This article draws from the life and work of George Bellows (1882–1925), a noted American painter at the turn of the twentieth century, in relation to his art instructor, Robert Henri (1865–1929), to envision pastoral relationships that foster spontaneous self-expression and the embrace of intrapsychic complexity in contemporary American boys and young men. It examines cultural trends and male psychosexual struggles that bolster undue self-screening at the expense of archaic, semiconscious desires to see and to be seen, to know and to be known. By identifying with artwork, artist, and art instructor, ministers or mentors aspire to evoke and enrich several facets of their own and their protege’s self-experience, designated here the unedited self, the unmanifested self, and the unencumbered self.

中文翻译：

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未经编辑的自我：在与男孩和年轻人的事工中培养颠覆性的想象力

本文取材自 20 世纪初美国著名画家乔治·贝洛斯（George Bellows，1882-1925 年）的生平和作品，与他的艺术导师罗伯特·亨利（Robert Henri，1865-1929 年）有关，以设想促进田园关系的发展。自发的自我表达和对当代美国男孩和年轻人内心复杂性的拥抱。它考察了文化趋势和男性性心理斗争，这些斗争以过时的、半意识的渴望看到和被看到、知道和被知道为代价，支持过度的自我筛选。通过认同艺术品、艺术家和艺术导师，部长或导师渴望唤起和丰富他们自己和他们的门徒的自我体验的几个方面，这里指定为未编辑的自我、未表现的自我和未受阻碍的自我。