Psychoanalysis,science, and art: Aesthetics in the making of a psychoanalyst1

This paper critically examines the relationship of psychoanalysis to science and art. Its point of departure is Michael Rustin's theorizing. Specifically, in considering the possibility of a psychoanalyst's having an aesthetic orientation, the author analyses: 1) the difficulty of there being any connection between psychoanalysis and science because science's necessarily presupposed subject‐object dichotomy is incompatible with transference, which, beginning with Freud, is basic to psychoanalysis; 2) the complex relationship between psychoanalysis and aesthetics using Maurice Merleau‐Ponty's philosophical perspective as well as Luigi Pareyson's theory of aesthetics; 3) the Kantian foundations of the psychoanalytic notion of art as the ‘containing form of subjective experience’ 4) intersubjectivity, without which clinical practice would not be possible, especially considering matters of identity, difference, the body, and of sensory experience such as ‘expressive form’; 5) the relationship of psychoanalysis and art, keeping in mind their possible convergence and divergence as well as some psychoanalysts' conceptual commitment to classicism and the need for contact with art in a psychoanalysts's mind set.     

Medical science, culture, and truth

There is a fairly closed circle between culture, language, meaning, and truth such that the world of a given culture is a world understood in terms of the meanings produced in that culture. Medicine is, in fact, a subculture of a powerful type and has its own language and understanding of the range of illnesses that affect human beings. So how does medicine get at the truth of people and their ills in such a way as to escape its own limited constructions? There is a way out of the closed circle implicit in the idea of a praxis and the engagement with reality that is central to it and the further possibility introduced by Jacques Lacan that signification is never comprehensive in relation to the subject's encounter with the real. I will explore both of these so as to develop a conception of truth that is apt for the knowledge that arises in the clinic.     

War on heaven and earth: Misotheistic themes in popular culture

In this article, I evaluate particular critical narratives of religion in pop culture. I note briefly some early cases where criticism is primarily directed at religious abuses. Next, I make some observations about the misotheistic tradition in which the relationship between religious reality and human life is more complicated. Finally, I make some remarks on the use of religious and quasireligious elements in pop culture and what kind of effects these might have on our social imagination.     

Towards a new image of science: Science teaching and non-analytical philosophy of science

This paper describes an attempt to develop a pedagogy for teaching philosophy in science rather than a philosophy of science to be taught in the Bulgarian educational system.     

Mask maker, mask maker: The black gay subject in 1970s popular culture

Black gay artists have created a sustained body of literature that has served as a springboard for their creative and intellectual energies. In the 1980s and 1990s, black gay male textuality blossomed. The result is a minor literature establishing a black gay male sensibility and a distinctly Afro-Gay perspective. The political and poetic influence of these works is demonstrated visually in Looking For Langston by Isaac Julien, in Tongues Untied by the late Marlon Riggs, and to a lesser extent, Paris is Burning by Jennie Livingston. These documentaries seek to further a strategy of black gay representation. This essay explores the historical precedents for such outpouring. By situating pre-1980s representations of black gay men, I examine images of the black gay subject in the popular literature and culture of the 1970s, especially in one of the most popular works of the decade, Victor Dodson’s book, Black and Gay. I will also mention the ways in which contemporary writers, poets, film artists, and theater and performance ensembles such as Pomo Afro Homo allow black gay men to perform satirical roles that signify upon those earlier characterizations, images, and depictions, which seek to further marginalize them and, through performance, exhaust those contradictory conditions, silence often misnamed.     

Towards an integration of science,art and morality: The role of values in psychology

The purpose of this paper is to define the role of values in therapy. From both an historical and theoretical perspective, values are an integral part of the therapeutic process. Hence, a review of the research which highlights the effects, interplay and outcome of values in psychology is undertaken. The implications of this review are discussed with particular reference to cross-cultural and religious issues. The current trend for ‘value-free’ therapy is suggested as unattainable and, moreover, as reflective of the dominant sociopolitical structure. In addition, the impact of this research on the role of the professional is explored and the possibilities of future research highlighted. In sum, psychology is discussed as a value-laden process which needs to better integrate the science, art and morality of the discipline if it is to fulfill its potential as a therapeutic process.     

Violence at soccer matches in Victorian England: Issues in the study of sports violence, popular culture and deviance

This article examines the issues of sports violence, popular culture and deviance, specifically with respect to violence at soccer matches in Victorian England. The author argues that a more adequate perspective on these issues is provided by a theory of the “civilizing process,” which holds that there has been a long-term decline in the relationship between pleasure and the witnessing of violent acts. This civilizing process has been a central aspect of the development of modern sport. It also had an impact on the transformation of English society throughout the nineteenth century, as the more powerful middle class sought to regulate the expression of violence by the working class.     

Forensic neuropsychology: The art of practicing a science that does not yet exist

Despite its future promise, neuropsychological evidence generally lacks scientifically demonstrated value for resolving legal issues, and thus, if admitted into court, should be accorded little or no weight. In support of this contention, examples of problems and limits in forensic neuropsychology are described. These include contrasts between the clinical and forensic context; the base-rate problem; lack of standardized practices; problems assessing credibility or malingering; difficulties determining prior functioning, limits in the capacity to integrate complex data; and the lack of relation between judgmental accuracy and education, experience, or credentials. Some possible counterarguments are also addressed.     

The art (and science) of seduction: Why,when, and for whom seductive details matter

In this commentary, the two critical attributes of seductive details are described through a historical lens: relevance and interest. For each of these attributes, various forms that have populated the seductive detail literature are distinguished, and the specific manner in which each is interpreted by contributors to the Special Issue is considered. The forms of relevance overviewed are personal, structural, instructional, and task relevance. For interest, distinctions between individual and situational interest are noted, and the concept of interestingness is delineated. With this historical backdrop, the studies in this Special Issue are analyzed, and four provocative questions are posed: When are “seductive details” not seductive? What contextual factors contribute to seduction? For whom is seduction a problem? When is the solution worse than the problem?     

Synthetic and analytic thought: Similarities and differences among art and science students

Evidence is presented suggesting that differences as well as similarities exist between the thought processes of art and science students during the insight phase of problem solving. The nature of these thought processes was investigated at different time periods throughout the creative process with 122 students in art and science. Half of the subjects solved tasks corresponding to their orientation, and the other half solved problems not of their orientation. This allowed an evaluation of the variance attributable to task, as opposed to orientation. After solving the task, subjects completed the Feelings and Thoughts Questionnaire (FTQ) and a battery of personality inventories, including the NEO Personality Inventory, the Adjective Check List, and the Experience Inquiry. The FTQ is a self‐report inventory in which subjects rate lists of adjectives describing the thoughts and emotions that occurred before, during, and after the insight. Internal consistency and convergent validity were established for the two scales of the FTQ namely the Synthetic and Analytic Thought Scales. Comparisons indicated that art students tended to receive higher scores than science students on the Synthetic Thought Scale, especially after the insight. The nature of the art and science task did not contribute to variance in mode of thinking scores. The findings suggest that a differentiated view of the thought processes involved in artistic and scientific creativity is needed.