Tuesday, December 31, 2019

Gestalt And Humanistic Modes Of Thought - 800 Words

Gestalt and humanistic modes of thought share the idea that people have free-will and are able to make their own choices in life; also, a high importance is placed on a person’s experiences and personal viewpoint (Hergenhahn Henley, 2014). Phenomenology, or the introspective analysis of whole conceptual experiences, features prominently in both ideologies (Hergenhahn Henley, 2014). Another shared viewpoint is that human beings are unique, and as such there is a limit to what can be learned from other humans, or from the study of animals (Hergenhahn Henley, 2014). The thought that people are too complex to be studied with normal scientific methodology is another shared tenet. The main difference between these two ideologies is the basic premise of human nature. Humanistic psychology’s primary belief is that human nature is intrinsically good and that their default would be to naturally get along with other people (Hergenhahn Henley, 2014). For Gestalt type psychology, the basis of human nature is mainly neutral, and people then have to exercise choice in order to become something else. Coming to understand one’s own mortality as a way to live life is part of Gestalt psychology, whereas for humanistic psychology it is not considered as important to human actuality (Hergenhahn Henley, 2014). The application and connection of a humanistic understanding of learning and how it applies to leadership roles also shares some similarities with Gestalt psychology. DevelopingShow MoreRelatedStructuralism And The Development Of Psychology874 Words   |  4 Pages(Edward B. 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We analyze the consumption stories of 30 museum goers in order to understand how people move through museum spaces and feel, touch, hear, smell, and taste art. Further, through an analysis of metaphors and the use of conceptual blendingRead MoreArt as an Embodied Imagination22095 Words   |  89 Pagesphenomenological and the cognitive unconscious. At the ï ¬ rst level, individuals are conscious of their feelings and actions while, at the second level, sensorimotor and other bodily oriented inference mechanisms inform their processes of abstract thought and reasoning. We analyze the consumption stories of 30 museum goe rs in order to understand how people move through museum spaces and feel, touch, hear, smell, and taste art. Further, through an analysis of metaphors and the use of conceptual blending

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