By Dr Lesley Caldwell, Lesley Caldwell
This quantity within the Winnicott reviews sequence is devoted to the existence and paintings of Marion Milner and displays, in various methods, her exact use of Winnicott's paintings to form her personal wondering artwork and creativity. the gathering of papers contained inside contain modern studies of Milner's books via either Winnicott himself and the poet W.H. Auden, in addition to modern papers through Adam Phillips, Ken Wright and Lesley Caldwell, among others, that testify to the ongoing paintings of the Squiggle starting place in London.
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Additional info for Art, Creativity, Living (Winnicott Studies Monograph Series)
T h e p a s sage s e e m s to b e s k e t c h i n g a portrait o f a n e n d l e s s l y d i s m a n t l a b l e s e l f h o o d : w h e r e v e r I go, w h e r e v e r m y desire takes m e , I a m r e i n c a r n a t i n g a n d reactivating the p r o t o t y p i c a l f o r m s of m y s e l f , w h i c h w e r e i n a n y case n o t m i n e a n d n o t m e . M y earliest identifications, as I set o u t u p o n the g r o w n - u p a d v e n t u r e o f sex, a r e a l l still i n force. I a m a n infant still, for all the c u n n i n g calculation w i t h w h i c h I p u r s u e m y erotic goals.
In all these cases the object is being used, destructiveness as well as creativity is being deployed, and ingenious play is being sustained, Winnicott's bare but highly inflected theoretical lan guage is compatible with the craft languages appropriate to each discipline or art or technique. It is compatible, for example, with the language of draughtsmanship, narrative theory, rhetoric, Vien nese sonata form, versification, pointillisme in the manner of Seurat, or paint-dripping in the manner of Jackson Pollock.
There are no showy stylistic feats here, only a very ordinary deployment of metaphor, no memorable maxims, no grace-notes or pirouettes, yet the whole thing is dense, daring, and memorable. H e rotates a central conundrum, revealing new facets of it sentence by sentence: The subject says to the object: "I destroyed you", and the ob ject is there to receive the communication. " "While I am loving you I am all the time destroying you in (unconscious) fantasy". Here fantasy begins for the individual.
Art, Creativity, Living (Winnicott Studies Monograph Series) by Dr Lesley Caldwell, Lesley Caldwell