BERLIOZ'S SYMPHONIE FANTASTIQUE: ENRICHING PSYCHOANALYTIC VIEWS OF CREATIVITY
Identifieur interne : 000096 ( Main/Corpus ); précédent : 000095; suivant : 000097BERLIOZ'S SYMPHONIE FANTASTIQUE: ENRICHING PSYCHOANALYTIC VIEWS OF CREATIVITY
Auteurs : Daniel S. MollodSource :
- The Psychoanalytic Quarterly [ 0033-2828 ] ; 2008-04.
English descriptors
- Teeft :
- Actress harriet smithson, Aesthetic illusion, Affective, Affective resonance, Amer, Artistic creation, Artistic production, Artwork, Basic fault, Berlioz, Black philosophy, Cadence, Cairn, Cambridge companion, Cambridge univ, Cause death, Character pathology, Creative process, Deepest layer, Dover publications, English horn, Estelle, Estelle fornier, Extraordinary visions, Fantastique, Fifth movement, Final cadences, Final movement, First movement, Fixe, Fixe theme, Fourth movement, French composer hector berlioz, General audience, Great artists, Harriet smithson, Hector, Hector berlioz, Horrible spirits, Inner life, Insane anxiety, Internal object representations, Joyous elation, Louis berlioz, Memoir, Mollod, Music criticism, Musical fantasy, Musical form, Musical imagery, Musical structure, Narcissistic, Narcissistic injury, Narcotic dose, Nervous condition, Painful fluctuation, Paternal, Paternal influences, Preparatory chords, Primal scene, Psychoanal, Psychoanalytic explorations, Psychoanalytic meanings, Psychological themes, Psychotic artist, Public execution, Reception history, Recognizable cause, Sabbath, Sensitive nature, Sick brain, Significant narcissistic pathology, Smithson, Soft whisperings, Somber longings, Study child, Successful artwork, Symphonie, Symphonie fantastique, Thematic material, Third movement, Transitional phenomena, Unconscious elements, Univ, Vivid imagination, Young musician.
Abstract
Focusing on the eighteenth‐century French composer Hector Berlioz as he is revealed in his masterpiece Symphonie Fantastique and in his Memoirs, this paper investigates a proposed intermediate area between healthy creativity and paralyzing neurosis. Artists like Berlioz use their work primarily to manage what has been variously labeled as Seelenschmerz, narcissistic injury, and painful fluctuation of internal object representations. Their affectively unprocessed experiences are incorporated into their artwork, so that their heightened experience of Seelenschmerz has particular effects on their audience. Our consideration of these dynamics allows Berlioz's Symphonie Fantastique to regain the truly harrowing impact that it evoked before it became assimilated as a tamed icon of Romantic‐era expressiveness.
Url:
DOI: 10.1002/j.2167-4086.2008.tb00347.x
Links to Exploration step
ISTEX:D498474F4083CEF06C5BDF40FE7F513C50C446F5Le document en format XML
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Artists like Berlioz use their work primarily to manage what has been variously labeled as Seelenschmerz, narcissistic injury, and painful fluctuation of internal object representations. Their affectively unprocessed experiences are incorporated into their artwork, so that their heightened experience of Seelenschmerz has particular effects on their audience. 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Artists like Berlioz use their work primarily to manage what has been variously labeled as</hi> Seelenschmerz, <hi rend="italic">narcissistic injury, and painful fluctuation of internal object representations. Their affectively unprocessed experiences are incorporated into their artwork, so that their heightened experience of</hi> Seelenschmerz <hi rend="italic">has particular effects on their audience. Our consideration of these dynamics allows Berlioz's</hi> Symphonie Fantastique <hi rend="italic">to regain the truly harrowing impact that it evoked before it became assimilated as a tamed icon of Romantic‐era expressiveness</hi>.</p></abstract><textClass><keywords rend="tocHeading1"><term>Original Article</term></keywords></textClass><langUsage><language ident="en"></language></langUsage></profileDesc></teiHeader></istex:fulltextTEI><json:item><extension>txt</extension><original>false</original><mimetype>text/plain</mimetype><uri>https://api.istex.fr/document/D498474F4083CEF06C5BDF40FE7F513C50C446F5/fulltext/txt</uri></json:item></fulltext><metadata><istex:metadataXml wicri:clean="Wiley, elements deleted: body"><istex:xmlDeclaration>version="1.0" encoding="UTF-8" standalone="yes"</istex:xmlDeclaration><istex:document><component version="2.0" type="serialArticle" xml:lang="en"><header><publicationMeta level="product"><publisherInfo><publisherName>Blackwell Publishing Ltd</publisherName><publisherLoc>Oxford, UK</publisherLoc></publisherInfo><doi origin="wiley" registered="yes">10.1002/(ISSN)2167-4086</doi><issn type="print">0033-2828</issn><issn type="electronic">2167-4086</issn><idGroup><id type="product" value="PSAQ"></id><id type="publisherDivision" value="ST"></id></idGroup><titleGroup><title type="main" sort="THE PSYCHOANALYTIC QUARTERLY">The Psychoanalytic Quarterly</title></titleGroup></publicationMeta><publicationMeta level="part" position="04102"><doi origin="wiley">10.1002/psaq.2008.LXXVII.issue-2</doi><numberingGroup><numbering type="journalVolume" number="77">LXXVII</numbering><numbering type="journalIssue" number="2">2</numbering></numberingGroup><coverDate startDate="2008-04">April 2008</coverDate></publicationMeta><publicationMeta level="unit" type="article" position="3" status="forIssue"><doi origin="wiley">10.1002/j.2167-4086.2008.tb00347.x</doi><idGroup><id type="unit" value="PSAQ347"></id></idGroup><countGroup><count type="pageTotal" number="44"></count></countGroup><titleGroup><title type="tocHeading1">Original Article</title></titleGroup><copyright>2008 The Psychoanalytic Quarterly, Inc.</copyright><eventGroup><event type="xmlConverted" agent="Converter:BPG_TO_WML3G version:3.1.9 mode:FullText" date="2012-11-30"></event><event type="firstOnline" date="2012-12-20"></event><event type="publishedOnlineFinalForm" date="2012-12-20"></event><event type="xmlConverted" agent="Converter:WILEY_ML3G_TO_WILEY_ML3GV2 version:3.8.8" date="2014-02-07"></event><event type="xmlConverted" agent="Converter:WML3G_To_WML3G version:4.1.7 mode:FullText,remove_FC" date="2014-11-04"></event></eventGroup><numberingGroup><numbering type="pageFirst" number="433">433</numbering><numbering type="pageLast" number="476">476</numbering></numberingGroup><correspondenceTo>1180 Beacon Street Suite 5C Brookline, MA 02446 e‐mail: <email>daniel_mollod@hms.harvard.edu</email></correspondenceTo><linkGroup><link type="toTypesetVersion" href="file:PSAQ.PSAQ347.pdf"></link></linkGroup></publicationMeta><contentMeta><countGroup><count type="referenceTotal" number="53"></count><count type="linksCrossRef" number="2"></count></countGroup><titleGroup><title type="main">BERLIOZ'S <i>SYMPHONIE FANTASTIQUE</i>: ENRICHING PSYCHOANALYTIC VIEWS OF CREATIVITY</title></titleGroup><creators><creator creatorRole="author" xml:id="cr1" noteRef="#fn1" corresponding="yes"><personName><givenNames>DANIEL S.</givenNames><familyName>MOLLOD</familyName></personName></creator></creators><abstractGroup><abstract type="main" xml:lang="en"><p><i>Focusing on the eighteenth‐century French composer Hector Berlioz as he is revealed in his masterpiece</i> Symphonie Fantastique <i>and in his</i> Memoirs, <i>this paper investigates a proposed intermediate area between healthy creativity and paralyzing neurosis. Artists like Berlioz use their work primarily to manage what has been variously labeled as</i> Seelenschmerz, <i>narcissistic injury, and painful fluctuation of internal object representations. Their affectively unprocessed experiences are incorporated into their artwork, so that their heightened experience of</i> Seelenschmerz <i>has particular effects on their audience. Our consideration of these dynamics allows Berlioz's</i> Symphonie Fantastique <i>to regain the truly harrowing impact that it evoked before it became assimilated as a tamed icon of Romantic‐era expressiveness</i>.</p></abstract></abstractGroup></contentMeta><noteGroup><note xml:id="fn1"><p>Daniel S. Mollod is a Clinical Instructor of Psychiatry at Harvard Medical School and a faculty member of the Boston Psychoanalytic Society and Institute.</p></note></noteGroup></header></component></istex:document></istex:metadataXml><mods version="3.6"><titleInfo lang="en"><title>BERLIOZ'S SYMPHONIE FANTASTIQUE: ENRICHING PSYCHOANALYTIC VIEWS OF CREATIVITY</title></titleInfo><titleInfo type="alternative" contentType="CDATA" lang="en"><title>BERLIOZ'S SYMPHONIE FANTASTIQUE: ENRICHING PSYCHOANALYTIC VIEWS OF CREATIVITY</title></titleInfo><name type="personal"><namePart type="given">DANIEL S.</namePart><namePart type="family">MOLLOD</namePart><affiliation>E-mail: daniel_mollod@hms.harvard.edu</affiliation><role><roleTerm type="text">author</roleTerm></role></name><typeOfResource>text</typeOfResource><genre type="article" displayLabel="article" authority="ISTEX" authorityURI="https://content-type.data.istex.fr" valueURI="https://content-type.data.istex.fr/ark:/67375/XTP-6N5SZHKN-D">article</genre><originInfo><publisher>Blackwell Publishing Ltd</publisher><place><placeTerm type="text">Oxford, UK</placeTerm></place><dateIssued encoding="w3cdtf">2008-04</dateIssued><copyrightDate encoding="w3cdtf">2008</copyrightDate></originInfo><language><languageTerm type="code" authority="rfc3066">en</languageTerm><languageTerm type="code" authority="iso639-2b">eng</languageTerm></language><physicalDescription><extent unit="references">53</extent><extent unit="linksCrossRef">2</extent></physicalDescription><abstract lang="en">Focusing on the eighteenth‐century French composer Hector Berlioz as he is revealed in his masterpiece Symphonie Fantastique and in his Memoirs, this paper investigates a proposed intermediate area between healthy creativity and paralyzing neurosis. Artists like Berlioz use their work primarily to manage what has been variously labeled as Seelenschmerz, narcissistic injury, and painful fluctuation of internal object representations. Their affectively unprocessed experiences are incorporated into their artwork, so that their heightened experience of Seelenschmerz has particular effects on their audience. Our consideration of these dynamics allows Berlioz's Symphonie Fantastique to regain the truly harrowing impact that it evoked before it became assimilated as a tamed icon of Romantic‐era expressiveness.</abstract><relatedItem type="host"><titleInfo><title>The Psychoanalytic Quarterly</title></titleInfo><genre type="journal" authority="ISTEX" authorityURI="https://publication-type.data.istex.fr" valueURI="https://publication-type.data.istex.fr/ark:/67375/JMC-0GLKJH51-B">journal</genre><identifier type="ISSN">0033-2828</identifier><identifier type="eISSN">2167-4086</identifier><identifier type="DOI">10.1002/(ISSN)2167-4086</identifier><identifier type="PublisherID">PSAQ</identifier><part><date>2008</date><detail type="volume"><caption>vol.</caption><number>LXXVII</number></detail><detail type="issue"><caption>no.</caption><number>2</number></detail><extent unit="pages"><start>433</start><end>476</end><total>44</total></extent></part></relatedItem><identifier type="istex">D498474F4083CEF06C5BDF40FE7F513C50C446F5</identifier><identifier type="ark">ark:/67375/WNG-HT78B645-X</identifier><identifier type="DOI">10.1002/j.2167-4086.2008.tb00347.x</identifier><identifier type="ArticleID">PSAQ347</identifier><accessCondition type="use and reproduction" contentType="copyright">2008 The Psychoanalytic Quarterly, Inc.</accessCondition><recordInfo><recordContentSource authority="ISTEX" authorityURI="https://loaded-corpus.data.istex.fr" valueURI="https://loaded-corpus.data.istex.fr/ark:/67375/XBH-L0C46X92-X">wiley</recordContentSource><recordOrigin>Blackwell Publishing Ltd</recordOrigin></recordInfo></mods><json:item><extension>json</extension><original>false</original><mimetype>application/json</mimetype><uri>https://api.istex.fr/document/D498474F4083CEF06C5BDF40FE7F513C50C446F5/metadata/json</uri></json:item></metadata><serie></serie></istex></record>Pour manipuler ce document sous Unix (Dilib)
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