Image-making and contemporary social myth

Sacks, Glenda

dc.contributor.advisor	Du Plessis, L. P.
dc.contributor.advisor	Bester, Valerie
dc.contributor.author	Sacks, Glenda
dc.date.accessioned	2015-01-23T04:24:11Z
dc.date.available	2015-01-23T04:24:11Z
dc.date.issued	1992-11
dc.identifier.citation	Sacks, Glenda (1992) Image-making and contemporary social myth, University of South Africa, Pretoria, <http://hdl.handle.net/10500/17652>	en
dc.identifier.uri	http://hdl.handle.net/10500/17652
dc.description.abstract	In our Post-Modern milieu there has been a renewed attempt in art to communicate with the viewer. My hypothesis is that particular images provoke empathic responses in the viewer. Iconographical and formal characteristics in images which provoke empathy are discussed and Lipps' ( 1905) and Worringer's (1908) theories of empathy are examined. The psychological profile of a viewer is considered in the light of Freud's familial model of the human psyche with its emphasis on sexual instincts. The theoretical framework within which my hypothesis operates is based upon Bryson, Holly and Moxey's ( 1991) interventionist response to visual interpretation. They foreground the viewer's historicity in the viewing of an image and their approach is contrasted with that of the perceptualists (Wollheim, Gombrich and others) who maintain that the historicity of the viewer is unimportant. Finally it is argued that art can have a transforming potential if the artist provokes empathy in the viewer.	en
dc.format.extent	1 online resource (v, 230 leaves, 6 unnumbered leaves) : color illustrations	en
dc.language.iso	en
dc.subject.ddc	701.18	en
dc.subject.lcsh	Art criticism	en
dc.subject.lcsh	Art -- Psychological aspects	en
dc.subject.lcsh	Art appreciation	en
dc.title	Image-making and contemporary social myth	en
dc.type	Dissertation
dc.description.department	Art History, Visual Arts and Musicology
dc.description.degree	M.A. (Fine Arts)