A Forward Bias in Human Profile-Oriented Portraits

The spatial composition of human portraits obeys historically changing cultural norms. We show that it is also affected by cognitive factors that cause greater spontaneous attention to what is in front rather in the back of an agent. Scenes with more space in front of a directed object are both more often produced and judged as more aesthetically pleasant. This leads to the prediction that, in profile-oriented human portraits, compositions with more space in front of depicted agents (a “forward bias”) should be over-represented. By analyzing a large dataset (total N of 1,831 paintings by 582 unique identified European painters from the 15th to the 20th century), we found evidence of this forward bias: Painters tended to put more free space in front of, rather than behind, the sitters. Additionally, we found evidence that this forward bias became stronger when cultural norms of spatial composition favoring centering became less stringent.     

Ethnic Identity in Jewish Families

Forty-eight Jewish families living in Central New York were interviewed about the development of their ethnic identity. Within each family, parents and children were asked about how they developed their ethnic identity to explore qualitatively how Jewish identity shapes and influences family dynamics. The semi-structured family interviews were coded using a constant comparison methodology. Seven qualitative categories emerged (gendered decisions, negotiating continuity, family of origin, survivors, active learning, traditions, and cultural religion). Jewish identity formation in families and the implications for clinical practice are explored.     

Of Art and Blasphemy

What does philosophy have to say about the argument that blasphemous art ought not to be publicly displayed? We examine four concepts of blasphemy: blasphemy as offence, attack on religion, attack on the sacred, attack on the blasphemer himself. We argue all four are needed to grasp this complex concept. We also argue for blasphemy as primarily a moral, not a religious concept. We then criticise four arguments for the public display of blasphemous art: it may be beautiful, provocative, devoutly intended, and is autonomous of religious concerns. Finally, we discuss the notions of blasphemy and blasphemous art as public offences. We conclude that the display of blasphemous art is a public, and not merely a private moral offence, and that there are respectable philosophical arguments for this conclusion.     

A new theory on children's drawings: Analyzing the role of emotion and movement in graphical development

The aim of this paper is to develop a new understanding of children's drawings and to provide ideas for future research in early childhood. Starting from classic theories on child graphical development, we proceed to analyze them and provide our own views on the subject. We will also recount a number of relevant empirical studies that appear to validate our theory. Our belief is that emotion and self-expression through movement play a key role in the development of child art, and that this may be already visible during the scribbling stage of drawing.     

Contemporary art and Hanna Segal's thinking on aesthetics

From the point of view of the history of ideas in psychoanalysis, a major shift may be described from Freud's starting point considering art as sublimation of sexual desires on a largely objectal level to later developments emphasizing the presence in art of destructiveness and narcissistic conflicts. Segal's contribution represents a watershed in this evolution. Following Klein, Hanna Segal suggests considering art in relation to depressive anxieties and reparation in such a way that artistic activity may be seen as an attempt 'to restore and re-create the loved object outside and inside the ego' which implies a successful work of mourning accompanied by symbol formation. For Segal, these reparative processes are conveyed through formal beauty which represents the victory of reparation over destruction. Nevertheless, contemporary art demands that we consider the intervention, in art, of more raw and less symbolized/sublimated processes, including acting-out in often primitive, psychotic or perverse ways. Thus this paper unfolds in two directions: on the one hand, it examines the differences and continuities between Freud's and Segal's thinking whilst, on the other, the author presents some alternative ideas which stress the search for truth and new thinking in contemporary art.     

老年病人心理干预的语言艺术

恰当运用临床医学语言与沟通技巧,对老年病人实施心理干预,既是一种重要的治疗手段,也是医德的重要组成部分,更是一门充满人文关怀的医疗艺术.     

A CRITIQUE OF BOROWITZ'S POSTMODERN JEWISH THEOLOGY

Abstract. Borowitz's book is primarily a systematic response by a liberal Jewish theologian to his perceived challenges from rationalism on one hand and postmodernism on the other. It is within this context that Borowitz discusses issues of the relationship between modern science and Judaism. The first part of this essay is a summary of Borowitz's book. Here I locate Borowitz's place in the general discipline of Jewish philosophy and theology. The second part of the paper is a critique of Borowitz's discussion of postmodernism and liberalism. It is in this concluding section that the issues raised by contemporary science for Jewish religious thought are discussed.     

A Question of Identity: Mirrors as a Tool for Self-Reflection

Having a strong sense of self can be a protective factor in resisting peer pressure and involvement in negative behaviors and a determining factor in the formation of one’s coping skills and resiliency to life’s challenges. This qualitative pilot study of high school freshman students (N = 337) consisted of responses to an exhibition of mirrors decorated around the question of identity. The four themes revealed in students’ self-reflection were: (a) image of self, positive or negative; (b) multiple self(ves); (c) embodied hope; and (d) lack of identity. Results indicated that mirrors have the potential to create connections on sensitive issues and concerns and that mirrors aid in the process of self-reflection. Discussion of the results, limitations, and areas for future research are addressed.     

Using Creative Techniques With Children Who Have Experienced Trauma

Verbal and emotional forms of expression can be difficult for young children who have experienced trauma. Creative methods and approaches such as puppets, sandtray, letter writing, and art are therapeutic mediums that provide an outlet for a young client’s story of trauma to be told. Children can use puppets to depersonalize and share feelings with a counselor that would provide insight into their coping strategies. Similarly, sandtray is another nonverbal approach that gives children the opportunity to externalize their feelings safely and can be easily used with extroverted and introverted clients. Letter writing and art can empower children and give them hope for the future. In summary, creative techniques can allow counselors to help explore stories of trauma with young clients.