The psychology of art
著者
書誌事項
The psychology of art
M.I.T. Press, c1971
- : hc
- : pb
- タイトル別名
-
Psikhologii︠a︡ iskusstva
大学図書館所蔵 全33件
  青森
  岩手
  宮城
  秋田
  山形
  福島
  茨城
  栃木
  群馬
  埼玉
  千葉
  東京
  神奈川
  新潟
  富山
  石川
  福井
  山梨
  長野
  岐阜
  静岡
  愛知
  三重
  滋賀
  京都
  大阪
  兵庫
  奈良
  和歌山
  鳥取
  島根
  岡山
  広島
  山口
  徳島
  香川
  愛媛
  高知
  福岡
  佐賀
  長崎
  熊本
  大分
  宮崎
  鹿児島
  沖縄
  韓国
  中国
  タイ
  イギリス
  ドイツ
  スイス
  フランス
  ベルギー
  オランダ
  スウェーデン
  ノルウェー
  アメリカ
注記
Translation of Psikhologii︠a︡ iskusstva
Includes bibliographical references and index
"MIT 271"--Spine of pbk. ed
内容説明・目次
- 巻冊次
-
: hc ISBN 9780262220132
内容説明
Vygotsky opened up an original field in the science of psychology, based on the socio-historical theory of the nature of man's consciousness.This work, now translated into English for the first time, approaches the study of art from a psychological basis. However, Vygotsky's view is free of the old subjective-empirical outlook. His method, while objective and analytical, found its basis in the reasoning that to analyze the structure of artistic creation one must recreate the total reaction the work arouses. This novel concept motivated Vygotsky to evolve the means by which artistic accomplishments could be examined and the elements of their validity "revealed.""The Psychology of Art" discusses the literary genre in its classical forms--the fable, the epic, the short story, and Shakespearean tragedy. The heightened levels of perception and feeling that are created by great literature and drama are discussed by Vygotsky with clarity and conviction.Many of the appraisals in this work resulted from Vygotsky's reaction to the fallacious "solutions" proposed by the one-sided, traditional views of the literary critics of his time. An entire chapter, "Art as Technique," investigates and expresses his contradistinctive views of the formalistic view of the nature of art. For Vygotsky, form did not/could not exist independently as a valid dimension--form appeared only in relation to the medium or the material it incarnates.Vygotsky's presentation of his thesis in "The Psychology of Art" is a logical procession of his basic thoughts. In the first chapter, "The Psychological Problem of Art," he clarifies the major pitfall of criticism up to his day, where he points out: "The fundamental error of experimental aesthetics consists in starting from the wrong end, that of aesthetic pleasure and aesthetic appraisal, all the while intentionally ignoring the fact that both pleasure and appraisal may be arbitrary, secondary, or even irrelevant features of aesthetic behavior." From here he goes on to investigate the psychological premises of art.In viewing a work of art as "a combination of aesthetic symbols aimed at arousing emotion in people," Vygotsky proceeded to analyze these symbols and recreate the basic, "impersonal" components that make up the psychology of the work--without specific references to author-creator or reader-subject--examining only the elements of form and material that are combined in the work. For example, in his chapter on "Hamlet" Vygotsky examines the structure from "subjective" and "objective" viewpoints, presents the problems of "identification" of the hero, and discusses the play in its various levels of consciousness.Essentially a work of synthesis, "The Psychology of Art" laid the foundations for a new science of art, and as such is a major contribution to its study.
- 巻冊次
-
: pb ISBN 9780262720052
内容説明
Vygotsky opened up an original field in the science of psychology, based on the sociohistorical theory of the nature of man's consciousness.
This work, written more than forty years ago and now translated into English for the first time, approaches the study of art from a psychological basis. However, Vygotsky's view is free of the old subjective-empirical outlook. His method, while objective and analytical, found its basis in the reasoning that to analyze the structure of artistic creation one must re-create the total concept motivated Vygotsky to evolve the means by which artistic accomplishments could be examined and the elements of their validity "revealed."
The Psychology of Art discusses the literary genre in its classical forms - the fable, the epic, the short story, and Shakespearean tragedy. The heightened levels of perception and feeling that are created by great literature and drama are discussed by Vygotsky with clarity and conviction.
Many of the appraisals in this work resulted from Vygotsky's reaction to the fallacious "solutions" proposed by the one-sided, traditional views of the literary critics of his time. An entire chapter, "Art as Technique," investigates and expresses his contradistinctive views of the formalistic view of the nature of art. For Vygotsky, form did not and could not exist independently as a valid dimension - form appeared only in relation to the medium or the material it incarnated.
Vygotsky's presentation of his thesis in The Psychology of Art is a logical procession of his basic thoughts. In the first chapter, "The Psychological Problem of Art," he clarifies the major pitfall of criticism up to his day, where he points out: "The fundamental error of experimental aesthetics consists in starting from the wrong end, that of aesthetic pleasure and aesthetic appraisal, all the while intentionally ignoring the fact that both pleasure and appraisal may be arbitrary, secondary, or even irrelevant features of aesthetic behavior." From here he goes on to investigate the psychological premises of art.
In viewing a work of art as "a combination of aesthetic symbols aimed at arousing emotions in people," Vygotsky proceeds to analyze these symbols and re-create the basic, "impersonal" components that make up the psychology of the work - without specific references to author-creator or reader-subject - examining only the elements of form and material that are combined in the work. For example, in his chapter on Hamlet Vygotsky examines the structure from "subjective" and "objective" viewpoints, presents the problems of "identification" of the hero, and discusses the play in its various levels of consciousness.
Essentially a work of synthesis, The Psychology of Art laid the foundations for a new science of art, and as such is a major contribution to its study.
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