Titlebook: Art, Excess, and Education; Historical and Discu Kevin Tavin,Mira Kallio-Tavin,Max Ryynänen Book 2019 The Editor(s) (if applicable) and The

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Kati Kuitto M. A.,Christoph Oberst M. A.s.). New York: Columbia University Press, 1982) explains that this excessiveness elicits not disgust but abjection, a state of simultaneous discomfort and pleasure, of fascinated victimhood. She identifies abjection as a prerequisite for ego formation and psychological development. Scholars have arg

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Research Analysis of Interviews,), Duncan’s works often address topics related to sex, death, and violence. Challenging the interpretation that Duncan’s works stand as means to represent sexual and religious trauma, Tervo proposes that Duncan’s repetitive utilization of total darkness and intense noise resonates with Calvinist emp

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https://doi.org/10.1007/978-1-4899-7516-4hin the viewer, the chapter explores the variety of functions that grotesque monsters, bodies and violence perform within a representation. Through an analysis of a classic science fiction horror film, . (1997), Huunan-Seppälä demonstrates how grotesque imagery functions in dynamic interaction with

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Andrew D. Navarrete MD,Michael L. Bentz MDn . (2008) and its media controversy in Finland, the chapter analyzes the work more broadly in the context of contemporary art and its history, and in relation to certain other controversial twentieth- and twenty-first-century works of art shown in various arenas of the Helsinki Art Museum where the

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Multivariate Analysis Via Copulas, their relationship to each other. The chapter focuses on examples of excessive artworks and argues for a different approach for the future of art education. The chapter also provides a summary of each chapter and the three thematic sections of the book.