This paper considers the work of Marion Milner (1900-1990) on art and
psychoanalysis, with an eye to her claims for paying attention. It will
suggest some ways in which Milner's work responds to and develops
psychoanalytic ideas about how people come to gain a sense of 'reality'
– in Milner's terms, a life that feels vivid and expansive – and it will trace
her own criteria for a relationship to the world that is more or less 'real'.
Finally, the paper will link Milner's criteria to particular modes of
attention as they are described and evoked by some writers in
nineteenth-century literary tradition – including Charles Lamb, John
Ruskin and George Eliot.
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