The potential of claywork to facilitate the integration of the self in psychotherapy with an adult survivor of childhood trauma: a Jungian perspective
- Authors: Smuts, Tanja
- Date: 2005
- Subjects: Jung, C G (Carl Gustav), 1875-1961 , Art therapy , Psychotherapy , Child psychotherapy , Adult child abuse victims -- Rehabilitation , Self , Modeling -- Therapeutic use
- Language: English
- Type: Thesis , Masters , MA
- Identifier: vital:3062 , http://hdl.handle.net/10962/d1002571 , Jung, C G (Carl Gustav), 1875-1961 , Art therapy , Psychotherapy , Child psychotherapy , Adult child abuse victims -- Rehabilitation , Self , Modeling -- Therapeutic use
- Description: The aim of this thesis was to explore the experience of “self” within the clinical context of adult survivors of childhood trauma. Childhood trauma in this study referred to a range of childhood experiences of emotional and physical assault, including encounters with various kinds of abuse and neglect. The focus was on the experience of a sense of disintegration and dislocation, associated to aspects of self being in conflict. This was explored from theoretical perspectives of Jungian analytic psychology, as well as art therapy.Answers were sought to the questions of how claywork, as a form of art therapy, may facilitate the integration of the self and contribute to the development of a healing dialogue with feared and hated aspects of self. Grounded in Jungian theory, integration of the self was conceptualised as a movement towards “differentiating wholeness”. The study took the form of a phenomenological-hermeneutic case study. One participant’s experience of making and discussing a clay sculpture in a therapeutic setting according to Edwards’ method, was analysed thematically. It was concluded that the potential of claywork in therapy to facilitate the integration of the self is related to three aspects. Firstly, claywork in therapy may promote a concrete personification of feared and hated aspects of self, which may enable the maker to view these aspects from a distance, and learn to understand them in a new way. Secondly, claywork in therapy may facilitate the safe ‘unearthing’ of repressed feelings as well as hidden aspects of the personality. Thirdly, claywork’s potential to mediate symbolic functioning was shown to be an important aspect of the integration process. These findings confirmed and extended existing theory regarding the usefulness of claywork in psychotherapy with adult survivors of childhood trauma. Brief recommendations for future research were provided.
- Full Text:
- Authors: Smuts, Tanja
- Date: 2005
- Subjects: Jung, C G (Carl Gustav), 1875-1961 , Art therapy , Psychotherapy , Child psychotherapy , Adult child abuse victims -- Rehabilitation , Self , Modeling -- Therapeutic use
- Language: English
- Type: Thesis , Masters , MA
- Identifier: vital:3062 , http://hdl.handle.net/10962/d1002571 , Jung, C G (Carl Gustav), 1875-1961 , Art therapy , Psychotherapy , Child psychotherapy , Adult child abuse victims -- Rehabilitation , Self , Modeling -- Therapeutic use
- Description: The aim of this thesis was to explore the experience of “self” within the clinical context of adult survivors of childhood trauma. Childhood trauma in this study referred to a range of childhood experiences of emotional and physical assault, including encounters with various kinds of abuse and neglect. The focus was on the experience of a sense of disintegration and dislocation, associated to aspects of self being in conflict. This was explored from theoretical perspectives of Jungian analytic psychology, as well as art therapy.Answers were sought to the questions of how claywork, as a form of art therapy, may facilitate the integration of the self and contribute to the development of a healing dialogue with feared and hated aspects of self. Grounded in Jungian theory, integration of the self was conceptualised as a movement towards “differentiating wholeness”. The study took the form of a phenomenological-hermeneutic case study. One participant’s experience of making and discussing a clay sculpture in a therapeutic setting according to Edwards’ method, was analysed thematically. It was concluded that the potential of claywork in therapy to facilitate the integration of the self is related to three aspects. Firstly, claywork in therapy may promote a concrete personification of feared and hated aspects of self, which may enable the maker to view these aspects from a distance, and learn to understand them in a new way. Secondly, claywork in therapy may facilitate the safe ‘unearthing’ of repressed feelings as well as hidden aspects of the personality. Thirdly, claywork’s potential to mediate symbolic functioning was shown to be an important aspect of the integration process. These findings confirmed and extended existing theory regarding the usefulness of claywork in psychotherapy with adult survivors of childhood trauma. Brief recommendations for future research were provided.
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Claywork within the holographic paradigm: a transpersonal perspective on art therapy
- Authors: Diers, Belinda Gail
- Date: 1999
- Subjects: Art therapy , Transpersonal psychology , Art and holography
- Language: English
- Type: Thesis , Masters , MA
- Identifier: vital:2962 , http://hdl.handle.net/10962/d1002471 , Art therapy , Transpersonal psychology , Art and holography
- Description: This thesis is grounded in the theoretical discourses of art therapy and transpersonal psychology. The focus is on a single session of claywork, where a sculpture was made and discussed, leading to an understanding of some of the sculptor's central psychological issues. The overall aim of the research was to examine different hermeneutic perspectives on art therapy with clay sculpture in terms of how well they open up and do justice to the experience of the sculptor and the nature of the overall process. Within this there are two particular goals: Firstly, to examine the extent to which the holographic paradigm in comparison to other perspectives, allows a deeper access to, and deeper understanding of, transpersonal themes and processes; and secondly, to examine the extent to which processes within claywork can be understood as ritual activities. The research was a phenomenological-hermeneutic case study. The session was reduced to a narrative synopsis, and then a hermeneutically grounded thematic analysis was carried out using the theory of Transpersonal Feminism (Knight, 1997) and Schema-Focused Cognitive Therapy (young, 1990, 1994). The principal conclusions reached were that the holographic paradigm does add to our understanding of the experiences (personal and transpersonal) of the claywork, often beyond the scope of other art therapy perspectives. The image of the shaman is used as a metaphor for understanding the process of healing described within the holographic paradigm. Within the healing process, ritual plays an important role in the meaningful therapeutic activity of art therapy. The claywork expresses that the transpersonal struggle with archetypal forces within the collective unconscious is reflected on a personal level through individual conflicts and dilemmas within the personal unconscious. Indeed, these difficulties are viewed on both levels as 'stepping stones' on the path of spiritual development described by Engler (1984) and Welwood (1986).
- Full Text:
- Authors: Diers, Belinda Gail
- Date: 1999
- Subjects: Art therapy , Transpersonal psychology , Art and holography
- Language: English
- Type: Thesis , Masters , MA
- Identifier: vital:2962 , http://hdl.handle.net/10962/d1002471 , Art therapy , Transpersonal psychology , Art and holography
- Description: This thesis is grounded in the theoretical discourses of art therapy and transpersonal psychology. The focus is on a single session of claywork, where a sculpture was made and discussed, leading to an understanding of some of the sculptor's central psychological issues. The overall aim of the research was to examine different hermeneutic perspectives on art therapy with clay sculpture in terms of how well they open up and do justice to the experience of the sculptor and the nature of the overall process. Within this there are two particular goals: Firstly, to examine the extent to which the holographic paradigm in comparison to other perspectives, allows a deeper access to, and deeper understanding of, transpersonal themes and processes; and secondly, to examine the extent to which processes within claywork can be understood as ritual activities. The research was a phenomenological-hermeneutic case study. The session was reduced to a narrative synopsis, and then a hermeneutically grounded thematic analysis was carried out using the theory of Transpersonal Feminism (Knight, 1997) and Schema-Focused Cognitive Therapy (young, 1990, 1994). The principal conclusions reached were that the holographic paradigm does add to our understanding of the experiences (personal and transpersonal) of the claywork, often beyond the scope of other art therapy perspectives. The image of the shaman is used as a metaphor for understanding the process of healing described within the holographic paradigm. Within the healing process, ritual plays an important role in the meaningful therapeutic activity of art therapy. The claywork expresses that the transpersonal struggle with archetypal forces within the collective unconscious is reflected on a personal level through individual conflicts and dilemmas within the personal unconscious. Indeed, these difficulties are viewed on both levels as 'stepping stones' on the path of spiritual development described by Engler (1984) and Welwood (1986).
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Dreamwork and imaginal healing: the incorporation of artwork in a systematized method of group dreamwork
- Authors: Euvrard, Gwenda Joan
- Date: 1999
- Subjects: Dreams -- Therapeutic use , Art therapy , Jungian psychology
- Language: English
- Type: Thesis , Masters , MA
- Identifier: vital:2972 , http://hdl.handle.net/10962/d1002481 , Dreams -- Therapeutic use , Art therapy , Jungian psychology
- Description: This exploratory study investigated the expansion of an established systematized group dreamwork method (Shuttleworth-Jordan, 1995) to incorporate artwork. The rationale for the addition of artwork was situated firstly, in a poetic Jungian understanding of the image as a holistic "place" of gnosis or transformative healing and, secondly, in an argument that in order to carry the gnostic potential of the image into the lived world, a dreamwork method should involve all four styles of consciousness (thinking, intuition, sensation and feeling). It was considered that the verbal interpretive Shuttleworth-Jordan method would be enhanced by the incorporation of a visual artwork process in order more fully to open the potential of the method for incorporating the nonverbal intuitive, sensation and feeling styles of consciousness. In order to compare the established method (dreamwork Without Art) and the proposed method (dreamwork With Art), two dreamwork workshops were conducted in which all participants experienced all four conditions of the study: Dream Presenter Without Art, Dream Presenter With Art, Group Member Without Art, Group Member With Art. Two levels of assessment were utilized: a quantitative analysis (involving rating scales completed after each dreamwork session), supported by a qualitative analysis (involving written questionnaires completed at the end of the workshops and follow-up interviews conducted a week after completion of the workshops). The results suggested that the incorporation of artwork in the Shuttleworth-Jordan (1995) group dreamwork method enhanced the established method in that a consistent trend of increased involvement in the dreamwork process and increased dreamwork effectiveness was reflected, while no deleterious effects were noted which might detract from the effectiveness of the existing model which had been established in previous research studies. Finally, a refined step-by-step group dreamwork method incorporating artwork was proposed, which included qualitative feedback from the present study.
- Full Text:
- Authors: Euvrard, Gwenda Joan
- Date: 1999
- Subjects: Dreams -- Therapeutic use , Art therapy , Jungian psychology
- Language: English
- Type: Thesis , Masters , MA
- Identifier: vital:2972 , http://hdl.handle.net/10962/d1002481 , Dreams -- Therapeutic use , Art therapy , Jungian psychology
- Description: This exploratory study investigated the expansion of an established systematized group dreamwork method (Shuttleworth-Jordan, 1995) to incorporate artwork. The rationale for the addition of artwork was situated firstly, in a poetic Jungian understanding of the image as a holistic "place" of gnosis or transformative healing and, secondly, in an argument that in order to carry the gnostic potential of the image into the lived world, a dreamwork method should involve all four styles of consciousness (thinking, intuition, sensation and feeling). It was considered that the verbal interpretive Shuttleworth-Jordan method would be enhanced by the incorporation of a visual artwork process in order more fully to open the potential of the method for incorporating the nonverbal intuitive, sensation and feeling styles of consciousness. In order to compare the established method (dreamwork Without Art) and the proposed method (dreamwork With Art), two dreamwork workshops were conducted in which all participants experienced all four conditions of the study: Dream Presenter Without Art, Dream Presenter With Art, Group Member Without Art, Group Member With Art. Two levels of assessment were utilized: a quantitative analysis (involving rating scales completed after each dreamwork session), supported by a qualitative analysis (involving written questionnaires completed at the end of the workshops and follow-up interviews conducted a week after completion of the workshops). The results suggested that the incorporation of artwork in the Shuttleworth-Jordan (1995) group dreamwork method enhanced the established method in that a consistent trend of increased involvement in the dreamwork process and increased dreamwork effectiveness was reflected, while no deleterious effects were noted which might detract from the effectiveness of the existing model which had been established in previous research studies. Finally, a refined step-by-step group dreamwork method incorporating artwork was proposed, which included qualitative feedback from the present study.
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Art as an expression of the unconscious psyche
- Authors: Weiner, Elana
- Date: 1988
- Subjects: Art -- Psychology , Art and mental illness , Art therapy , Subconsciousness
- Language: English
- Type: Thesis , Masters , MA
- Identifier: vital:3119 , http://hdl.handle.net/10962/d1004903 , Art -- Psychology , Art and mental illness , Art therapy , Subconsciousness
- Description: This study aimed to investigate the use of expressive art as a manifestation of the unconscious psyche and as an indication of underlying personality dynamics. Its use as a significant medium for therapeutic encounter and exploration was investigated by analysing the art produced by four psychiatric in-patients during their participation in an eight-week art therapy programme. Each patient's art series was qualitatively and thematically interpreted with a focus upon the meaning of significant recurring images and motifs. The results of this study indicate that the particularity of each patient's graphic imagery enabled the lived experience of their struggles and preoccupations to emerge as uniquely different. Through their art productions they revealed the nature of their inner worlds and the power of their thoughts, feelings and experiences.
- Full Text:
- Authors: Weiner, Elana
- Date: 1988
- Subjects: Art -- Psychology , Art and mental illness , Art therapy , Subconsciousness
- Language: English
- Type: Thesis , Masters , MA
- Identifier: vital:3119 , http://hdl.handle.net/10962/d1004903 , Art -- Psychology , Art and mental illness , Art therapy , Subconsciousness
- Description: This study aimed to investigate the use of expressive art as a manifestation of the unconscious psyche and as an indication of underlying personality dynamics. Its use as a significant medium for therapeutic encounter and exploration was investigated by analysing the art produced by four psychiatric in-patients during their participation in an eight-week art therapy programme. Each patient's art series was qualitatively and thematically interpreted with a focus upon the meaning of significant recurring images and motifs. The results of this study indicate that the particularity of each patient's graphic imagery enabled the lived experience of their struggles and preoccupations to emerge as uniquely different. Through their art productions they revealed the nature of their inner worlds and the power of their thoughts, feelings and experiences.
- Full Text:
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