are fascinating articles on Tintoretto and a number of contemporary artists, including Giacometti and Masson. Finally, Portraits concludes with two travelogue-style accounts of Sartre's time in Italy. This new translation by Chris Turner presents these essays in their complete form as originally intended by Sartre when he first published Situations IV in France and is thus essential reading for anyone interested in the artistic and intellectual history of the time. (shrink)

Philosopher Jean-Paul Sartre counted among his friends and associates some of the most esteemed intellectuals, writers, and artists of the twentieth century. In _Portraits_, Sartre collected his impressions and accounts of many of his notable acquaintances, in addition to some of his most important writings on art and literature during the early 1950s. _Portraits_ includes Sartre’s preface to Nathalie Sarraute’s _Portrait of a Man Unknown_ and his homages to André Gide, Albert Camus, and Maurice Merleau-Ponty. The essay on Merleau-Ponty casts (...) considerable light on the recent history of French philosophy, particularly with regard to dominant post-war political conceptions. Featured as well are lengthy studies of Sartre’s close friend Paul Nizan and of the young André Gorz that are no less revealing, as well as Sartre’s “Reply to Albert Camus,” which sealed the ideological and personal break between the two writers on its publication in 1952. Alongside these major writings are fascinating articles on Tintoretto and a number of contemporary artists, including Giacometti and Masson. Finally, _Portraits _concludes with two travelogue-style accounts of Sartre’s time in Italy. This new translation by Chris Turner presents these essays in their complete form as originally intended by Sartre when he first published _Situations IV_ in France and is thus essential reading for anyone interested in the artistic and intellectual history of the time. (shrink)

Volume 26/27 begins with publication of _The Annual's_ first prize essay, Samuel Abrams's "How Child and Adult Analysis Inform and Misinform One Another." This is followed by a series of papers originally prepared for a symposium honoring John E. Gedo. These papers span the clinical topics of obsessiveness, sublimation, dreams and self-analysis, and analyzability, and also delve into applied psychoanalysis and art history, with two studies of Vincent van Gogh and another of Alberto Giacometti. These papers not only convey (...) the impressive range of Gedo's own interests, but embody the high scholarly and clinical standards that Gedo has long held, both for himself and for the field in general. Section III offers original contributions to clinical analysis in the form of the consideration of the role of affective engagement in the analyst's "usability"; thoughtful assessment of the perils of parental projection in child analytic work; and comparison of a failed and successful supervision in the same psychoanalytic case. Section IV examines psychoanalysis and the arts, with two further studies of van Gogh, an analytic reading of Nabokov's _Lolita_, and more general examinations of psychoanalysis in relation to dramatic art and film analysis. The volume closes with two provocative scholarly essays bearing on the roots of psychoanalysis: the correspondence between Mabel Dodge and her analysts Smith Ely Jelliffe and A. A. Brill as a vehicle for reviewing the issue of extra- and postanalytic contact between analyst and patient; and an examination of Freud, Lacan, and the uneasy relationships among literature, psychoanalysis, and the female subject. Volume 26/27 offers readers a rich harvest of contemporary insights about psychoanalysis, including its history and evolution, its continuing clinical refinement, and its scholarly applications outside the consulting room. (shrink)

« Retour amont » – le sens de cette formule, titre d’un ensemble de poèmes de René Char repris dans Le Nu Perdu, s’éclaire à la lumière du travail de Giacometti, à qui le poète avait demander d’enluminer son recueil. Dans l’eau-forte « L’homme au bord du précipice regardant dans le vide », le trait ardoisé de Giacometti, émergeant d’une opacité noire, vibre au plus près de l’intention poétique de Char : « Retour amont ne signifie pas retour (...) aux sources. Il s’en faut. Mais saillie, retour aux... (shrink)

La question de l'identité personnelle, sous ses deux formes : " Qui suis-je? " et " Qu'est-ce que le moi? ", a souvent été traitée par des philosophes qui ont entrepris de la résoudre en empruntant la voie du raisonnement pur. Elle est ici abordée par un autre biais, à partir de trois protocoles expérimentaux qui permettent de la saisir à vif, en situation, et non dans l'abstrait : l'ouvrage que Marc Parmentier a consacré à " la philosophie des sites (...) de rencontre ", le récit fait par Jean Genet d'un étrange épisode vécu au cours d'un chemin de fer, dont les enseignements s'étaient raccordés dans son esprit à la fréquentation de deux peintres, Rembrandt et Giacometti, la série de clichés photographiques réalisés par Cindy Sherman où, en vue de mettre en scène la mythologie de la femme américaine, elle s'est prise elle-même pour modèle. L'examen de ces expériences concrètes illustre la possibilité de faire de la philosophie autrement ; s'en dégage, non une réponse inédite à la question de l'identité personnelle, mais la confirmation du caractère définitivement aporétique des interrogations auxquelles celle-ci renvoie. (shrink)

Since it gained currency at the end of the second world war, the term “existentialism” has mostly been associated with a cultural movement that grew out of the wartime intellectual atmosphere of the Left Bank in Paris and spread through fiction and art as much as philosophy. The theoretical and other writings of Jean-Paul Sartre, Simone de Beauvoir, Albert Camus, and Frantz Fanon in the 1940s and 1950s are usually taken as central to this movement, as are the sculptures of (...) Alberto Giacometti, the paintings of Jean Dubuffet, and the plays of Samuel Beckett from this time. Existentialism is frequently viewed, therefore, as an aesthetic movement rooted in certain philosophical thoughts and supplanting surrealism at the centre of European artistic fashion. This is the existentialism of black clothes and jazz clubs, coffee and cigarettes. (shrink)