Download Foundations of Expressive Arts Therapy: Theoretical and by Ellen G. Levine, Stephen K. Levine PDF

By Ellen G. Levine, Stephen K. Levine

(Jessica Kingsley) York Univ., Toronto, Canada. presents an arts-based method of the idea and perform of expressive arts remedy. For practitioners. Softcover, hardcover indexed in approval week #98-46.

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Extra resources for Foundations of Expressive Arts Therapy: Theoretical and Clinical Perspective

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77). Rather than see art and truth in a contradictory relationship, as both Plato and Nietszche did (albeit in an opposing manner), Heidegger names art as a primordial way in which truth becomes manifest. He can do this because truth for him is not a transcendent principle which can only be imitated in the world; rather, truth itself is an event, a manifestation in time. Moreover, the event of truth is one which sets humans on the paths which mark their world. As an essential manifestation of truth, art has the capacity to give meaning and direction to human existence.

Things and events around us reach us only like an indifferent echo from a distance. No aria any more, beauty has gone. Life is lonely without surprises. The lines of communication to others and the world seem weakened, maybe even cut off, or ‘ligated’, as Løgstrup calls it with an expression from medicine. No blood flows. The blood stream has been blocked. How, then – and from where – does beauty come into our lives? What is the connection between aesthetics – that which has to do with the beautiful – and the feeling of being cut off ?

Generally, in the dream we receive imagination passively; in day-dreaming we have an active cognitive engagement that can exert some control or guidance. In comparison with dreaming and day-dreaming, the artistic process, the third realm within the phenomena of imagination, displays the strongest possibilities of willful interaction with imagination. This interaction is a concrete engagement with a ‘thingly’ matter through the creative act. Such thinglyness is also an attribute in the performing arts such as music; the formed sound is concretely present through the senses and can therefore be shaped and witnessed.

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