Abstract
This work intends to investigate the use of psychoanalytical theory within the aesthetic and critical contemporary art field. To this purpose, it focuses on two philosophers who have become significant in our time: the art critic Hal Foster and the art historian Georges Didi-Huberman. This study aims to show how far the concepts generated in psychoanalytic praxis allowed interpretations that disrupt the traditional aesthetics field. This type of analysis is possible once we abandon the paradigm of “applied psychoanalysis”, which is still current in non-clinical setting. Finally, the proposal wants to argue that the category of the amorphous may clarify certain aesthetic experiences that range from the modernity of art through postmodernity.
Highlights
It is not an unknown fact that psychoanalysis, art and aesthetics have their mutual influences; but, as we widely understand, the relationship between these fields does mean a very significant chapter in the history of Freudian ideas
At the international art scene, theorists, art historians and critics, in their turn, never ceased to introduce psychoanalytical concepts into consideration, and especially in this time we are living in; this behavior occurs even when that ownership is immersed in a series of discursive resistances, that by itself could justify new researches to be done
This kind of interpretation occurs in Delusions and dreams of Jensen’s Gradiva, Dostoyevsky and parricide, Creative writers and daydreaming, etc. culminating in a method of reading images that had become the princeps way among the Freudian interpretation—in this case, certainly related to art works: that means the article he wrote about Leonardo da Vinci and one memory of his childhood
Summary
It is not an unknown fact that psychoanalysis, art and aesthetics have their mutual influences; but, as we widely understand, the relationship between these fields does mean a very significant chapter in the history of Freudian ideas.
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