Titlebook: Creative License; The Art of Gestalt T Margherita Spagnuolo Lobb,Nancy Amendt-Lyon Book 2003 Springer-Verlag Wien 2003 Intervention.aesthet

新星

harmony

On the Other Side of the Moon: The Import of Implicit Knowledge for Gestalt Therapy a sort of preparing the territory. When we met in Palermo, I think that the three of us fell in love with each other. So the real reason why I’m here is to continue our affair. In fact, like most lovers, we’re going to have many disagreements, and that will be the fun part to talk about, I think.

commonsense

Therapeutic Meeting as Improvisational Co-Creationof being creative as psychotherapists. We think more in terms of co-creation, since our whole culture has acquired a new perspective on human nature, which takes the “relational”’ and the “relative” as the basic hermeneutic code. If 50 years ago the New Age Movement supported personal growth as a wa

Stricture

Creative Abilities and the Art of Living WellThe responses varied, but there was one recurring theme - that the Gestalt approach made sense in a real-life way. It was a philosophy and method to be lived, not just a theory to be talked about, and not merely a specialized approach to psychotherapy. Rather, it was suggestive of a way to be in the

adipose-tissue

强有力

The Neuroscience of Creativity: A Gestalt Perspectivec or characteristics unavailable to others. Usually these characteristics are sought in reductionist versions of personality theory, intellect and more recently, in some aspect of the neuroscience revolution. Unlike other theories of psychotherapy and personality, Gestalt theory takes the field as i

Explicate

Therapy as an Aesthetic Issue: Creativity, Dreams, and Art in Gestalt Therapyoun - “creativity”, as such - but rather as an essential attribute of the experience of contact, which Perls and Goodman had already thought of immediately as “creative adjustment”. In a word, Gestalt Therapy does not offer an abstract definition of creativity, of its ousia’, but understands it as a

评论性

Creativity as Gestalt Therapy and poets were all there: as patients, but many also as nascent practitioners of Gestalt therapy. And there was a reason central to the theory and practice: Gestalt therapy was and is still not an adjustive therapy, and its practitioners and clients thought of themselves as creative artists, making

consolidate

The Weighty World of Nothingness: Salomo Friedlaender’s “Creative Indifference”nition; not only is he one of Gestalt therapy’s main theorists, but also his relation to the theme of creativity is already clearly alluded to in the title of his principal work: Creative Indifference (1918). Yet, Friedlaender is hardly known in Gestalt therapy circles (especially to non-German spea

rheumatology