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

By Ellen G. Levine, Stephen K. Levine

Foundations of Expressive Arts remedy presents an arts-based method of the idea and perform of expressive arts remedy. The publication explores some of the expressive arts remedy modalities either separately and in dating to one another. The individuals emphasize the significance of the mind's eye and of aesthetic adventure, arguing that those are primary to mental overall healthiness, and hard accredited perspectives which position basic emphasis at the cognitive and emotional dimensions of psychological health and wellbeing and improvement.
Part One explores the idea which informs the perform of expressive arts remedy. half relates this concept to the healing program of the expressive arts (including tune, paintings, circulate, drama, poetry and voicework) in several contexts, starting from play remedy with young children to trauma paintings with Bosnian refugees and second-generation Holocaust survivors. complete in its assurance of the main primary features of expressive arts treatment, this e-book is an important contribution to the sphere and an invaluable reference for all practitioners.

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Extra info for Foundations of Expressive Arts Therapy: Theoretical and Clinical Perspectives

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Here is where Nietzsche distinguishes himself from his mentor, Schopenhauer. Unlike the latter, for whom art was a means of pacifying and calming the Will, Nietzsche sees the great art of tragic drama as a willingness to accept the suffering of desire completely and still affirm the value of life. ' to life in the face of chaos and suffering. 52). One can see clearly now why Nietzsche was so critical of Socrates, as presented in the Platonic dialogues. Socrates is seen by Nietzsche as the prototype of the new man, who strives not to accept the temporal world but to escape from it.

The rejection of metaphysics brings with it an acceptance of aesthetics as a mode of truth. Indeed, for Nietzsche, one could say, as Keats did, 'Beauty is truth, truth, beauty, that is all Ye know on earth, and all ye need to know'. It is only necessary to add that 'beauty' here does not mean formal perfection (as in the timeless figures of the Grecian urn, of which Keats speaks), but the temporality of the passing moment, which is valued just for its finitude, not in spite of it. Even the myth of the eternal return, the 'foundation' of Nietzsche's later thought, is understood by him not as absolute truth, but as a myth which can, at this point in history, give human beings the renewed power to choose life.

In addition, Plato resorts to mimesis at every turn in the presentation of his thinking. In the Republic, the construction of a just city in speech is itself a poetic act; such a city exists only in the imaginal realm. Moreover, metaphors abound in the dialogue; the very allegory of the cave, designed to be an attack on mimesis, uses concrete imagery to achieve its goal. Finally, the dialogue itself, like many of Plato's dialogues, ends not in logic but in myth, in this case a mythical account of the life after death for those who lead just and unjust lives, respectively.

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