One Man Against the Nazis— Wolfgang Kohler
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GESTALT THEORY an International Multidisciplinary Journal Journal of the Society for Gestalt Theory and Its Applications (GTA)
GESTALT THEORY An International Multidisciplinary Journal Journal of the Society for Gestalt Theory and its Applications (GTA) Volume 43 • Number 1 • March 2021 Editorial Gerhard Stemberger Psychotherapy: The Challenge and Power of Consistency This issue of Gestalt Theory presents coherently compiled some essential basic concepts of Gestalt Theoretical Psychotherapy for the first time in English and thus beyond the German-speaking circle1. A side effect of such a systematic pre- sentation might be that it also helps to avoid the frequent confusion with Gestalt therapy, which has a similar sounding name, but most of its forms differ substan- tially in its basic concepts. A brief history of Gestalt theoretical psychotherapy is given at the end of this introductory article. In view of the elementary role of cognitive processes for human experience and behavior, the first paper in this issue highlights the epistemological orientation of Gestalt Theoretical Psychotherapy, which underlies all sub-concepts of the meth- od from personality theory to praxeology: “Critical Realism: The Epistemic Posi- tion of Gestalt Theoretical Psychotherapy,” by Katharina Sternek. The second contribution of Bernadette Lindorfer’ deals with a core component of personality theory in Gestalt Theoretical Psychotherapy: “Personality Theory in Gestalt Theoretical Psychotherapy: Kurt Lewin’s Field Theory and his Theory of Systems in Tension Revisited”. This contribution is complemented by a critical synopsis of the views on ego and self in Gestalt theory and their heuristic poten- tial for psychotherapy: “Ego and Self in Gestalt theory” (G. Stemberger). 1 Up to now, there have only been scattered publications on individual aspects from the field of Gestalt The- oretical Psychotherapy in English: H.-.J. -
Arnheim Was Spread Upon the Permanent Records of the Faculty
At a meeting of the FACULTY OF ARTS AND SCIENCES on March 10, 2009, the following tribute to the life and service of the late Rudolf Arnheim was spread upon the permanent records of the Faculty. RUDOLF ARNHEIM BORN: July 15, 1904 DIED: June 9, 2007 Rudolf Arnheim, Professor of the Psychology of Art, Emeritus, in the Department of Visual and Environmental Studies, experienced the culture and history of the twentieth century deeply and profoundly. A towering figure in the field of visual studies, Arnheim was born in an age when many remembered life without telephones. During his long and prodigiously productive scholarly life, Arnheim would witness the emergence of cinema, radio, and television. He was among the first theorists to write in significant ways about these new media of the twentieth century. A pioneer in the psychology of art with path-breaking books on visual perception and artistic creativity, Arnheim was also among the first to recognize the importance of film as a major art form. The first of his fourteen books, Film as Art (1932), is still taught in university courses throughout the world. His most influential work, Art and Visual Perception: A Psychology of the Creative Eye, was published in 1954 and enlarged and revised in 1974. It has been translated into fourteen languages and is acknowledged to be one of the most influential art books of the last century. Known as Rudi to his many friends, Arnheim was born in 1904. In this year, Frank Lloyd Wright designed the Martin House in Buffalo, NY; Paul Cézanne painted Mont Sainte- Victoire; and the first motion picture house opened in Pittsburgh, PA. -
Teaching Guide for the History of Psychology Instructor Compiled by Jennifer Bazar, Elissa Rodkey, and Jacy Young
A Teaching Guide for History of Psychology www.feministvoices.com 1 Psychology’s Feminist Voices in the Classroom A Teaching Guide for the History of Psychology Instructor Compiled by Jennifer Bazar, Elissa Rodkey, and Jacy Young One of the goals of Psychology’s Feminist Voices is to serve as a teaching resource. To facilitate the process of incorporating PFV into the History of Psychology course, we have created this document. Below you will find two primary sections: (1) Lectures and (2) Assignments. (1) Lectures: In this section you will find subject headings of topics often covered in History of Psychology courses. Under each heading, we have provided an example of the relevant career, research, and/or life experiences of a woman featured on the Psychology’s Feminist Voices site that would augment a lecture on that particular topic. Below this description is a list of additional women whose histories would be well-suited to lectures on that topic. (2) Assignments: In this section you will find several suggestions for assignments that draw on the material and content available on Psychology’s Feminist Voices that you can use in your History of Psychology course. The material in this guide is intended only as a suggestion and should not be read as a “complete” list of all the ways Psychology’s Feminist Voices could be used in your courses. We would love to hear all of the different ideas you think of for how to include the site in your classroom - please share you thoughts with us by emailing Alexandra Rutherford, our project coordinator, -
The Legacy of Max Wertheimer and Gestalt Psychology Author(S): D
The Legacy of Max Wertheimer and Gestalt Psychology Author(s): D. BRETT KING, MICHAEL WERTHEIMER, HEIDI KELLER and KEVIN CROCHETIÈRE Source: Social Research, Vol. 61, No. 4, Sixtieth Anniversary 1934-1994: The Legacy of Our Past (WINTER 1994), pp. 907-935 Published by: The Johns Hopkins University Press Stable URL: https://www.jstor.org/stable/40971065 Accessed: 22-02-2019 02:34 UTC JSTOR is a not-for-profit service that helps scholars, researchers, and students discover, use, and build upon a wide range of content in a trusted digital archive. We use information technology and tools to increase productivity and facilitate new forms of scholarship. For more information about JSTOR, please contact [email protected]. Your use of the JSTOR archive indicates your acceptance of the Terms & Conditions of Use, available at https://about.jstor.org/terms The Johns Hopkins University Press is collaborating with JSTOR to digitize, preserve and extend access to Social Research This content downloaded from 149.31.21.88 on Fri, 22 Feb 2019 02:34:10 UTC All use subject to https://about.jstor.org/terms The Legacy of Max Wertheimer /BY D. BRETT KING, MICHAEL and Gestalt / WERTHEIMER, HEIDI KELLER AND Psychology/ KEVIN CROCHETIÈRE In 1946, Solomon Asch wrote that the "thinking of Max Wertheimer has penetrated into nearly every region of psychological inquiry and has left a permanent impress on the minds of psychologists and on their daily work. The consequences have been far-reaching in the work of the last three decades, and are likely to expand in the future" (Asch, 1946, p. -
BIOGRAPHY: RUDOLF ARNHEIM by Igor Shteyrenberg, 9/27/2002
Rudolf Arnheim Page 1 sur 8 BIOGRAPHY: RUDOLF ARNHEIM by Igor Shteyrenberg, 9/27/2002 Early Life And Education (Berlin to 1928) Journalistic Career On Film (1928- 1933) Departure From Germany To Rome To England (1933-1938) America Here I Come (1940 - To Present) SLC TENURE (1943) Art And Visual Perception (1951- 1954) Bibliography Early Life And Education (Berlin to 1928) 15 July 1904 -- the year when Salvador Dali, Vladimir Horowitz, and Deng Xiao-pin are born; the year that Frank Lloyd Wright designs the Martin House in Buffalo (New York), Paulo Cézanne paints Mont Sainte Victoire, Henry James writes The Golden Bowl; the year of the opening of the first formal motion picture theatre (near Pittsburgh, Pennsylvania) and finally -- the year of Rudolf Arnheim's birth (Behrens, 3). Arnheim has three younger sisters -- the oldest, Leni, marries the German artist and art historian Kurt Badt -- who would become a crucial influence on Rudolf'sentire vocational life. Rudolf remembers, "As a child he [Kurt Badt] already showed me works of art . took me to the museum and taught me fundamental ideas of the art, which never left me" (Diederichs, file://C:\Documents and Settings\Propriétaire\Bureau\Frederic\sites web\site_perso_U... 05/10/2004 Rudolf Arnheim Page 2 sur 8 7). His father -- Georg Arnheim, is a Berlin businessman who owns a small piano factory and is under the hopes and plans for his son to take over the family trade. Rudolf recalls it being "a small factory," where only "fifteen pianos a month" (Arnheim, 1984) would be created. But the young resolute Rudolf Arnheim is determined to enter the university, and after graduation from secondary school, his father agrees to allow him to spend "half the week at the university and half at the office" (Arnheim, 1984, p.3). -
Ego and Self in Gestalt Theory “The Genesis of an Ego...”
GESTALT THEORY, DOI 10.2478/gth-2021-0006 © 2020 (ISSN 2519-5808); Vol. 43, No. 1, 47–68 Original Contributions - Originalbeiträge Gerhard Stemberger1 Ego and Self in Gestalt Theory “The genesis of an Ego...” “… the genesis of an Ego is one of the strangest and most remarkable of phenomena which, it would appear, is also controlled by whole-processes”, Max Wertheimer, the founder of Gestalt theory, once observed (Wertheimer, 1924 in 1944, 90). And indeed, hardly anyone ponders in daily life or pays attention to in other ways, whether or not there might be such a thing as an ego. In our lives it is just there either a matter of course, or as an implicit point of reference for the spatial coordinates “in front of me,” “next to me,” “behind me”—or sometimes it is not there at all. There are situations in which the ego is “everything”—where about in the raging pain, hardly another world exists besides the ego. There are situations where the ego spatially expands and subsumes otherwise in separated areas of the environ- ment, such as the clothing, the car, sporting equipment, and again other situa- tions in which it involuntarily or voluntarily dwindles away, possibly shrinks to a small point, or in extreme cases, becomes disembodied. At times the ego is the center of its world, then again marginal, sometimes it functions as a member of a larger whole, such as in a team sport or in a well-coordinated working group, then again there are situations where another person serves as an “extension” of one’s will, or even as an extension of one’s ego.2 Everyday experience already shows that the ego is not a solid, more or less steady “object,” but something very mutable in many ways. -
Der Filmkritiker Und Filmtheoretiker Rudolf Arnheim
View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by Hochschulschriftenserver - Universität Frankfurt am Main Der Filmkritiker und Filmtheoretiker Rudolf Arnheim. Ein Vortrag von Helmut H. Diederichs anlässlich des Bonner Arnheim-Symposions im November 1997 I. "Die Seele in der Silberschicht", so überschrieb Rudolf Arnheim seinen ersten Beitrag für "Die Weltbühne", den er als gerade mal 21jähriger Student im Sommer 1925 veröffentlichen konnte. ‘Zögernd und zitternd’ reichte er Siegfried Jacobsohn diese Replik auf einen Aufsatz des bekannten kulturpolitischen Publizisten Adolf Behne ein. Behne wiederum hatte auf eine Polemik Kurt Tucholskys über Tendenzphotographie reagiert. Tucholsky hatte für den explizit politischen Gebrauch der Photographie plädiert und eine "tendenzphotographisch illustrierte Kampfzeitung" gefordert. Adolf Behne sah die eindimensional antithetische Tendenzphotographie nur als einen Anwendungsfall. Noch wichtiger war ihm die Photographie aus künstlerischen Gründen. Behne verstieg sich allerdings dahin, die Photographie als die moderne Zeichen-Technik zu apostrophieren: Das gemalte Bild habe nur noch dort einen Sinn, wo es Dinge schaffe, die die Photographie nicht bewältigen könne. Das ging Arnheim entschieden zu weit, und er sah sich gezwungen richtigzustellen: (Zitat) "Die Erfindung der Photographie war insofern von allergrößter Wichtigkeit für die prinzipielle Aesthetik, als auf ein Mal möglich wurde, die Ideale der ‘naturalistischen’ Kunsttheorie auf rein maschinellem Wege im -
Rudolf Arnheim (1904-2007)
Rudolf Arnheim (1904-2007) Oliver Grau Obituary: Rudolf Arnheim (1904-2007) Rudolf Arnheim, a pathbreaking psychologist of visual experience in the arts, died at the age of 102 in Ann Arbor, Michigan on June 9 2007. His last academic post was at the University of Michigan, where he was Visiting Professor in the Departments of Art, History of Art, and Psychology from 1974 to 1984. The previous American years of his long academic career were spent at Sarah Lawrence College from 1943 to 1968 and at Harvard in the Department of Visual and Enviromental Studies from 1968 to 1974. Born in Berlin in 1904, where his father was a manufacturer of pianos, Rudolf Arnheim took his doctorate at the University of Berlin in 1928, with a dissertation of the experimental psychology of visual expression, and secundary studies in musicology and history of art. At the time Arnheim was enrolled in Berlin University's Institute of Psychology, it was the center of experimentation in Gestalt Psychology, with Max Wertheimer, Wolfgang Köhler, and Kurt Lewin the central authorities. Arnheim conducted some of the earliest experiments in the application of Gestalt theory in the perception of a work of art. Between 1928 and his departure from Nazi Germany in 1933, he was on the editorial staff of Die Weltbühne, the influential weekly magazine then edited by Carl von Ossietzky and suppressed with the advent of the Third Reich. It was in this publication that Arnheim ventured into film criticism, a medium that became central to his theories of vision. Between 1933 and 1938, Arnheim worked in Rome as an editor at the League of Nations' International Institute for Educational Film. -
Gestalt Psychology and Gestalt Therapy
Journal of the Hintow of the Behavioral Sciences 14 (1978): 23-32. GESTALT PSYCHOLOGY AND GESTALT THERAPY MARY HENLE This paper examines the relations between Gestalt psychology and gestalt therapy, as presented in the writings of Fritz Perls, who claims that his perspective derives from Gestalt psychology. Intellectual traditions, philosophical assumptions, and specific theories and concepts are considered. It is concluded that the two’approaches have nothing in common. The purpose of this article is to try to set the historical record straight while the history in question is still in the making. It seeks to clarify the relations between gestalt therapy and Gestalt psychology, from which the therapy claims to derive. In considering gestalt therapy, I will confine myself to the work of Fritz Perls, the finder, as he calls himself, of this therapy,’ with emphasis on his later books. Perls himself writes, in his introduction to the 1969 reprint of Ego, Hunger and Aggression that much of the material in it is obsolete.2 About this first book of his he remarks in another place that he wrote it because he wanted to learn typewriting and was bored with exercise^.^ About the next book, Gestalt Therapy, by Perls, Ralph E. Hefferline, and Paul Goodman,‘ his editor states that Perls regarded it, too, as outdated.6 Perls’s own comment is in reply to a student who finds its language too technical, “When did I write that book? In 1951. No, I am much more in favor now of making films and so on to bring this across, and I believe I have found a more simple language.”8 My major sources will therefore be Gestalt Therapy Verbatim, In and Out the Garbage Pail, and The Gestalt Approach and Eye Witness to Therapy. -
Art, Design and Gestalt Theory
HISTORICAL PERSPECTIVE Art, Design and Gestalt Theory RoyR Behrens ABSTRACT iiG estalt psychology began in Germany in of specific elements. Clearly, ar- 1910. While traveling by train on vacation, a 30-year-old gued Ehrenfels, if a melody and Gestaltpsychology Czech-born psychologist named Max Wertheimer was seized the notes that comprise it are so wasfounded in 1910 by an idea when he saw at a railroad then a whole is not threeGerman psycholo- by flashing lights crossing independent, Max Kurt that resembled a theater He off the sum of its but a gists, Wertheimer, lights encircling marquee. got simply parts, Koffkaand Wolfgang K6hler. the train in Frankfurt am Main, where he bought a motion synergistic "whole effect," or ge- Theauthor discusses ge- picture toy called a "zoetrope" (Fig. 1). When a strip of pic- stalt [2]. Likewise, Wertheimer stalttheory's influence on tures is placed inside and viewed through the slits in a zoet- concluded, the effect of apparent modernart and design, de- scribesits resemblance to a succession of stationary pictures appear to be a single, movement is generated not so rope, Japanese-inspiredtheories moving picture. In his hotel room, Wertheimer made his own much by its individual elements as of aestheticsand finds evi- picture strips, consisting not of identifiable objects, but of by their dynamic interrelation. denceof a mutual,if lim- simple abstract lines, ranging from vertical to horizontal. By Wertheimer remained in ited,interest between the these elements, he was able to the condi- Frankfurt for more than 5 gestaltpsychologists and varying investigate years. certainartists. tions that contribute to the illusion of motion pictures, an ef- He continued his research of ap- fect that is technically known as "apparent movement" [1]. -
Art, Design and Gestalt Theory Author(S): Roy R
Leonardo Art, Design and Gestalt Theory Author(s): Roy R. Behrens Source: Leonardo, Vol. 31, No. 4 (1998), pp. 299-303 Published by: The MIT Press Stable URL: http://www.jstor.org/stable/1576669 . Accessed: 05/04/2011 13:29 Your use of the JSTOR archive indicates your acceptance of JSTOR's Terms and Conditions of Use, available at . http://www.jstor.org/page/info/about/policies/terms.jsp. JSTOR's Terms and Conditions of Use provides, in part, that unless you have obtained prior permission, you may not download an entire issue of a journal or multiple copies of articles, and you may use content in the JSTOR archive only for your personal, non-commercial use. Please contact the publisher regarding any further use of this work. Publisher contact information may be obtained at . http://www.jstor.org/action/showPublisher?publisherCode=mitpress. Each copy of any part of a JSTOR transmission must contain the same copyright notice that appears on the screen or printed page of such transmission. JSTOR is a not-for-profit service that helps scholars, researchers, and students discover, use, and build upon a wide range of content in a trusted digital archive. We use information technology and tools to increase productivity and facilitate new forms of scholarship. For more information about JSTOR, please contact [email protected]. The MIT Press and Leonardo are collaborating with JSTOR to digitize, preserve and extend access to Leonardo. http://www.jstor.org HISTORICAL PERSPECTIVE Art, Design and Gestalt Theory RoyR Behrens ABSTRACT iiG estalt psychology began in Germany in of specific elements. -
Original Contributions - Originalbeiträge
Original Contributions - Originalbeiträge RUDOLF ARNHEIM: AN INADVERTENT AUTOBIOGRAPHY1 Compiled and annotated by Roy R. Behrens Rudolf ARNHEIM, a German-born psychologist and art theorist, has been de- scribed as “one of the great psychologists of this century,” whose writings have enabled him to make “seminal contributions to the psychology of art, aesthetics, art education, and media studies” (VERSTEGEN 1996, 199). With typical modesty, he himself has simply said that he is “a sedentary person,” who, were it not for political circumstances, “would still be sitting in Berlin and doing my writing in the language and the manner of what I did until 1933” (ARNHEIM 1991, 45). Born in Berlin on July 15, 1904, ARN- HEIM grew up in the declining years of the German Empire, while everywhere around him were signs of the rapid arrival of the age of technology. “Photocopying and word processors were undreamed-of achievements of the future,” he recalls, “headphones were needed to listen to the radio, and the silent movies were accompanied by a piano. In some respects, it was an age of innocence.” (ARNHEIM 1992a, 236). 1 Around 1990, I wrote to Rudolf ARNHEIM hoping that I could persuade him to write an autobiography. He declined, because (as he explained) his memory is unreliable, but I suspect that he also believes it to be immod- est to do so. Curious about his intellectual development and that of the other gestaltists, I corresponded with him for about twelve years, in the course of which I asked about his past experiences. In this article, I have arranged some of his answers and combined them with quotes from additional texts to produce what is, to some extent, an “inadvertent autobiography.” Reproduced above is a pen-and-ink drawing by ARNHEIM in which he portrays himself with angel’s wings and ascending into space.