Aesthetic perception of form. Aesthetic perception

Aesthetic perception

the process of receiving and transforming aesthetic information, which implies the ability of a person to feel the beauty of surrounding objects, to distinguish between the beautiful and the ugly, the tragic and the comic, the sublime and the base features in reality and in works of art, and at the same time experience feelings of pleasure, pleasure or displeasure.

"There is no true creativity without skill, without high demands, perseverance and hard work, without talent, which is nine-tenths labor. However, all these essential and necessary qualities are worth nothing without an artistic concept of the world, without a worldview, outside a holistic system of aesthetic perception of reality "(Yu.B. Borev).

Terminological dictionary-thesaurus on literary criticism. From allegory to iambic. - M.: Flinta, Nauka. N.Yu. Rusova. 2004

See what "aesthetic perception" is in other dictionaries:

Aesthetic education- a purposeful process of forming a person's aesthetic attitude to reality. This relationship with the emergence of human society developed along with it, embodied in the sphere of material and spiritual activity of people. ... ... Great Soviet Encyclopedia

See aesthetic perception...

Aesthetic development- development of the ability to perceive the aesthetic aspects of what is happening and create them yourself (beautiful, ugly, solemn, majestic, harmonious, etc.) Children, notes K. Chukovsky, love music, sing, dance, recite, ... ... Encyclopedic Dictionary of Psychology and Pedagogy

An emotional state that arises in a person in the process of aesthetic perception of the surrounding reality and works of art. Heading: Aesthetic categories in literature Antonym / correlate: Aesthetic perception Some ... ... Terminological dictionary-thesaurus on literary criticism

AESTHETIC- the most general category of aesthetics, with the help of which its subject is designated and the essential relationship and systemic unity of the entire family of aesthetic categories is expressed. As a special category, it was formed in aesthetics in the 20th century. based… … Philosophical Encyclopedia

aesthetic- The most general category of aesthetics; a metacategory, with the help of which its object is designated and the essential relationship and systemic unity of the entire family of aesthetic categories is expressed. As a category, it was formed in aesthetics in the 20th century. on the… … Encyclopedia of cultural studies

AESTHETIC EDUCATION- in the most general sense, the formation of a person's susceptibility to art and beauty that exists in human creations and in nature. The claim in this case is understood as something already created and perceived in its givenness. In different eras, it was emphasized ... ... Philosophical Encyclopedia

AESTHETIC EDUCATION- the process of formation and development of aesthetic. emotionally sensual and value consciousness of the individual and the activity corresponding to it. One of the universal aspects of the culture of the individual, ensuring its growth in accordance with the social and ... ... Russian Pedagogical Encyclopedia

PERCEPTION AESTHETIC- (artistic) type of aesthetic activity, expressed in purposeful and. holistic V. prod. claim as an aesthetic value, which is accompanied by an aesthetic experience. Some researchers refer to this process as “artistic… … Aesthetics: Dictionary

AESTHETIC EDUCATION- the formation of a certain aesthetic attitude of a person to reality. In the course of E. century. the orientation of the individual in the world of aesthetic values ​​is developed, in accordance with the ideas about their character that have developed in this particular ... ... Aesthetics: Dictionary

Books

• Information Theory and Aesthetic Perception, A. Mol. No dust jacket. The book by the French scientist A. Mole is an interesting attempt to spread the methods of mathematics, cybernetics and experimental psychology by studying some issues ... Buy for 700 rubles
• Aesthetic education in teaching mathematics in high school. Textbook, Firstova Natalya Igorevna. This tutorial presents ways to implement the aesthetic education of students in mathematics lessons in high school. The manual is addressed not only to teachers of mathematics, ...

2. Aesthetic as a value attitude

3.Specific aesthetic value

4. Nature and essence of the aesthetic as a fundamental problem of aesthetics

1. The nature and essence of the aesthetic as a fundamental problem of aesthetics

The very word "aesthetic" is an adjective that has long since become a noun. Aesthetic is the most general and most fundamental category of aesthetics, covering all phenomena of aesthetic reality.

Aesthetics began with the question of the nature and essence of beauty. We find the first arguments about this among the Pythagoreans, the disciples and followers of Pythagoras. Considering the world and man's place in it from mathematical positions, the Pythagoreans came to an amazing conclusion that the cosmos is organized according to the principle of musical harmony and introduced the concept of "music of the heavenly spheres". The music performed imitates the "music of the heavenly spheres" and in this way gives pleasure to people. Awareness of the aesthetic value of the world thus began with the understanding of it as a beautiful cosmos. In Greek antiquity, the question was raised: what is beauty, what is its nature and sphere of being? In the dialogues of Plato, Socrates asks: which shield is beautiful, the one that is decorated or the one that reliably protects the warrior? Is it possible to call a beautiful monkey or is it just a human quality? The question of beauty as an expression of the aesthetic significance of the world has become a key one, since the solution of other problems of aesthetics depends on the answer to it.

We can single out the following empirical signs of the originality of the aesthetic. What phenomena can we call aesthetic?

1. Aesthetic phenomena necessarily have sensuous character.Beauty opens with direct contact, neither rational nor mystical (religious) speculation can understand the aesthetic.

2. These are sensual properties that are certainly experienced; before and after the experience, we are not dealing with an aesthetic phenomenon. This feature shares aesthetic and moral properties that are supersensible: conscience, goodness, for example, cannot be seen with the eyes.

3. Aesthetic properties are associated with experiences that are non-utilitarian character. These experiences are disinterested or disinterested, as Kant said. Admiring the beauty of the world or a person becomes an immense value for the soul.

Let us highlight the typological, conceptual interpretations of the nature and essence of aesthetic phenomena that have developed historically. There are four of these interpretations: naive-materialistic (naturalistic), objective-idealistic, subjective-idealistic, relational.

A person, coming into the world, fixes in it the presence of some special, aesthetic properties. The question is where do these properties come from? Positions formed in response to it:

The first is a point of view that is organic to ordinary human consciousness and is associated with the materialistic tradition in philosophy. This view can be called naturalistic: aesthetic properties are understood as properties of the material world inherent in things initially, from nature, they do not depend on human consciousness, which only fixes these properties. The most ancient and naive view, which has its grounds, since aesthetic properties are merged with the subject area. The conviction of everyday consciousness: I see beauty, therefore, it exists and exists independently of me. These ideas come from Democritus. The naive mind seeks beauty in nature through symmetry: a butterfly is beautiful, but a camel is not. Of course, this point of view is hopelessly outdated. N. Zabolotsky in a 1947 poem:

I'm not looking for harmony in nature,

Reasonable proportionality began

Neither in the bowels of the rocks, nor in the clear sky

I still, alas, did not distinguish.

How capricious is her dense world!

In the fierce singing of the winds

The heart does not hear the right harmonies,

Arguments that reveal the weaknesses of the naturalistic interpretation of the aesthetic: if the phenomenon has a material nature, it can also be fixed objectively, in addition to human consciousness, by an instrument, for example. The materiality of properties is confirmed by their interaction with other material systems, while the aesthetic is thus not revealed. The only "device" by which aesthetic qualities are fixed is the aesthetic consciousness inherent in man. And the argument concerning the human consciousness itself: if the property is material, then the disclosure of this property by consciousness is subject to the law of objective truth: the Pythagorean theorem is the same for all countries and peoples. If aesthetic properties are objectively inherent in the world, they should be perceived equally by all people. Meanwhile, objects receive a different aesthetic quality and are valued differently. There is a paradox of beauty! A camel is beautiful for nomads, a cow for Indians, and comparing a girl with a cow for Russians is clearly not a compliment. And, for example, in Indian culture, the gait of an elephant and the gait of a girl are the same in value, beautiful. The naturalistic view cannot explain this relativism and the relativity of the aesthetic.

Another view - aesthetic properties are associated with the object, but on other grounds. Aesthetic properties are objective, but their source is the divine principle. The aesthetic is the expression of the spiritual in the material world. From these positions, the aesthetic is not a thing in itself, but the spirituality of a thing. The view, of course, is more subtle than naturalistic. Here one feels the significance of spirituality in the analysis of the aesthetic and the need to reveal one through the other. But even this view is difficult to accept as final, and the same arguments apply here: if God is one, then why is he perceived so differently? And for religious philosophy, negative qualities have always been a problem: where does the ugly in the world come from, if the world was created by God? This, resorting to scholastic reasoning, idealistic aesthetics does not explain. Both the first and second positions underestimate the role of the subject and the subjective principle: aesthetic properties are always given to us through experience.

The third, subjective-idealistic position is ancient Greek philosophy, Kant and modern American aesthetics. The aesthetic is by its very nature subjective. Consciousness ascribes aesthetic properties to objects, objects in themselves are not aesthetic, they receive an aesthetic quality due to the individual activity of a person. Consciousness is a prism that can project aesthetic dimensions onto the world. Kant further considers the question: why and why are these subjective qualities given to a person, which he considers as a projection of human ability onto the external world. Kant shows in the "Critique of Judgment" that the aesthetic attitude of a person to the world, from which the aesthetic properties of reality are derived, provides consciousness with internal unity and harmony, compensation for the divergence of internal forces. Man becomes free through his aesthetic experience. And in relation to this approach, questions arise: 1) if everything depends on the person, then why are there negative aesthetic properties? The ugly is a manifestation of what the world imposes on us. Not all the richness of aesthetic values ​​can thus be explained. Or, for example, tragic: why does a person need tragedy? It is no coincidence that Kant writes about two aesthetic qualities - the beautiful and the sublime, in other works - the comic. But Kant never wrote about the tragic.

2) how to explain the coincidence of aesthetic experiences: millions of people perceive the tragic as tragedy, the comedy as laughter, probably, there are some objective grounds here?

Thus, two poles have historically formed in aesthetics in explaining the essence of the aesthetic: some thinkers emphasize the role of the object, ignoring the subject, others argue that everything is connected with the subject and is determined by it, ignoring the object. Both that, and another contradicts some facts and causes objection.

Obviously, the aesthetic is a special reality that is associated with both the object and the subject. Aesthetic reality is derived from both, or rather, from the relationship of subject and object. The aesthetic is the relation between subject and object. And what are aesthetic properties then? These are special properties that are relational i.e. arising and existing only in relation between subject and object.

Relational theory is a view that goes back to Socrates. Beauty is the phenomenon of the meeting of subject and object, their intersection, relationship.

2. Aesthetic as a value relation

Relations between a person and the world can be different, what is the peculiarity of aesthetic relations? Aesthetic attitude is value. Aesthetic properties are functional properties, they are derivative in nature, they change with a change in the relationship between the subject and the object. Recall the features of aesthetic properties:

1. The relativity of these properties, their variability depending on changes in the subject and object.

2. These properties are somehow tied to the subjectivity of the object, but this property is intangible, immaterial, it cannot be fixed by a device.

3. Special properties that are realized through human perception, and not just associated with subjective grounds. These properties are always experienced, cause an emotional reaction of a person. The human psyche has adapted in this way to highlight something significant, valuable for the subject. Where there is no such significance, the human attitude is neutral, there is no emotion.

Value relations are those relations where objects reveal their significance for the subject, and the properties are special values ​​or values.

The questions that arise here are: where does the world of value relations come from? What are they needed for? But also - why do values ​​exist, how can they exist? What is the value of beauty, tragedy, comedy as a special significance of the world for a person? What is the nature of these values?

From the very beginning it is necessary to note the fundamental bimodality(bipolarity) of values, the presence of positive and negative values, and, above all, utilitarian ones: benefit - harm. The form of human reaction in which value manifests itself is grade- an active attitude that articulates value.

Why does a person inevitably come to a value attitude, a value-based exploration of the world? Value development is the basis of a person's orientation in the world, here there is an opportunity to choose, plan activities, meaningful orientation in the world. The language of values ​​is special - these are labels that call me or warn of danger and thus meaningfully include me in reality. The assimilation of the world takes place, i.e. the object-bearer of value is identified, its own, experienced. Motivation occurs on the basis of orientation, and its significance is that it stimulates some kind of activity. A constant question before a person: what is good, what is bad?

Value relations become a way of self-affirmation of a person in those connections in which he falls, thereby a person distinguishes himself as a significant individuality.

Let us name a few general characteristics of the values ​​themselves.

First, value is associated with objective properties, but it is not an objective property. Neo-Kantians: Values ​​mean but do not exist, at least they do not exist like things. Values ​​are not natural, they are supernatural. Beauty cannot be touched by hands (but a beautiful object can be touched), beauty is immaterial, it is supersensible. Value is the specific content of objects: there are no values ​​in nature, they exist where there is socio-cultural reality. Value is not substance and is not energy, but it is a special informative value. Information is not about the object or the subject in itself, but about the relationship between the subject and the object, about the place of the object in the life and consciousness of the subject.

Secondly, there is another important ontological characteristic of value. R. Carnap introduced the concept of dispositional properties, i.e., properties that exist in interaction. Value is the dispositional property of an object that arises with an active relationship between subject and object. The objective foundations of value are the subject properties of the object. The subjective foundations of value are the basic needs of man and society.

Value is a particular ability of an object to satisfy a particular need of the subject. Someone who does not have a need does not have a question about a value attitude, but there are practically no such people. When the need grows, the value "capture" of the world increases. The abilities of the subject are also connected with the needs, and the degree of development of the ability determines the development of the person. Other subjective structures of the value attitude: interests - the orientation of consciousness, arising from the need. Interests express the life orientation of the subject. Motives are connected with the same, then - ideals. In a broader sense, the ideal acts as a kind of norm: not in every situation there can be a satisfaction of a need. A person can die, but not take someone else's. A norm is an internal law that becomes a prism through which a person relates to the world. Ideals, as a component of a person's value consciousness, act as a normative regulator of his behavior. During the Siege of Leningrad, when people were terribly hungry, the fund of unique varieties of grain was preserved by N. Vavilov, a scientist who occupied himself with the selection of grain crops.

The question is: why do value relations arise in general and aesthetic ones in particular? The essence of a person is the activity that connects him with the world, and value relations arise as a result of human activity, which is basically practical in nature. Marx, within the framework of the philosophy of practice, explained the emergence of a value relationship. Marx shows that in the process of a material-transformative attitude to the world, all the necessary prerequisites for a value attitude and, above all, a special object are formed. The humanized nature is the object of the value relation or the humanized world. The subject form of being of human culture is nature transformed, having received special properties, included in the process of human life. Humanized nature includes objective properties that a person endows with a special form. The purposeful form is the new, supranatural, cultural form of the thing. The creation of a new form means the acquisition of a functional content: the object receives functions that include it in the system of human activity.

In fact, all human activity is of a design, form-creating nature. The designer solves the problem of combining function and form. In the function, i.e. the content, the significance is fixed, matures, concentrated, which manifests itself through the form, special value and informativeness. Value informativity is the special content of the object, which receives the appropriate form of expression. On the basis of value expression, special meanings appear. This is the structure of any cultural object, including the object of aesthetic attitude.

Here one could build the following chain of concepts expressing the sequence of the process of creating culture: the practical development of the world reveals subject properties, which are presented expedient form, the content of which is value, subjective and experienced by man as meaning his existence. Meanings are a subjective value, a form of possession of the world. A subject cannot be called a person in whom a system of value meanings has not been formed: he does not orient himself in the world, cannot “read” and decode it.

The other side - in the process of changing the world, a person changes himself - there is a wealth of subjective human sensibility or a wealth of human subjectivity. Working with the world, a person works with himself, he “self-forms” his wealth: intellectual abilities, communication abilities and much more. It is impossible to navigate the world without having such a tool for this.

Effort creates the world and creates man. Culture is a living dynamic connection, constant living transitions, a system of meanings that becomes the realization of a system of value relations. In different cultural epochs, a person evaluates the world differently, and the reassessment of values ​​becomes stages in the development of culture.

Aesthetic values ​​are a necessary parameter of the world of human culture. They become a way of self-realization, affirmation of a person in a humanized world.

3. Specificity of aesthetic values

The specificity of the aesthetic attitude is connected with the understanding that this is not the only and not the first value attitude in the system of human culture. The aesthetic attitude of a person to the world and aesthetic values ​​is preceded by another, directly related to human life, and in this regard, the primary type of value relations in relation to the aesthetic, which are the condition, basis and material for the aesthetic attitude. These values ​​are called utilitarian. Why are utilitarian values ​​primary? This is determined by their very essence: they are the result of a relationship based on material needs. . Utility Values- the value of certain objects to meet the material needs of a person. The logic of utilitarian relations is much simpler than aesthetic and moral ones, because the material world is simpler than the spiritual one. In the world of utilitarian relationships, there are only two values ​​- benefit and harm. But in fact, there are other, diverse relationships, first of all, vital, biological relationships based on biological reproduction (sexual relationships). But this is not a purely natural material, it is already a cultivated reality. Next to the vital, in the very system of human activity, utilitarian-functional relations arise, determined not by the needs of survival, but by the activity in which a person is currently carrying out himself. But other utilitarian relations are no less important: we are parts of a collective subject that needs social organization, a social organizational need. The functioning of such social institutions as the state is connected with the satisfaction of this need. This is a huge layer of values ​​that are utilitarian-functional in their content.

A whole range of values ​​arise from utilitarian relations, and they are spiritual. Throughout a vast period of history, the utilitarian and the aesthetic have been closely linked and, in fact, coincided. The consciousness of the ancient Greek combines the aesthetic and the utilitarian. Even Socrates insisted that a thing is beautiful because it is useful. Socrates discovered the value nature of the aesthetic relationship, but he did not distinguish between the aesthetic and the utilitarian. Arising from the utilitarian, the aesthetic cannot be reduced to the utilitarian. Plato speaks of love for beauty. And this is the value dialectics: on the one hand, the beautiful is derived from the useful, on the other hand, it is non-identical, irreducible to it. Beauty is a transformed form of utility, a new valuable quality.

In culture, there are mechanisms that fix the specifics of aesthetic values. The object itself has properties that are culturally adapted to store aesthetic information. This is a world of expressive object forms capable of expressing and preserving aesthetic value. But there are also subjective grounds - a special aesthetic psyche of a person, mechanisms formed by culture, through which aesthetic information is realized. The process of developing an aesthetic attitude is the flow of a river fed from below by springs, the currents of life that form a new aesthetic attitude, and these springs, including utilitarian values.

But what are the differences between aesthetic and utilitarian values?

First: utilitarian value is a material value in its basis: it is formed, formed, realized at the material level, it is an existential value, consciousness only fixes the emerging value. aesthetic value the opposite is the value ideal naya, it is formed and realized in the space between being and consciousness. Beauty exists for consciousness. For aesthetics, to exist means to be perceived, therefore, there are no unconscious aesthetic values. But the characteristic "ideal" is not sufficient for aesthetic value (ideal - belonging to consciousness). There is a deeper characteristic of aesthetic value: aesthetic value spiritual. Not everything that is ideal is spiritual: the reflection in the consciousness of the material is ideal, but not spiritual. The essence is the basis for the emergence of value. Spiritual is not simply existing for consciousness, but having a basis in the needs of consciousness. There are concepts where the spiritual is equal to the sacred - religious concepts. But - spirituality is a special level of development of consciousness. Spirituality is that level of consciousness when consciousness becomes an independent force when consciousness becomes a subject, a free, sovereign beginning. Special needs of consciousness are developed. Prior to this, consciousness knows and wants only what the practice and the human body need. This is a "material" consciousness: it is woven into the real processes of interaction. But one day questions arise: why do I live? What is the meaning of the universe? What is the subjective justification of the universe for man? A.P. Chekhov, for example, "three arshins of earth is not enough for a man, he needs the whole globe."

Aesthetic values, like all aesthetic relationships, are born in response to harmonization needs. The spirituality of aesthetic values ​​means their connection with the needs of consciousness. The second important characteristic of spirituality is non-utilitarian character of spiritual value. Kant draws attention to this when he connects the aesthetic relationship with human freedom. Kant points to a paradox: when we talk about aesthetic value, it means that we raise the question for whom it is, but here you can’t ask like that. Kant claims aimless expediency in the case of beauty. On the one hand, a beautiful object is permeated with expediency, which is fixed, because this object has meaning for us. On the other hand, there is no purpose other than admiring for us in the object. The aesthetic in this regard is the opposite of the utilitarian - it is an end in itself. An object appears as valuable by virtue of its existence, and not because it satisfies any specific need. Therefore, human activity here is contemplation; under our loving gaze, value becomes significant. Next is this self-sufficient value, that is, sufficient in itself. Here we are dealing with the phenomenon of the power of beauty over a person: it chains, binds. We only need this beauty, we fall in love with it and see nothing but it! The beauty of a loved one is revealed only to a lover!

Further - generalizing character aesthetic value. An object is always concrete, but its value includes various properties and meanings. From a utilitarian point of view, we perceive the world one-sidedly, in its concrete usefulness, we see what we need to see. In the aesthetic, we see more than what is revealed to the eye - the spiritual value of the object. In Paleolithic Venuses, the head is reduced or there is no head at all, and it is not needed here at all. In archaic culture, a woman is significant in the function that her body performs, therefore, the exaggerated, disproportionate forms of these sculptures, representing the image of a woman's fertility, are perceived positively. There are dozens of images of the connection of the male and female sexual organs, also related to primitive culture, but this is a utilitarian image. How far from this are the sculptures of Rodin, where the aesthetic value of love appears, where the bodily and spiritual are in unity.

Finally, worldview potential aesthetic attitude: aesthetic value not only belongs to the world, but becomes a “pass” to the world, includes us in a wide context of being, which becomes the basis of art. Animals do not have a world, but they have an environment. Man has a world. Aesthetic value says more than it contains, so it symbolic: reveals large semantic spaces, of which this object is a part. There is an expansion of the horizon of consciousness to cosmic scales. This includes areas such as nature. B. Pasternak in the poem "When it clears up":

As if the interior of the cathedral -

Expanse of land, and through the window

I hear sometimes given.

Nature, the world, the secret of the universe,

I serve your long

Embraced by the secret trembling,

I'm in tears of happiness.

Next - culture - the world of man, human activity. Culture enters our consciousness through aesthetic experience and familiarization with art, which fully realizes the completeness of the aesthetic view of the world. And, of course, the aesthetic understanding of history, which is diversely represented in the art of all cultural epochs (one of the most striking examples of this kind is the painting by E. Delacroix “Freedom on the Barricades”, the dominant image of which has become a symbol of the French Republic).

And here it is necessary to point out the paradoxical connection sensual and supersensible in aesthetic value. Moral, ideological, religious values ​​are supersensible, aesthetic ones are sensual. What is the bearer of aesthetic value in an object? And this requires a special carrier, it must be commensurate with the integrity of the object. Aesthetic value involves a whole system of properties: part and whole, dynamics and statics, and we must find such a dimension of the object that combines all this. This dimension is the form, understood in this case as the structure of the object. The form in its sensual givenness is the bearer of aesthetic value: where there is aesthetic, there is the world of forms. At the same time, the form carries a meaning that goes beyond immediate sensibility. Form is, firstly, a way of organizing, a way of giving unity to the world, so the whole life of a person is built on form. But these are special, ordered forms that show that we are synonymous with stability and reliability. Form, secondly, is an indicator of the mastery of the world, an indicator of how the world is subject to reason. And, thirdly, the form reveals the essence of the phenomenon, it is the basis of a person's orientation in the world. Thus, the bearer of aesthetic value is sign form, which has gone through a certain cultural practice and carries a certain cultural experience. Form and carrier, and content of the most aesthetic value.

Bottom line: an aesthetic object is a sensual object, taken as a whole.

Aesthetic value is a non-utilitarian value, comprehended through contemplation, intrinsically valuable and symbolic.

Aesthetic attitude is the unity of object and value, the unity of sign and meaning, which gives rise to a certain experience, a way of orientation and self-affirmation of a person in the world.

Test questions:

1. What are the main approaches to the analysis of the essence of aesthetic phenomena?

2. What is the essence of the relational approach to the aesthetic?

3. What is value?

4. What is the paradox of beauty?

5. What are the differences between utilitarian and aesthetic values?

6. What need do aesthetic values ​​satisfy?

7. What is the specificity of aesthetic values?

8. What are the features of the aesthetic form.

Literature:

Bychkov V.V. Aesthetics: Textbook. M. : Gardariki, 2002. - 556 p.

· Kagan MS Aesthetics as a philosophical science. St. Petersburg, LLP TK "Petropolis", 1997. - 544 p.

· Kant I. Criticism of the ability of judgment. Per. from German., M., Art. 1994.- 367 p. – (History of aesthetics in monuments and documents).

Web resources:

1. http://www.philosophy.ru/;

2. http://www.humanities.edu.ru/;

LECTURE 3. BASIC AESTHETIC VALUES

2. The essence and features of the aesthetic development of the sublime

3. Essence and features of comprehension of the tragic

4. Comic: essence, structure and functions

1. Beautiful as historically the first and main aesthetic value

What does the study of basic aesthetic values ​​mean for aesthetics? It is, first of all, to analyze the following foundations of phenomena:

1. Analysis of objective subject-value bases, the question of what an object must have in order to be, for example, beautiful?

2. The subjective foundations of aesthetic values ​​- that way of mastering the meaning, actualizing the value, without which it does not exist. Each of the modifications of the aesthetic - the beautiful, the ugly, the sublime, the base, the tragic and the comic - differs in how it is experienced. According to these two parameters, we will consider the indicated aesthetic values.

The first historically distinguished and then until the 20th century the main aesthetic value is beauty or beauty, for classical aesthetics these are synonyms. Beauty is, one might say, a value beloved for aesthetics, which is empirically manifested not only in the constant perception of life, admiring beauty, but also in the mythologization of this value by the consciousness as having a special power that brings harmony and bliss to life. C. Baudelaire, the famous poet of French symbolism, whose life was very bleak and rarely harmonious, in his poetry in the cycle "Flowers of Evil" creates "Hymn to Beauty" (1860), the finale of which is as follows:

Whether you are a child of heaven or a child of hell,

Whether you're a monster or a pure dream

You have an unknown, terrible joy!

You open the gates to the immensity.

Are you God or Satan? Are you an angel or a siren?

Is it all the same: only you, Queen Beauty,

You free the world from a painful captivity,

You send incense and sounds and colors!

F.M. Dostoevsky then we come across a firm conviction that beauty will save the world, although Dostoevsky understood the complexity and inconsistency of beauty.

On the other hand, in the history of art, in addition to mythological perception, we see the desire to rationally comprehend beauty, to give it a formula, an algorithm. For a certain time, this formula works, although then it becomes necessary to revise it. An absolute answer cannot be obtained in principle, because beauty is a value, which means that every culture and every nation has its own image and formula of beauty.

Paradox: beauty and beauty is something simple, immediately perceived, and at the same time, beauty is changeable and difficult to define.

The external reaction to beauty consists entirely of positive emotions of acceptance, delight. At the level of the object, this is due to the fact that beauty is the positive significance of the world for man. Any aesthetic value has the goal of harmonizing the world and man. Beauty has to do with its essence. Several categories can reveal the essence of the relationship from which beauty grows:

1) proportionality object to the needs and capabilities of the subject, determined by the mastery of the world, the correspondence of the world and man;

2) harmony, more precisely, harmonic unity man and reality. Harmony, order, harmony with the world here becomes decisive. Beauty is the aesthetic expression of this, and hence the joy in experiencing beauty.

3) freedom The world is beautiful where there is freedom. Where freedom disappears, beauty disappears; there is stiffness, numbness, fatigue. Beauty is a symbol of freedom.

4) humanity- beauty favors the development of man, the spiritual fullness of his existence. Beauty is an aesthetic value that expresses the optimal humanity of the world and man, and this is its essence.

In beauty, the eternally desired situation of harmony and freedom finds expression, and therefore beauty will always be lacking for a person. On the other hand, finding beauty is difficult, and Plato was right about that. Man himself destroys the moment of harmony, because he is always moving, striving for something new, and this movement is carried out through disharmony, overcoming the inevitable inconsistency of the world. Beauty is difficult and a person must work hard to experience the moment of beauty!

Let's consider the first class of prerequisites in the understanding of beauty - its objective subject-value bases. It is about a certain dimension of the object. A person has psychic powers, with the help of which he perceives the form and meaning of the world, and those objects that are organically perceived are beautiful. Color, for example, is perceived by the eye within certain limits, infrared radiation is beyond the possibility of normal human perception. In the same way, the feeling of heaviness does not correspond to the perception of beauty. For example, the contemplation of the pyramids of Egypt, in contrast to the Parthenon, which was erected in accordance with the peculiarities of visual perception. A certain inclination of the columns that make up the walls of the Parthenon removes the feeling of heaviness, and we feel like free people, like the Greeks of the classical period. In terms of information, content, beauty is the semantic openness of a thing, expressed in a clear form. Abracadabra cannot be beautiful.

But not all things proportionate to man are beautiful. The next class of prerequisites is the form. There is no absolute formula for a perfect form. The aesthetic perfection of form for a person does not always coincide with formal correctness: a rectangle is more attractive than a square, although a square is a more perfect shape. This is because a person needs variety. The favorite ratio of artists is the proportion of the "golden section", which establishes the ideal ratio of parts of any form between themselves and the whole. The golden ratio is a division of a segment into two parts, in which the larger part is related to the smaller one as the entire segment is related to the larger part. The mathematical expression of the golden ratio is the Fibonacci series. The principles of the golden section are widely used as the basis of composition in spatial arts - architecture and painting, and the term itself - the designation of this proportion - was introduced by Leonardo da Vinci, who created his canvases based on it. Interestingly, in music, the system of consonances corresponds to this mathematical proportion.

The significance of the formal foundations of beauty is so great that humanity singles out the so-called formal beauty, which expresses the aesthetic value of forms in itself. Renaissance artists created treatises where they presented exact calculations of proportions that optimally represented the beauty of the world. In the Italian Renaissance, this is the famous work of Piero della Francesca "On the Picturesque Perspective", in the northern Renaissance - Albrecht Durer's "On the Proportions of the Human Body".

But the beautiful and the beautiful are not identical in meaning: the beautiful emphasizes the perfection of the external form, the beautiful implies the unity of the external and internal form - the quality of the content. And here special categories arise that concretize the beauty of form. Graceful - the perfection of the design, expressing its lightness, harmony, "thinness". Graceful - the perfection of movement, aesthetic optimality of movement, special harmony, smoothness, which corresponds to the movement of a person and an animal, and not a robot, and means a vital background. Charming is the perfection of the material texture itself, the material from which the object is “made”. Beauty in this case is the snow-white skin, the blush of the girl, the pomp and density of the hairstyle. “Am I sweeter than everyone in the world, all blusher and whiter” - in Pushkin - the queen’s morning question to the mirror, after a rhetorical answer to which the queen confidently does the planned things. But form is not enough to determine the aesthetic beauty of perfection. The beautiful in nature is the vital meaning of nature, the most beautiful landscape is the landscape of the Motherland, the native nature is beautiful. Therefore, content-related prerequisites are important. The beautiful in a person is determined depending on the socially significant qualities of a person. It is no coincidence that the category of ancient aesthetics kalokagatiya - beautiful-kind. It is, therefore, about the humanity of the content, which is the basis of beauty (beautiful). And here amazing things happen: an outwardly imperfect form can be transformed, an unobtrusive appearance can become beautiful. For the romantic Hugo, human fullness is the main basis of Quasimodo's beauty. In Dostoevsky, Nastasya Filippovna has a magical appearance, which is combined with a bifurcated character, and therefore her beauty is not indisputable. For Tolstoy, the beauty of Marya Bolkonskaya is obvious, in whose eyes all the depth, cordiality and kindness of her soul shine, which is opposed only by the outwardly impeccable Helen Bezukhova. Moral qualities are the basis of human beauty: responsiveness, sensitivity, kindness, warmth of the soul. A person who is malicious, selfish, hostile towards his own kind cannot be beautiful. But when both external and internal perfection are combined, a person exclaims: stop for a moment, you are beautiful!

The experience of the beautiful, its subjective sign, is in exact accordance with its essence: a feeling of lightness, achieved freedom in relations with the world, the joy of finding harmony.

2. The essence and features of the aesthetic development of the sublime

The sublime is often identified with beauty at its maximum concentration, but there are areas where the phenomenon is sublime, but not beautiful. There is an idea that the sublime is associated with large sizes. But here, too, there is a misconception: the sublime is not always manifested in quantity. Rodin, for example, "Eternal Spring" - a small sculpture represents the sublime, and the facts from the Guinness Book of Records, despite the numerical parameters that amaze the imagination, do not.

So the sublime is a matter of quality. The world of man is given by the radius of his own activity. Everything inside the circle has been mastered by man, but man is constantly overcoming the boundaries that he believes for himself, and he is not only closed, but also open in the world. A person enters a zone beyond the usual formal possibilities, a field that he does not know how to measure. This takes the breath away. The essence of the sublime is those relations with the world and aspects of reality that are incommensurable with normal human capabilities and needs, which are perceived as something immeasurable and infinite. Subjectively, this infinity can be formulated as incomprehensibility. The sublime is immeasurable, incommensurable with simple human capabilities and far exceeds them. A person's heart begins to beat faster when he meets the sublime.

It is possible to feel the sublime not so much in direct sensual contact as in the beautiful, but through the imagination, for the sublime is immeasurable. The sea, the ocean, that which cannot be exhausted is an example of such a force that challenges an ordinary person and which a person cannot relate to his own strength. Mountains are perceived as sublime, because it is something not conquered, above us, it is sublime not only in space, but also in time: we are small, finite, the rocks are endless and this is breathtaking. The horizon, the starry sky, the abyss are always sublime, because they give rise to the image of infinity in our minds. Verticality, movement into the infinite heavenly world becomes the basis of our perception of the sublime. Human perception of the world is vertical as an ascent to value limits, ideals. Tyutchev:

“Blessed is he who visited this world in its fatal moments

He was called by the all-good as an interlocutor to the feast!

The soul rises when you understand the meaning of these events. But the second is the moral law, the difficult overcoming of the initial egoism makes a person sublime, elevates him. The heroic, as an act for the sake of humanity, is a kind of sublime.

Two concepts are important in defining the sublime: vertex(top manifestations of natural and social being), noticed sensually(the embodiment of the vertical, for example, religious buildings). Man cannot live without absolute values ​​that act as ultimate goals and ultimate criteria of value for a person. These absolutes, of course, go beyond the usual repetitive everyday existence, they are not derived from it, these are values ​​for the existence of which there are no human prerequisites.

In the beautiful, a person measures the surrounding world by himself, and in the sublime, a person measures himself by the absolutes of the surrounding world, which are the antipode of everything relative, they are irrelevant. The sublime is the absolute in the relative world. There are such absolutes within human existence, where the beautiful and the sublime coincide, for example, this is the truth. There is no limit to truth and the pursuit of truth, freedom too. Love is also boundless, it requires the fullness of self-giving, the fullness of living. But the endless affection of the old-world landowners in Gogol is an expression of the beautiful, and love in Rodin is sublime. And yet there are phenomena far from the ethically absolute. In Pushkin's "Feast in the Time of Plague" from "Little Tragedies", presiding over the banquet during the plague, proclaims the hymn to the plague:

So, thank you, Plague!

We are not afraid of the darkness of the grave,

We will not be confused by your calling.

We sing glasses together,

And the rose-maidens drink the breath -

Perhaps ... full of the Plague.

A person challenges the plague that destroys everyone, opposing this disaster with his spiritual strength, capable of overcoming fear of the oncoming plague. The sublime embodies the inner growth of man. In the beautiful, a joyful agreement with the world is embodied; in the sublime, we feel inner infinity, immortality, participation in which gives the sublime.

The beautiful is uniformity, harmony, consistency, experienced emotionally. The sublime embodies a psychological contradiction that must be resolved by spiritual effort. Enormous forces and new horizons are opened up by man as a result of the application of these forces. If fear wins, there is a paralysis of the will, and an inability to act.

In aesthetic consciousness, the positive principle wins in the internal struggle, we fly up, we soar above the earth, and begin to experience a high excitement of the soul, in which we feel our immortality through a breakthrough into infinity. The pinnacle of the perception of the sublime is communion with heaven and a sense of coincidence with the infinite.

But the beautiful and the sublime are equally necessary and complement each other. A person needs two worlds - home, reproducing stable and necessary connections with the world, and heavenly, affirming immensity, enticing and elevating him.

3. Essence and features of comprehension of the tragic

Aesthetics since the time of Aristotle has dealt with the tragic. Aristotle, in the Poetics that has come down to us in fragments, reflects on tragedy.

Let us immediately divide: one should not confuse the tragic in everyday usage, the tragic in life and aesthetics. It is necessary to determine, considering the aesthetic tragic, the content, on the one hand, and its form of development. In the tragic, this form has a special meaning. For in this form only the aesthetic effect of the tragic is born.

Not all troubles and losses are tragic. There are situations in life when there is no death, but there is - tragic. In Chekhov's plays "Uncle Vanya", "The Cherry Orchard" - a tragedy, although Chekhov called them comedies. And not every death is tragic. Death may not be tragic if: 1) it is the death of an outsider, 2) it is natural, it is the death of an elderly person. The content of the tragic is more complex: loss as a direct reality of the tragic is only on the surface.

In the beautiful and sublime we find peace, in the tragic there is a loss of human values, and these can be material values. But not every loss is tragic and not all tears are tragic. The tragedy itself determines the scale of the values ​​that we lose. In Mozart's The Marriage of Figaro, Barbarina sings an arioso about the loss of a pin. The music sparkles with false tears of loss. But the peaks of world opera are tragedies: Otello, Il trovatore, Un ballo in maschera, La traviata, Aida by Verdi; "Ring of the Nibelungs", "Tristan and Isolde" by Wagner are the best tragic operas. Thus, at the heart of the tragic loss of fundamentally important human values. The loss of such values ​​is a breakdown, a breakdown of human existence in its most intimate qualities, and it is impossible to survive such losses. What are these values?

1. Loss of the Motherland. Chaliapin in exile for the rest of his life wears an amulet with his native land on his chest. This is the spiritual and vital value of the beloved space.

2. Loss of your business, and in essence, life. A cause without which a person cannot live, and therefore this is an irreparable loss. Life must be started all over again (a singer who has lost his voice, an artist who has lost his sight, a composer who has lost his hearing). The tragedy of the impossibility of creativity, which for the artist is life.

3. Loss of truth - a value without which people cannot live either. Life in a lie is unbearable for a person, we lie all the time, but the moment of truth comes!

Kindness, a clear conscience are values ​​of the same kind. A conscience that torments a person, punishes him, makes a person feel like an executioner. Boris Godunov is a sick conscience that begins to torment him, and life stops, breaks down. There is a breakdown of life at the moment of loss of values. For Raskolnikov, retribution follows not in the form of condemnation and exile to hard labor, but in the fact that he does not find a place for himself, turns out to be an outcast among other people. Man prefers death to trample on the moral foundations of life. V. Bykov: Rybak and Sotnikov. The fisherman compromises from the first minute, Sotnikov remains a moral being, going to the gallows, looking at the world with a smile. Tragedy optimism: a person freely chooses his moral essence, life after that turns out to be impossible. The tragedy of love is that a person who has found love can no longer exist without it, cannot live without a loved one. Freedom - a person is free in his essence, the loss of freedom is a colossal tragedy. All together, this can be summarized in one more value - the meaning of life. Where it does not exist, life is absurd. According to A. Camus, the world is devoid of meaning for a person and, therefore, the main question of life is the question of suicide.

The meaning of life is that last, intimate thing that connects us with being. Then, when it is, it is worth living. The situation of the loss of opportunities to communicate with another person is also the loss of the meaning of life, which is accurately expressed in the films of M. Antonioni.

This is the first layer of tragedy - loss. But what is important is the inevitable, regular nature, the hidden essence of these losses. When the loss is accidental, there is no tragedy. The Greeks - fate, fate embody precisely the inevitability of loss. Why is it so? A person tries to gain experience from the life in which he lives. Randomness is something that is impossible to navigate and impossible to predict. In the tragic for a person, the truth of life is revealed, and this is what we inevitably not only discover, but also lose. Through the tragic, we become on a par with the deep laws of being. Randomness is variable, regularity is stable. Tragic leads to the loss of the most precious thing we have. Why is Oedipus Rex a tragedy? Oedipus killed his father and married his own mother, and thereby violated two basic laws of life, two values ​​that hold the archaic cosmos of antiquity; commits the murder of a relative and incest, and then other patterns begin to operate. Here we see not only the objective content, but get to the bottom of the essence, comprehend the truth, experience and overcome the conflict. This tragedy has always excited the audience.

The art of tragedy as a genre is different from melodrama: melodrama - everything is accidental, all events are reversible (replaceable), the triumph of villains is temporary, tragedy - there is nothing accidental, everything is natural, death is inevitable. From melodrama we get little spiritually, tragedy is a deep experience. A. Bonnard argued that crying with tragic tears means understanding, it cannot be otherwise - this is the truth that tragedy reveals to us. Throughout the history of mankind, symbolically meaningful fate passes. The whole tragedy is expressed in some symbols. Dostoevsky's tear of a child is an aesthetic symbol of tragedy.

Finally, in the tragic we comprehend cause of loss. Causes of the tragic: the contradictions of human existence, contradictions that cannot be peacefully resolved, they are also called antagonisms. As long as there are antagonisms in the world, the world will live in tragedy. And often antagonisms express the true essence of human relations, and if there are many of them, then tragic culture and tragic life. Van Gogh's painting is the embodiment of a tragic worldview, consciousness living in an insoluble antagonism, where life is the absence of the most essential values, life is the components of hope, meaning, love. Van Gogh loved people and had no recognition during his lifetime. "Night cafe in Arles" - an atmosphere in which a person can go crazy.

What antagonisms form the basis of the tragic? The first - man - nature: the eternal struggle of man with nature. A person enters into a struggle with such elements with which it is impossible to agree, and nature crushes a person.

Secondly, the antagonism of man with his own nature, and this antagonism cannot be eliminated: the infinity of the spiritual essence of man, the subjective immortality of man, which comes into irreconcilable contradictions with the human body, its mortality, biological limitations. Fear of death and desire to overcome death. The condition of a normal life is freedom from the fear of death, which must be gained by incredible spiritual efforts. Religious consciousness through the idea of ​​the immortality of the soul helps the believer to get rid of this fear. Each person carries a tragic contradiction, and the life of each person is tragic.

Third, social antagonisms: the very dynamics of human life determine social antagonisms. The social world is built on irreconcilable contradictions: wars of peoples for territories, conflicts between classes, clans, groups, worldviews. The contradiction between society and the individual is every time an encroachment on the freedom of the individual. Sometimes this conflict takes on more banal forms, but it is no less tragic: the environment devours a person, burns him. But conflicts are inherent in the human personality itself, which is interpreted differently in different cultures. In the culture of classicism, where duty is a feeling, social norm and personal desire, Phaedra dies because she cannot fulfill her duty. A person needs to make a choice between two sides of his own personality: feeling is a duty, and this is infinitely difficult. Bertolucci "Last Tango in Paris" A person learns not only by analyzing patterns, but also by overcoming regular contradictions in practice. Fate and man opposed to fate is the very first confrontation in Greek tragedy. Different degrees of lack of freedom in relation to fate: people are initially toys in the hands of fate. Tragic guilt is a manifestation of the maximum freedom of a person in a tragic situation. Man, realizing the inevitability of his death, freely and responsibly chooses his death. Otherwise, it will be a rejection of your destiny. Carmen cannot be cunning, being free is more important to her than lying. Freedom and love are affirmed by Carmen by her death. She is to blame for her death, this is a tragic guilt. But she cannot give up either love or freedom.

Why do people need to recreate and perceive the tragic in art? This is a complex process, where the rational is connected with the emotional, the unconscious with the conscious. The logic of the perception of the tragic: begins with a plunge into the abyss of horror, fear, suffering. It is a shock, a darkness, almost a madness. Aristotle states: the experience of tragedy is in the unity of fear and compassion. Suddenly, light appears in the darkness: here a bright mind and good will are of tremendous importance in a person's life. At the level of experience, there is an almost mystical transition of weakness into strength, impasse into dawn. Darkness leaves the soul, we begin to experience a feeling that cannot be experienced. The Greeks called this transformation catharsis, the purification of the soul. For this there is tragedy.

Important moments of perception and experience of the tragic: in horror there is compassion, I become different, I rise to the suffering of another, I already rise in this. We rise, secondly, to the understanding of what is happening, and this is also a way out of the situation. We comprehend not only the inevitability of losses, but also the scale of them and the significance of those values ​​that are lost. We want to love like Romeo and Juliet, etc. There is an initiation into fundamental values ​​at the deepest level. These values ​​compensate us for understanding the hopelessness of the situation. The pessimism of the mind gives rise to the optimism of the will, according to A. Gramsci. And this is the moment of the true exaltation of man: I insist on freedom, love. Truly human principles triumph in a person, do not give up their positions, continue life. Beethoven: life is a tragedy, hurrah! For the man himself, this is every time the affirmation of the man. Courage as an inner strength, loyalty to something, the will to live, the connection of a person with life, its values, is every time affirmed in the tragic. That is why the tragic is irremovable and necessary in normal human culture.

4. Comic: essence, structure and functions

There are some elements of structural similarity between the tragic and the comic: in the comic, a certain contradiction is also the basis; in the tragic and comic - the loss of values, but in the comic - others. The generalized expression of the tragic is cleansing tears, the comic is laughter.

Often the comic is identified with the funny. But it is important to remember that the comic is not the same as laughter, laughter has different causes. Laughter in the comic is a reaction to a certain content.

In a sense, the entire history of mankind is a history of laughter, but it is also a history of loss. Consider the comic: what is the comic, what are its functions and structure.

There is a need in society for the spiritual overcoming of what has lost its right to exist. In the world of human values, false values ​​or pseudo-values, anti-values ​​appear, which objectively act as an obstacle to the socio-cultural existence of a person. The comic is a way of reassessing values, an opportunity to separate the dead from the living and bury what has already become obsolete. But, the less a phenomenon has the right to exist, the more it claims to exist. The exposure of pseudo-value is achieved by a laughter reaction. Gogol: from the warnings to the actors for The Inspector General: the one who is not afraid of anything is afraid of ridicule.

Ancient cultures already had a mechanism for ritual laughter. The meaning of the comic is the humiliation and thus the reassessment of certain socially ranked values. It is no coincidence that before social upheavals there is an explosion of comic creativity. Laughter exposes outdated values ​​and deprives them of reverence. The medieval carnival performed the function of doubting the value of royal power, the absoluteness of the establishment of the church, and this was a reserve for development. There is a mechanism of reversal of values, which contributes to a change in the proportions of world perception. In grotesque mockery, bodily prohibitions were removed, a feast of the flesh was performed, which contributed to its fearless reassessment. The origins of Russian swearing are in its carnival character. The use of this vocabulary as a norm in the current transitional and crisis period for Russia is at least inappropriate, or rather destructive in conditions where the old values ​​have already been rejected, and the new ones have not yet taken place.

But in comedy, not everything comes down to negation. Along with the negation, a certain affirmation also takes place, namely, the freedom of the human spirit is affirmed. Laughing and playing, a person defends his freedom, the ability to overcome any boundaries. According to Marx: humanity, laughing, parted with its past. Comic is the affirmation of creative forces, novelty, ideals, because the denial of false values ​​occurs when the positive principle dominates. But there can be scabrous laughter of a soulless person, without ideals, which means peeping through a keyhole, and laughter caused simply by the manifestation of corporality: vulgar anecdotes, and cynical laughter - over everything, including shrines, from the standpoint of denying everything and everything, and in relation to dear aspects of other people's lives.

Defining the structure of the comic, it should be noted that this is the only aesthetic value in which the subject acts not only as a recipient, receiver of information, in the comic the creative role of the subject himself is needed. In the comic, a certain distance is not needed, the subject must destroy it by putting on a comic mask, entering into a free play relationship with reality. When it turns out and there is a comic.

The comic occurs when there is some contradiction in the object. To make it funny, some anti-value must be manifested in the incongruity of the object. In aesthetics, this is called comic inconsistency. Initially, this is an internal mismatch in the object. In the light of the ideal, inconsistency becomes absurd, absurd, ridiculous, revealing. The condition of a comic relationship is the spiritual freedom of a person, then he is capable of ridicule.

Comic discrepancy is a form of comic existence, just as tragic conflict is a form of tragic being. Hence the two interrelated abilities of the subject: wit- the ability to create comic inconsistency; connection of the unconnected (in the garden of elderberry, and in Kyiv - uncle; shoot from a cannon at sparrows). Here, too, there is a discrepancy between essence and phenomenon, form and content, intent and result. As a result, a certain paradox arises, exposing the strangeness of this phenomenon. The effect of the comic is always born according to the principle of metaphor, as in a children's joke: an elephant smeared himself in flour, looked at himself in the mirror and said: “This is a dumpling!”.

The second ability of the subject, which determines the edge of aesthetic taste, is the ability to intuitively feel a comic inconsistency and respond to it with laughter - humor. If you explain the joke, he loses everything. It is impossible to explain the comic; the comic is grasped immediately and entirely. An essential feature is the intellectuality of the comic as the need for the manifestation of sharpness of mind; for fools, the comic does not exist, it is not defined by them. One of the common forms of revealing comic inconsistency, suggesting sharpness of mind, is the opposition between meaning and form of expression. In literature, for example, in Chekhov's Notebooks: a German woman - my husband is a great lover to go hunting; deacon in a letter to his wife in the village - I am sending you a pound of caviar to satisfy your physical needs. In the same place in Chekhov: the character is so undeveloped that it is hard to believe that he was at the university; a small, tiny schoolboy named Trachtenbauer.

Let us turn to modifications of the comic, and, first of all, these are modifications of an objective nature:

1. Pure or formal comedy. The sublime or the tragic cannot be formal. The beautiful, as we have seen, perhaps the form of the beautiful is valuable in itself. Formal comedy, devoid of the slightest critical content, is a play on words, a joke, a pun. In S. Mikhalkov's poem about the absent-minded hero: "Instead of a hat on the go, he put on a frying pan." Formal comedy is a paradox in its purest form, an aesthetic game of the mind, which is the "technological" basis of subsequent forms of comedy. In this case, they laugh not at something, but along with something. On this basis, meaningful comedy arises.

2. Humor is one of the modifications of meaningful comic, and not just a feeling. Humor is a comedy aimed at a phenomenon that is positive in its essence: a phenomenon is so good that we do not seek to destroy it with laughter, but nothing can be perfect, and humor reveals some inconsistencies in this phenomenon. Humor is soft, kind, sympathetic laughter at its core. It gives humanity to the phenomenon, and in relation to friends only humor is possible. An old anecdote from a series of God’s answers to the claims of those who ended up not in heaven after death, but in hell: to the request of the priest of the rural parish who ended up in hell, instead of a reveler and drunkard, a local bus driver who ended up in paradise, to correct the injustice committed: the answer is everything rightly, because when you read a prayer in the temple, all your flock was asleep, when this drunkard and reveler was driving his bus - all its passengers were praying to God!

3. Satire is an addition to humor, but it is aimed at phenomena that are negative in nature. Satire expresses an attitude towards a phenomenon that is in principle unacceptable to a person. Satirical laughter is harsh, evil, revealing, and destroying laughter. In art, satire and humor are inextricably linked, one imperceptibly passes into the other - as in the works of Ilf and Petrov, Hoffmann. When it comes to times of crisis and cruelty, the epochs of humor pass away, the times of satire become more acute.

4. Grotesque - comic inconsistency in a fantastic form. Gogol's nose leaves the owner. The magnitude of vice, which is considered grotesque. At the heart of the grotesque is the hyperbole of vice and bringing it to a cosmic scale. The grotesque has two sides: the mocking side, the mocking side, and the playful side. Not only horror, but also delight cause the extremes of life.

Irony and sarcasm are two more categories of the comic, subjective modifications denoting a certain type of position, features of the comic attitude. Irony is a comedy in which the subject is involved, but the meaning is veiled by the subject himself. There are two layers in irony - textual and subtextual. The subtext, as it were, denies the text, forming some contradictory unity with it. Irony also requires intelligence. Irony is a hidden comic, blasphemy under the guise of praise.

Pure comedy, humor, satire, grotesque - this is comic as it grows.

Sarcasm is the opposite of irony. This is an open emotional expression of attitude and indignant pathos, an angry intonation expressing an indignant protest position.

Summing up, it should be noted that the emergence of aesthetic values ​​is deeply natural and necessary, they are internally connected with each other, they form a system that specifies a certain socio-cultural situation. Any aesthetic values ​​are a transformed form of expression of a person and the world of his values. Our whole life is an attempt to create our own world and get satisfaction from its arrangement. But in reality it is multifaceted and is described, among other things, by the aesthetic values ​​of the beautiful, the sublime, the tragic, the comic.

The beautiful is the situation of a person's harmony with his value world, the zone that is accessible to a person, the zone of freedom and proportionality.

The sublime is a fundamentally different turn of the existential circle - the struggle for new values, the desire to expand oneself spiritually, to assert oneself at a new level. But here a person comes to the verge of not only gaining and growing, but the inevitability of losing value, reducing the human world, and this is already a transition to another aesthetic value:

Tragic, expressing the inevitability for a person of the loss of fundamental values, where the victory of life occurs, but on a limited territory.

The comic is the opposite of the tragic. We freely fight for new values, voluntarily renouncing the life-world. The comic is the great orderly of culture.

There are symbioses on the borders: sublimely beautiful (beautiful, going to infinity), tragicomic - comical in form, tragic in essence, laughter through tears (Don Quixote, Ch. Chaplin's heroes; imperfections of the external order do not coincide with imperfection in essence, a suffering person can be funny too).

These four values ​​describe the cycle of a person in his value being. Aesthetic consciousness, not being rational in nature, preserves the orientation of a person in the essential situations of life, and in this ideological significance of aesthetic values.

Test questions:

1. What are the objective foundations of beauty?

3. What is formal beauty?

4. What is beautiful nature?

5. What kind of person do we call beautiful?

6. What are the essential features of the sublime?

7. Why is the big not the sublime?

8. What is the peculiarity of experiencing the sublime?

9. What are the objective foundations of the tragic?

10. What is the essence of the tragic situation?

11. What are the features of the experience of the tragic?

12. What is the difference between tragic and life tragedy?

13. What is the essence of the comic?

14. Is everything comic that causes laughter? Why?

15. What is the basis for the division of aesthetic categories?

16. Give an example of the interaction of aesthetic values.

1

The article discusses the importance of the development of aesthetic perception in the formation of the child's personal qualities, his value and aesthetic attitudes, which ensure a balanced development of the personality in modern conditions. The current directions in the development of aesthetic perception of preschool children are analyzed. The essence of the concept of "aesthetic perception", "aesthetic evaluation" is revealed. The role of the activity approach in the development of aesthetic perception is substantiated. The specificity, distinctive features of aesthetic and artistic perception are revealed. The article presents a methodology for the development of aesthetic perception in the process of artistic and creative activity of older preschoolers, presents the stages of development of aesthetic perception, substantiates their sequence, discloses the content, presents diagnostic methods according to the subject of the study, highlights pedagogical conditions, defines methods for developing aesthetic perception of older preschoolers according to each stage. .

aesthetic perception

aesthetic evaluation

emotional responsiveness

aesthetic attitude

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3. Kudina G. N. How to develop artistic education in preschoolers. – M.: Vlados, 2006. – 35 p.

4. Likhachev B. T. Theory of aesthetic education. – M.: Enlightenment, 1985. – 176 p.

5. Melik-Pashaev A. A. Steps to creativity. – M.: Binom Publishing House, 2012. – 159 p.

6. Torshilova E. M., Morozova T. V. Development of aesthetic abilities of children aged 3–7 years (theory and diagnostics). - Yekaterinburg: Business book, 2001. - 141 p.

7. Aesthetics: Dictionary / Ed. A. A. Belyaeva and others - M .: Politizdat, 1989. - 447 p.

8. Yasinskikh L. V. The development of emotional hearing in younger schoolchildren in the process of perception of works of art. // Modern problems of science and education. 2014. - No. 2; URL: http://www.site/rules116-12554

At the present stage of the development of society, in the context of a change in the hierarchy of aesthetic values ​​and the instability of moral truths, artistic education is called upon to be a guarantor of the full formation and preservation of the integrity of a developing personality. At preschool age, the foundation of the child's personal qualities, his value and aesthetic attitudes are laid. The preservation and enhancement of the traditions of aesthetic education in the modern system of education can provide that internal reference point (a sense of harmony and proportion) that will determine personal development along a balanced path.

Perception, uniting in itself all aspects of a person's mental life, represents the unity of the emotional-sensory and analytical, intuitive and logical, rational and irrational. The interaction of a person and any kind of art begins with perception. Therefore, it is no coincidence that the interest of psychologists and teachers in the problem of the development of perception does not fade away.

After analyzing the positions of a number of authors (R. M. Granovskaya, J. Piaget, A. G. Maklakov, S. L. Rubinshtein and others), we can conclude that perception is the result of the activity of a system of analyzers. The primary analysis that takes place in the receptors is supplemented by the complex analytical and synthetic activity of the brain sections of the analyzers. Unlike sensations, in the processes of perception, an image of a holistic object is formed by reflecting the totality of its properties.

Studies of domestic psychologists of the XX century (A.V. Zaporozhets, L. A. Venger, E. I. Ignatova, T. L. Kogan, etc.) on the problem of aesthetic perception of preschool children showed the features of the psychology of perception of fairy tales, musical works by preschoolers, the genesis of aesthetic experiences , the conditions for the emergence and development of aesthetic images. In recent years, research has been actively conducted on the mechanisms of the development of aesthetic perception (A. A. Melik-Pashaev, G. N. Kudina, Z. N. Novlyanskaya, A. Ya. Mikhailova, V. G. Razhnikov, N. G. Tagiltseva, A. V. Tolstykh , A. Zh. Ovchinnikova, I. V. Zelenkova, S. Sh. Evtykh and others).

Revealing the essence of aesthetic perception, it is necessary to highlight the following main provisions: this is a type of aesthetic activity, expressed in a purposeful and holistic perception of works of art as an aesthetic value, which is accompanied by an aesthetic experience. Among the many basic properties or qualities of aesthetic perception, the authors name spiritualization, “humanization” of the perceived (G. Hegel, I. Kant, N. G. Chernyshevsky), its special emotional orientation (F. Hutcheson, E. Burke, I. Kant), the dialectic of the figurative and the real, embodied in a work of art by the author (F. Schelling, J. Ortega-Gasset).

Considering the concept of "aesthetic perception", it is necessary to compare it with a close, but not identical concept - "artistic perception". "Aesthetic" and "artistic" are different and at the same time closely related categories, they can neither be completely separated nor identified. First of all, they differ in scale. The sphere of the aesthetic is all-encompassing, the whole sensually perceived world can become the subject of aesthetic activity, perception and evaluation - any phenomenon of reality, nature, human relationships. "Artistic" is associated with the perception, creation, evaluation of works of art. Since a work of art is a concentration of an aesthetic principle, it can and should also become the subject of aesthetic perception and aesthetic evaluation.

If the goal of the development of aesthetic perception is to form the ability to perceive and see beauty in art and life, to evaluate it, then its implementation involves the solution of the following tasks (G. S. Labkovskaya, D. B. Likhachev, N. I. Kiyashchenko):

Creation of a certain stock of elementary aesthetic knowledge and impressions;

Formation on the basis of the acquired knowledge of socio-psychological qualities that contribute to the emergence of emotional experiences and aesthetic evaluation of objects and phenomena, a sense of enjoyment by them;

Development of the need to transform the world according to the laws of beauty, to create and create, creating beauty in art, life, work, behavior, relationships.

In the theory of aesthetic education, the condition for the emergence of aesthetic manifestations, emotions, feelings, interests, needs, aesthetic taste, and aesthetic judgments in children is emotional responsiveness (O. P. Radynova, B. M. Teplov, K. V. Tarasova, etc.). The authors of these studies note that emotional responsiveness is an indicator of the personal attitude and significance of a work of art for a child, which indicates the emotional and evaluative attitude of the individual to artistic influence. This is expressed in a wide range of external manifestations (facial expressions, gestures, body movements, etc.) and is the starting point for the development of aesthetic feelings, relationships, needs, as well as aesthetic tastes and interests of the individual.

According to A. A. Melik-Pashaev, aesthetic means connected with sensory perception. And for a person with a developed aesthetic attitude, the external appearance of the world, its “form”, everything in the world that can be directly perceived by the senses acquires special significance. The main thing is that a person begins to perceive the unique sensual appearance of people, objects, natural phenomena, events of social life not as their external side, but as a direct expression of the internal state, mood, character, fate. The object no longer breaks up into an external form that a person perceives, and into an internal content that he cognizes: the form itself becomes for him a transparent carrier of content.

A deep experience of aesthetic feeling is inseparable from the ability of aesthetic judgment, i.e. with an aesthetic assessment of the phenomena of art and life. A. K. Dremov defines aesthetic assessment as an assessment based on certain aesthetic principles, on a deep understanding of the essence of the aesthetic, which involves analysis, the possibility of proof, argumentation. Compare with the definition of B. T. Likhachev: “Aesthetic judgment is an evidence-based, reasonable assessment of the phenomena of social life, art, nature.”

After analyzing the psychological and pedagogical literature on the concept of "aesthetic assessment", we can generalize that a number of authors (S. L. Rubinshtein, A. F. Lazursky, A. I. Burov, N. A. Vetlugina) consider it as a stable property of the personality, arising in the process of communication with works of art and expressed in the ability to feel, understand and evaluate beauty in aesthetic judgments; feel the need to communicate with the works. Others (A. N. Leontiev, V. I. Myasishchev) note that aesthetic evaluation is the result of the development of aesthetic perception, it includes interest, knowledge, experience, associations; it is the comprehension of the aesthetic qualities of an object.

Thus, aesthetic evaluation is both the result of development and a necessary condition for aesthetic perception. As a component of the aesthetic attitude to life and to art in general, aesthetic evaluation is formed and developed in activities with purposeful guidance.

The relationship between perception and activity was ignored in psychology for a long time, either perception was studied outside of practical activity (various areas of subjective mentality psychology), or activity was considered regardless of perception. However, it is known that the development of both the activity as a whole and the perceptual processes included in it do not occur spontaneously. It is determined by the content of the activity, the conditions of life and learning. Therefore, the formation of aesthetic perception, of course, is influenced by the activity itself, which should be artistic in content and creative in form.

The main feature of the development of artistic creativity, as A. A. Melik-Pashaev notes, is the artistic abilities of the child, presented by the author in a certain structural hierarchy: a developed aesthetic attitude of a person to reality (the highest level of this hierarchy); the ability to reincarnate, the ability of a person to take the point of view of the “other”, to understand and feel it from the inside; the child's need to revive, endow with a soul, word, behavior, everything that surrounds him; observation, i.e. the development in the child of the ability to actively, selectively look out in life for something that can serve to express a certain artistic idea, experience.

Thus, the development of aesthetic perception is a dynamic process that actualizes personal and intellectual structures. Determining the possibilities for the development of aesthetic perception, we determined the components of the aesthetic perception of older preschoolers:

1. Emotional responsiveness, by which we mean the presence of an emotional response in the perception of an aesthetic object and situation.

2. Sensitivity to harmony, by which we mean the ability to highlight the expressive feature of the form, in conjunction with its sensual appearance. Form is a transparent bearer of the soul ”(M. A. Vrubel).

3. The ability of empathic inclusion in the perception of nature, art and another person, by which we mean “feeling” into the world of another, direct empathy with him.

4. Aesthetic judgments, by which we mean the manifestation of one's own opinion about works, the ability to express an aesthetic impression in a word.

Thus, based on the definition of “aesthetic perception” adopted by us, as well as its components, we single out the following stages in the formation of aesthetic perception of older preschoolers: emotional-perceptual; analytical-synthetic; emotional and creative; value-semantic.

During the emotional-perceptual stage, a positive emotional reaction to an “aesthetic” phenomenon, situation, object develops, the attention of the older preschooler is concentrated on determining the leading emotion of the work. A number of tasks are aimed at forming an emotional response to a work through various ways of assimilation: motor, mimic, rhythm, etc. The tasks were selected in such a way that the children could live through, "pass" the main emotion of the work through themselves, thereby enhancing the emotional impact and awareness of the emotion, for its informal definition in the future. To activate the perception of emotional tone, the following were used: the method of creating a composition, the method of creating an artistic context (L. V. Goryunova), the method of assimilation (O. P. Radynova).

The goal of the next analytical-synthetic stage in the formation of aesthetic perception is the children's awareness of the author's individuality in the choice of means of expression for the realization of their own idea. In the process of the analytical-synthetic stage, using the method of creating an artistic context (referring to different types of art) and the method of creating a composition (referring to different types of artistic and creative activity), the child, with the help of a teacher, is brought to an awareness of the integrity and unity of the form and content of the perceived. A number of tasks are aimed at identifying by children the features of each type of art, the means of its expressiveness, determining the sensual richness of sounds, forms, colors, their subtle and accurate distinction. Others - to develop the ability to see an object from different points of view and positions. In the process of interpreting a phenomenon, an artistic image, the child develops concentration and observation. For this purpose, the method of similarity and difference (Yu. B. Aliev), the method of contrast comparison (O. P. Radynova) were used.

In the process of the emotional and creative stage, situations were created for empathic entry into the artistic image, into the world of another person, direct empathy with him and the expression of all this in his own artistic and creative activity. Creative activity, realizing the psychological characteristics of the perception of senior preschool age (increased activity, emotional susceptibility, suggestiveness), at the same time contributes to the development of the ability to embody one's own idea in an artistic product. At the emotional and creative stage, an activity approach is implemented to introduce the child to art: the child's appropriation of universal spiritual values ​​based on his own creative activity. In the process of creative activity, the child develops qualities, needs and abilities that turn the individual into an active creator, creator of aesthetic values, allow him not only to enjoy the beauty of the world, but also to transform it according to the laws of beauty. At this stage, methods such as the method of assimilation to an artistic image, the problem method, the method of empathy (A. A. Melik-Pashaev), the method of modeling the artistic and creative process (L. V. Shkolyar, E. D. Kritskaya, M. S. . Krasilnikov).

The content of the value-semantic stage was aimed at forming in children their own opinion about the works, phenomena and objects of the world around them, with the help of a teacher, the ability to recognize and convey aesthetic experiences and judgments in speech was formed; the ability to generalize the perceived was developed. At this stage, the following were used: the method of understanding personal meaning (A. A. Piliciauskas), the method of reflection (D. B. Kabalevsky), etc.

Based on the definition of the concept of "aesthetic perception" and the identified structural components of the formation of aesthetic perception, indicators and criteria for aesthetic perception were determined:

1. Emotional responsiveness when perceiving an aesthetic object or situation. To identify the level of formation of the indicator, the following criteria were identified: the manifestation of an emotional reaction in the process of interaction with art; its diversity (gestures, facial expressions, body movements, emotionality of speech); adequacy to the meaning, figurative structure of a work of art.

2. Sensitivity to harmony. To identify the level, criteria were identified: the ability to perceive the unique sensual appearance of things: color, movement, sound; the uniqueness of their combination; the ability to see the inner ideological and emotional content behind the external form.

3. Focus on transforming impressions into expressive images. Criteria: the ability to anticipate the future artistic image; activity of artistic and creative activity; the ability to find adequate means (color, language, sound, plastic form, textures, rhythms, timbres, etc.), which allow you to "show" and translate impressions into expressive images.

4. Aesthetic judgments. Criteria: to express in various ways (epithets and figurative comparisons) one's attitude to perceived works of art; to motivate the choice of one or another work of different types of art.

It is quite difficult for preschool children to verbally express feelings, emotions caused by a work of art (including music). For this purpose, in order to identify the level of formation of the indicator of emotional responsiveness, a task was proposed to express the response in motion or a graphic line. To complete the task, N. Rimsky-Korsakov's play "Flight of the Bumblebee" was chosen.

To identify the level of formation of sensitivity to harmony (the ability to perceive a peculiarity of sound, a unique combination of features, not just as an external form, but as a direct expression of inner life), a diagnostic technique "Style" was developed. As a stimulus material, the children were offered two series of musical works by different composers (L. Beethoven and P. I. Tchaikovsky) and two cards in red and blue, where a certain color is associated with the corresponding mood of the music: blue - with the gentle, lyrical nature of the music; red color - with a decisive, explosive character of L. Beethoven's music.

The material offered to children differs in the musical style of the composers. The defining feature of L. Beethoven's music ("Ode to Joy"; "Symphony No. 3", op. 55, 3 hours) can be considered bravura, inspiration, idleness, grandeur, etc. The music of P. I. Tchaikovsky (Adagio from the ballet "The Nutcracker"; "April (Snowdrop)" from the cycle "The Seasons") is characterized by melodiousness, melodiousness, lightness, dreaminess. The performance of the task is associated with the ability, it is possible to intuitively feel the features of the musical style of the composers, their preferred means of expression.

Very effective in studying the focus on transforming impressions into expressive images is the "Waterfall" technique. The bright, exciting, energetic mood of R. Southey's poem "Lodor Falls" makes it possible for children to embody, "show" their own impressions in expressive images, using a variety of means (color, word, sound, movement, texture, timbre, etc. ).

In the course of our experimental studies, based on the developed diagnostic methods, a positive trend in the development of aesthetic perception of older preschoolers was revealed. These results prove the effectiveness of the methodology we have developed for the development of aesthetic perception, including: the development of a positive emotional reaction to an “aesthetic” phenomenon, situation, object, the establishment by children of the relationship between the feature of expressive means and the content of the artistic image, the development of empathic inclusion, entry into the artistic image, into the world another person, direct empathy with him and the expression of all this in his own artistic and creative activity, the formation on this basis of aesthetic experiences and judgments in children. The effectiveness of the activity approach in the development of aesthetic perception of preschool children has been proved.

Reviewers:

Tagiltseva N. G. Ph.D., Professor, Head. Department of "Singing and teaching methods" of the Institute of Music and Art Education, USPU, Yekaterinburg;

Kuprina N. G. Ph.D., Professor, Head. Department of Aesthetic Education, Institute of Pedagogy and Childhood Psychology, USPU, Yekaterinburg.

Bibliographic link

Yasinskikh L.V. PEDAGOGICAL CONDITIONS FOR THE DEVELOPMENT OF AESTHETIC PERCEPTION OF CHILDREN OF OLDER PRESCHOOL AGE IN ARTISTIC AND CREATIVE ACTIVITY // Modern problems of science and education. - 2015. - No. 4.;
URL: http://science-education.ru/ru/article/view?id=20597 (date of access: 01.02.2020). We bring to your attention the journals published by the publishing house "Academy of Natural History"

Analysis of the value aspect of aesthetic perception involves the consideration of two problems: 1) the specifics of aesthetic evaluation and its place in relation to other classes of evaluations; 2) the mechanism for the emergence of an aesthetic value judgment.

The first question is connected with the philosophical understanding of the relationship between the subjective and the objective in aesthetic perception, with the centuries-old problem of beauty. The second requires its permission in connection with various standards, norms, evaluation criteria in their relation to value. From this, quite inevitably arises not only a philosophical, but also a psychological problem of the correlation between the epistemological and the value in the act of aesthetic perception, and at the same time the correlation between the rational and the emotional in it.

This whole complex set of questions arising from two main problems was already outlined in Kant's aesthetics. N. Hartmann considers Kant's merit that he "introduced the concept of expediency "for" the subject, while from ancient times the ontological expediency of a thing referred to itself." What was expedient for the subject, according to Kant, was expedient "without a goal." This meant that the thing, when perceived, evokes a feeling of pleasure, satisfaction, regardless of any practical interest and the concept of it.

Thus, on the subjective-idealistic plane, the main problem of aesthetic value was posed, although Kant did not use axiological terminology.

As for the mechanism of the emergence of an aesthetic judgment, Kant explained it by the “play” of imagination and reason, which, in his opinion, connected the perception of an object with the autonomous ability of the soul - a feeling of pleasure and displeasure: “To decide whether something is beautiful or not, we we relate the representation not to the object through the understanding for knowledge, but through the imagination (perhaps in conjunction with the understanding) to the subject and to his feeling of pleasure and displeasure. Therefore, a judgment of taste is not a judgment of knowledge; therefore, it is not logical, but aesthetic; and by this is meant that, the basis of the determination of which can only be subjective and cannot be any other.

With such a formulation of the question, the problem of the criterion of aesthetic judgment was solved unambiguously and ahistorically: the only criterion was declared a subjective aesthetic feeling, and the generality of aesthetic judgments observed in practice was explained by the assumption of a subjective generality of feelings: “In all judgments, where we recognize something beautiful, we do not allow anyone be of a different opinion, although at the same time we base our judgment not on a concept, but only on our feeling, which, therefore, we put at its basis not as a private feeling, but as a general one.

From the logical point of view, Kant's concept turned out to be invulnerable as soon as his initial position on the autonomy of the general abilities of the soul was accepted: a) cognitive; b) feelings of pleasure and displeasure; c) the faculty of desire.

But it was precisely this initial position that suffered from metaphysics and anti-historicism.

Thus, it is necessary to distinguish two sides of Kant's aesthetics, if we approach it as a pra-theory of values. One side is the transfer of the search for the specifics of aesthetic value to the sphere of the relationship between subject and object. The other is the reduction of the mechanism of the emergence of an aesthetic judgment and its criterion to a subjective feeling of pleasure through the "game" of imagination and reason. It is no coincidence that N. Hartmann, highly appreciating the first side, is very skeptical of the second and considers the mechanism for the emergence of an aesthetic judgment not only on the basis of feeling, but also on the basis of understanding the work of art and the era that gave rise to it. Conversely, the emotivist D. Parker is concerned with the methodological development of the second side of Kant's teaching. In the study of the mechanism of aesthetic judgments, he follows Kant. "It is far from indifferent," writes Parker, "for understanding the general achievements of the problem of values ​​and the characteristics of modern philosophy, that, since Kant, the nature of values ​​has been studied through value judgments." Using the methodology of comparing scientific and value judgments introduced by Kant, Parker comes to the conclusion that “the concept in its cognitive function is a surrogate for feelings, and in its aesthetic function it is the bearer of feelings. In all cases of description, - he says further, - there are two things - an object and a concept; in poetry there is only one - the concept. But the concept does not exist here to describe an object, or even a feeling, but in its own sense as an enticement for the senses. Thus, like Kant, Parker breaks apart the cognitive and aesthetic functions of judgment and treats them as autonomous.

But if we recognize the dependence of aesthetic judgment only on feelings, on emotions, then a wide scope opens up for an irrationalist interpretation of values.

Kant's teaching contains such a possibility, and it has been developed in modern bourgeois theories of value, in particular in the aesthetics of Santayana. “Value arises from the immediate and inevitable response of the vital stimulus and from the irrational side of our nature,” says Santayana. “If we approach a work of art or nature scientifically, in terms of their historical connections or pure classification, then there is no aesthetic approach.”

Thus, Santayana develops Kant's teaching in the spirit of subjective idealism and irrationalism. Even bourgeois commentators on Santayana's "doctrine of values" note not only the subtlety with which Santayana tries to define the value character of various shades of feelings and inner impulses, but also the obscurity, vagueness, and even contradictory nature of the doctrine. Hence its various interpretations and interpretations.

So, Pepper, criticizing the term "interest", which Santayana usually uses, calls it "comprehensive and so abstract that it covers most of any specific actions." His method, according to Pepper, is to use the greatest variational possibilities of the term with various connotations - pleasure, enjoyment, impulse, instinct, desire, satisfaction, preference, choice, affirmation - which the reader can only collect together thanks to such a term. as "interest".

Pepper focuses on "pleasure", "desire" and "preference", which he considers irreducible to a single basis of a common unit of value, incomparable to one another, antagonistic. Because of this, he considers Santayana's value theory to be ambiguous.

Irving Singer, author of The Aesthetics of Santayana, tries to see in Santayana's theory of values ​​an aesthetic concept in the spirit of Dewey's pragmatism: “In my interpretation of aesthetic values,” writes Singer, “the close logical relationship between satisfaction and the aesthetic as an internal value experience was emphasized. Generally speaking, every satisfying experience can be called aesthetic, and there is no experience that is definitely aesthetic, whether or not it is satisfying.”

Another commentator on Santayana, Willard Arnett, in his book Santayana and the Sense of Beauty, emphasizes in his interpretation of his teachings the inherent positive essence of aesthetic value and its independence from the ideals and principles of beauty: “Santayana was convinced that all values ​​are closely related to pleasure or satisfaction. Thus, he said that moral, practical, as well as intellectual judgments are mainly concerned with the formulation of ideals, principles and methods that serve to avoid evil, and that, therefore, their value is basically derivative and negative. But aesthetic pleasures are beautiful in themselves. Accordingly, only aesthetic values ​​are positive.

Thus, the problems already outlined by Kant branched out and refracted in various directions of philosophical thought, invariably focusing on two points: a) on the specifics of aesthetic value in its relation to other classes of values, and b) on the internal nature, the mechanism of evaluation, as it were. it did not manifest itself - in a value judgment, as some believe, or purely intuitively, as others believe. Hence, the understanding of value in aesthetics is closely connected with the problem of perception, the correlation of the rational and the emotional in it, with the desire to reveal the inner nature of aesthetic evaluation.

Aesthetic perception serves the specific needs of a person, and, therefore, it has a specific structure. He also has a certain focus of attention, associated with the system of orientation in the objects of perception established in this person (in the types and genres of art, for example).

Let's try to find out the essence of aesthetic perception as a process.

First of all, it is necessary to note the two-dimensional structure of aesthetic perception. On the one hand, it is a process that develops over time; on the other hand, the act of penetrating into the essence of an object.

R. Ingarden aptly called the initial feeling that arouses our interest in the subject a preliminary emotion. In his opinion, it "causes in us a change of direction - a transition from the point of view of natural practical life to a specifically 'aesthetic' point of view." However, preliminary emotion characterizes only the initial stage of arousing an aesthetic feeling and is caused by drawing attention to a direct and vivid impression from some individual property of an object (color, brilliance, etc.). She is very unstable. Its impact is based on the connection of perception with sensation - nothing more. Almost millions of preliminary emotions fade, not having time to develop into any kind of stable feeling.

It should be noted that our use of the term “preliminary emotion” does not mean at all that the author of the article agrees with R. Ingarden's phenomenological concept of quasi-reality.

But under certain circumstances, being picked up by the ability of perception to distinguish gradations, shades, variations of the perceived property, the preliminary emotion develops into a more stable feeling. This ability of perception is generated historically, in the labor process of the transformation of nature, thanks to which "the senses directly in their practice became theoreticians." In fact, as a result of centuries of historical development, people have developed in themselves this ability to distinguish between shades, transitions, nuances of some perceived property, as well as the type of order (rhythm, contrast, proportionality, symmetry, etc.). At the same time, due to the dialectical unity of abilities and needs, this ability has long become an internal need for perception. And since “the biological and social nature of needs is such that they are associated with positive emotion,” the need for a sensory difference between various objects, gradations of perceived properties and various types of order, being satisfied, is accompanied by pleasure, enjoyment.

But one cannot reduce the aesthetic needs of a person only to the theoretical “ability of the senses” to distinguish the subtlest shades of color, sound, rhythm, etc. In aesthetic perception, an object is perceived as a holistic, ordered ensemble that has meaning and meaning.

If a preliminary emotion usually arises as a psycho-physiological response associated, for example, with the exciting effect of red, then the perception of a holistic ensemble is already associated with aesthetic needs. In other words, a preliminary emotion can arise at the level of the functional structure of the organism and act as a sensually pleasant experience.

A sensually unpleasant, for example, a very sharp stimulus, usually does not become a preliminary emotion of aesthetic perception, which was established by Fechner as the principle of the aesthetic threshold.

But in order to describe the spread of aesthetic excitement to the motivational structure of the personality, i.e., to its socio-social abilities, desires and needs, the term "preliminary emotion" is no longer sufficient. Another term is needed, which would show that the aesthetic needs of a person are in contact with the objective situation of their satisfaction.

Such is the term “attitude”, through which it is possible to characterize the qualitative features of the transition from ordinary perception to aesthetic perception. This term is not new in both Soviet and foreign psychological literature. However, in Soviet literature, ideas about the theory of an experimental fixed installation developed by D.N. Uznadze and his school are associated with it.

One of the main provisions of the mentioned theory is the following: “For the emergence of an attitude, two elementary conditions are sufficient - some actual need for the subject and a situation for its satisfaction.”

This position, expressed in the broadest theoretical terms, recognizes the need for a setting for any kind of practical human activity. At the same time, the installation itself is interpreted as "a holistic modification of the personality or tuning the psychological forces of a person to act in a certain direction."

With such a broad interpretation, the attitude acquires a universal meaning. Here it is important to note two points. Firstly, the attitude characterizes the transition from one type of activity to another, and secondly, it has a meaningful meaning with varying degrees of its awareness. In general, set means that the information contained in the memory and representing past experience acts in conjunction with what is perceived at the moment. However, this may be information associated with the transition from one type of activity to another, when perception falls into a certain dependence on the experience that just preceded. For example, a story told before viewing a picture can affect perception. D. Abercrombie in his book “Anatomy of a Judgment” cites the characteristic data of one experiment: “The subjects were told the story of a hereditary enmity between two neighboring families, which ended with the murder of the head of one family after a violent quarrel. After listening to the story, the subjects were shown seven pictures and were asked to choose the one that would be more relevant to the story. They all chose Brueghel's Peasant Wedding. The subjects were asked to describe the picture. It was quite obvious that their perception was influenced by the story when their descriptions were compared with those of subjects who had not previously listened to the story. The subjects showed a tendency to mention those details in the picture that took place in history (for example, crossing sheaves mounted on a wall). But at the same time, other details that the control subjects noted as equally embossed were not mentioned. The story had an influence on the choice of information from the picture.

“Some of the subjects,” writes Johnson Abercrombie further, “were misunderstood, most of them as they appeared in history. For example, the musicians in the painting have been identified with "two servants holding sticks" in the story. The story had a strong influence on the perception of the overall atmosphere of the picture, which is usually perceived as a serene, rustic festival, but under the influence of history has received ominous signs. About the groom, for example, it was said that he looked “dull and dejected,” and the crowd at the back of the room seemed “rebellious, violent.” Here, history helped stock up on a scheme to which the picture was fitted even at the cost of perversions and distortions.

It is essential to note that illusions extend not only to the form, but also to the content of what is perceived. However, illusions are only one side of the psychological process, which could more correctly be called "set switching".

“We are dealing with switching when, writes N. L. Eliava, “when the subject has to change the nature and direction of his activity in connection with changes in the objective state of things and in the conditions of the termination of previously begun and not yet completed actions” (N. L Eliava, On the Problem of Set Switching, in: Experimental Studies in the Psychology of Set, Tbilisi, 1958, p. 311).

The other side is that as a result of the installation, one or another specific need of the individual is actualized in the conditions of an objective situation in order to satisfy it. The essence of such actualization of the aesthetic need is as follows.

1. This need to a certain extent depends on the perceived object, the nature of the ordering of individual properties in a holistic ensemble.

2. Thanks to the attitude that caused the actualization of aesthetic needs, a certain system of orientation (aesthetic tastes and ideals of the individual) is connected and influences perception, in particular its value character.

3. The attitude is fixed emotionally in the form of an aesthetic feeling.

With the actualization of aesthetic needs, it is no longer about the excitation of the process of aesthetic perception, but about its development, about the synthesis of cognition and evaluation that occurs in this process. Installation as a contact between the aesthetic needs of the individual and the objective situation for their satisfaction operates throughout the entire act of perception, being fixed in the aesthetic sense. And consequently, the aesthetic feeling itself can be explained, on the one hand, by the aesthetic needs of the individual (its tastes and ideals), and on the other hand, by the characteristics of the perceived object, one or another order of its properties. The content of the attitude, understood in this way, is cleared of distortions and perversions associated with direct mental experience that preceded aesthetic perception. Thus, the term “installation” itself in its practical use is multifaceted, which, unfortunately, creates the possibility of ambiguity and ambiguity of the concept. In order to neutralize this possibility, we must limit the use of the term "set" to the stage of excitation of the aesthetic process, linking with the set the possibility of various kinds of illusions caused by immediate previous experience, and also defining by this term the existence of contact between aesthetic needs and the objective situation of their satisfaction.

As for the act of perception as a synthesis of cognition and evaluation, which is impossible without the involvement of information contained in memory and representing past experience, it seems to us that it is convenient to use another term here that characterizes the connection of past experience with directly perceived. Such a term is "object orientation". It means that in aesthetic perception an object is evaluated as an ensemble of perceived properties (color, shape, rhythm, proportionality, character of lines, etc.) that make up the unique originality of this object. In contrast to scientific observation, aesthetic perception does not know insignificant details, since evaluation is emotional in nature based on distinguishing the most insignificant shades, gradations and transitions of color, shadow, form elements, etc. The following example, perhaps, will best explain our idea. Imagine a whole heap of autumn leaves torn off by the wind, which children so love to collect and examine. Some leaves are crimson, others yellow, on some the veins have become crimson, on others they have turned black. If we take a closer look at the leaf, we will notice that its color is far from uniform: there are some purple spots on it, in some places black dots. If we compare two sheets, we will see that their configuration is also different: one has smoother transitions from top to top, while the other has sharp, zigzag ones. Some sheets can be admired: we obviously like them if we look at them. Others leave us indifferent. Meanwhile, in their essential details (those details that are precisely of interest to science!) Leaves do not differ from one another.

In this orientation to the object, our aesthetic need seeks out such properties of the object that would enable aesthetic perception to develop, neutralizing its lethargy or fatigue. In the perception of nature, this occurs due to the richness of natural forms, shades, gradations. In art, this is the means of composition. Pepper identifies four principles as direct artistic means of neutralizing aesthetic dullness: 1) contrast; 2) gradation, gradual transition; 3) theme and variations; 4) restraint. Moreover, S. Pepper allows their impact, regardless of the meaning and meaning of the subject. Thus, according to Pepper, the principle of theme and variation, for example, "consists in the selection of some easily recognizable abstract units (patterns), such as a group of lines or shapes, which are then varied in some manner."

Thus understood orientation to the object turns into one of the theoretical justifications for the practice of abstractionism. But in reality, abstraction and concretization in aesthetic perception are linked together. There is not and cannot be a single principle of composition that would contribute to the neutralization of aesthetic fatigue, regardless of the meaning and significance of a particular work of art. “Always a part developing or repeating with a recognizable similarity tends to make its form easier to perceive,” writes T. Munro. - But it can also lead to monotony, like the ticking of a clock; we lose the aesthetic attitude towards it, or if this increases our attention, it becomes irritated... In some phases of art, such as architectural ornamentation, the artist does not seek to impress us with private details. In others he tries to keep our interest by stimulating it with unexpected figures and their repetition in subtle variations and irregularly. In the style of others, he wants to strike us with shock: dramatically and radically changing form, color or melody, completely unexpectedly turning events into fiction.

Thus, compositional principles, directed against aesthetic fatigue, are in unity with the content side of the ensemble of perceived properties. Consequently, the aesthetic value orientation to the object is associated with the meaning and significance of this object in a specific system of other objects or works of art. From this, accompanying orientations inevitably follow.

1. Functional orientation. It is connected with the understanding of the value of the subject to satisfy any vital human need. Thus, an architectural work is evaluated not only as a form, but also in connection with its vital purpose.

Functional orientation in the perception of art implies a differentiated attitude to the functions of cognition and communication, an understanding of the dialectic of reflection and expression in art. This is directly related to understanding the various methods of generalization in art, such as typification, idealization or naturalism.

2. Structural orientation. This orientation is aimed at assessing the skill in processing the material, the way the individual parts are ordered, the elements of conventionality, etc. The constructive orientation is especially characteristic of modern aesthetic vision. At the same time, it requires a lot of preparation and knowledge: the very perception of art turns into art.

3. Orientation to orientation. The work of art that we perceive was created by the artist in a certain system of his value attitude to reality, his orientation towards the ideal or reality, typification or idealization, etc. In this sense, the work of art is the ratio of the real and the ideal. This ratio, being a consequence of the cognitive and communicative functions of art, forms a wide range of variations, which, however, can be reduced to typical ones. In contrast to bourgeois aesthetics, where the types of artistic orientation are determined, as a rule, arbitrarily and eclectically, Marxist aesthetics associates the artistic orientation of a particular work of art with a specific historical era, with the class sympathies and ideals of the artist.

So, Philip Beam in the book "The Language of Art" distinguishes in painting a natural orientation with its typological peak in the work of Turner, the opposite introspective orientation with typological peaks in the work of El Greco and Salvador Dali, as well as social (Giotto), religious (Fra Angelico) and abstract (Mondrian, Kandinsky) (Ph. Beam. The Language of art. New York, 1958, pp. 58-79).

Modern aesthetic perception is characterized by a truly amazing penetration into the artistic atmosphere of ancient civilizations. This requires knowledge and perceptual skills, which create the necessary prerequisites for the emergence of a value orientation to orientation.

So, the attitude towards aesthetic perception leads to the activation of a more or less complex system of orientation, which, on the one hand, depends on the object (when perceiving nature, for example, there is no functional orientation or orientation towards orientation), on the other hand, on aesthetic ideals and tastes. personality, connected in turn with public aesthetic ideals and tastes.

Connecting the orientation system, and therefore the tastes and ideals of the individual, determines the value nature of aesthetic perception. At the same time, in the act of aesthetic perception, a specific structure is also formed, ways of interconnecting individual internal properties of perceptual activity. In particular, the integrity and structure, constancy and associativity of perception in an aesthetic act, which carries out the synthesis of cognition and evaluation, are in the active unity of interaction. This is the internal difference between aesthetic perception and other types of perceptual activity, in particular from scientific observation. For example, in scientific observation, the structure of perception, as a rule, does not correlate with an ensemble of perceived properties (i.e., with integrity in the perception of a thing, object, phenomenon), but has a self-contained meaning as “a set of general, internal and defining objective connections and phenomena” . At the same time, science is interested in repeating, same-type structures, on the basis of which certain patterns can be established. V. I. Svidersky gives the following example of the uniformity of the structure: “... considering human dwellings, ranging from huts and huts to multi-storey buildings, we everywhere observe this core of the phenomenon in the form of a unity of basic elements - floors, walls, ceilings, roofs, etc. , united by the same type structure. We note their embryos in the form of a simple leafy, thatched or wooden canopy, their initial forms can be a cave, a hut, a yurt, etc.”

From the above quotation, it is quite obvious that science is interested in the constructive uniformity of the structure, while the structurality of aesthetic perception is invariably combined with the integrity of the perceived ensemble. In aesthetic perception, a person is interested in how exactly this floor, these walls, windows, ceiling, roof form this particular dwelling in their structure. In search of uniformity, scientific observation discards insignificant details, such as, for example, a ridge on the roof of a Russian village hut, carvings on window frames and other decorations, but in aesthetic perception there are no insignificant details: in the value orientation to an object, all details without exception are taken into account in their connection. with the whole, and as a result, the unique originality of a particular object is subject to aesthetic evaluation.

In addition, in scientific observation, the perceived structure is often the code of another structure, the indirect cognition of which is the goal of observation. For example, an experienced steelmaker determines the heating temperature of the furnace with great accuracy by the color of the flame in the viewing window. The same is observed in various kinds of signaling devices and installations, sign systems, etc., when the structure is perceived as a code, and therefore rationally (and not aesthetically, not in the ratio of rational and emotional!). Of course, emotions can also arise in the observer (a doctor, for example, is not indifferent to the readings of an electrocardiogram, a scientist-researcher is concerned about the results of an experiment recorded in the structure of the curve of a measuring device), but these are emotions of a different order, not related to the dialectical unity of the integrity and structure of perception, which manifests itself in the aesthetic value attitude to the subject.

Something similar happens with the associativity of perception. The associativity of perception means a certain kind of separation from the directly perceived, an intrusion into the perception of a representation that carries with it knowledge about another object. In scientific observation, the associativity of perception acquires a self-sufficient meaning as a scientific comparison, which has a commonality with the object under study only in the sphere of functional and constructive structure. This circumstance makes scientific comparison relatively independent of perception. In R. Ashby, for example, when studying the problem of behavioral adaptation, he resorts to the following comparison: “Throughout our analysis it will be convenient for us to have some practical problem as a “typical” problem on which we could control general provisions. I chose the following issue. When a kitten first approaches a fire, their reactions are unpredictable and usually inappropriate. He can enter almost into the fire itself, he can snort at him, he can touch him with his paw, sometimes he tries to sniff him or sneaks up on him as if he were prey. However, later, as an adult cat, he reacts differently.

“I could take as a typical problem some experiment published by a psychological laboratory, but the example given has a number of advantages. It is well known: its features are characteristic of a large class of important phenomena, and, finally, here one can not be afraid that it will be considered doubtful as a result of the discovery of some significant error.

This convenient comparison with the behavior of a kitten occurs quite often in the reader of W. R. Ashby's book when getting acquainted with various manifestations of adaptation. Sometimes the reader himself, by an effort of will, calls up this comparison in order to understand the abstract reasoning of the author, which is difficult to understand. Sometimes the author himself considers it necessary to recall this associative connection. Comparison turns out to be necessary just when there are no sensory similarities in the text. It is no coincidence that the choice of comparison is arbitrary.

In aesthetic perception, associative representations are not abstracted from a specific, sensually perceived ensemble of properties. They only give it a special emotional and semantic connotation, forming an additional aesthetic value and naturally causing a new wave of emotions that enters the general stream of aesthetic feeling. For example, the Kukryniksy caricature depicting Hitler as a Ryazan woman (“I lost my ringlet”) is perceived as a constant, i.e., the holistic image is not violated by the idea of ​​a real Hitler or a real woman, and at the same time, its associativity manifests itself in dialectical unity with the constancy of perception. : a complex image simultaneously resembles a woman (a tearful expression on her face, a scarf with long tassels on her head) and Hitler. It is the unity of associativity and constancy that leads to an acute reaction of laughter.

Due to the fact that in aesthetic perception associativity is in unity with constancy, and at the same time - and this is very important to emphasize - in unity with integrity and structure, thanks to this friendly "play" of cognitive abilities of perception, which is not directed "reflexively at the subject" , as Kant believed, but on the object, reflecting its actual structure, thanks to this complex interaction, in which sensory analysis and synthesis of the perceived is carried out, and the unity of the rational and emotional arises in a wide range of their interaction. This unity fully corresponds to the value character of aesthetic perception.

The relationship of integrity and structure, constancy and associativity is the general basis on which the feeling of pleasure and displeasure, on the one hand, and the ability of reason, on the other, are based. Understood in this way, the creative, active, activity of perception is opposed to Kant's original position about the irreducibility of the emotional and rational "ability of the soul" to a common foundation. Such a common basis for the activity of reason, imagination and the emotional reaction of pleasure and displeasure is the sensual stage of cognition. The evaluative nature of aesthetic perception ensures the creative activity of perceptions. The source of active activity of the mind, imagination and feelings is not only the object being cognized, but also the system of orientations that provides its aesthetic evaluation. The evaluation criterion is the tastes and ideals of the individual, due to social aesthetic ideals, standards, tastes. The commonality of aesthetic assessments observed in practice, therefore, does not stem from the subjective assumption of a common feeling, as Kant believed, but from the actual commonality of aesthetic ideals and tastes, due to the commonality of worldview, class ideology and social psychology. Of course, class ideology and social psychology ultimately depend on the economic structure of society, but this does not decide them to have relative independence and influence the aesthetic tastes and views of people.

Being evaluative in nature, aesthetic judgment is not the sum of perceptions or pure intuition; it implies the knowledge of the object and its evaluation on the basis of the ratio of rational and emotional, tastes and ideals, direct vision and the complex art of thinking and feeling aesthetically, the art of perceiving.

the process of receiving and transforming aesthetic information, which implies the ability of a person to feel the beauty of surrounding objects, to distinguish between the beautiful and the ugly, the tragic and the comic, the sublime and the base features in reality and in works of art, and at the same time experience feelings of pleasure, pleasure or displeasure.

Antonym/correlative: aesthetic experience

"There is no true creativity without skill, without high demands, perseverance and hard work, without talent, which is nine-tenths labor. However, all these essential and necessary qualities are worth nothing without an artistic concept of the world, without a worldview, outside a holistic system of aesthetic perception of reality "(Yu.B. Borev).

• - the ability of living organisms to see, hear, touch, taste and smell, that is, a deterministic external. causes the process of cognition, in which the phenomena of the surrounding world are “reflected” in the form of sensations, images or ...

  Biological encyclopedic dictionary

• - 1) a complex process of receiving and converting information that provides the body with a reflection of objective reality and orientation in its environment ...

  The Beginnings of Modern Natural Science

• - see aesthetic experience...
• - the process of receiving and transforming aesthetic information, which implies the ability of a person to feel the beauty of surrounding objects, to distinguish between the beautiful and the ugly, the tragic and the comic, the sublime and ...

  Terminological dictionary-thesaurus on literary criticism

• - see the aesthetic function of fiction...

  Terminological dictionary-thesaurus on literary criticism

• - an emotional state that arises in a person in the process of aesthetic perception of the surrounding reality and works of art ...

  Terminological dictionary-thesaurus on literary criticism

• - The most general category of aesthetics; a metacategory, with the help of which its object is designated and the essential relationship and systemic unity of the entire family of aesthetic categories is expressed ...

  Encyclopedia of cultural studies

• - One of the main categories of aesthetics, characterizing the spiritual component of aesthetic experience...

  Encyclopedia of cultural studies

• - cm....

  Postmodernism. Glossary of terms

• - development of the ability to experience various phenomena of reality as beautiful ...

  Great Psychological Encyclopedia

• - the process of formation with the help of active actions - a subjective image - an integral object that directly affects the analyzers - ...

  Psychological Dictionary

• - - the process of formation and development of the aesthetic emotional-sensory and value consciousness of the individual and the activity corresponding to it under the influence of art and diverse aesthetic objects and ...

  Pedagogical terminological dictionary

• - a purposeful process of formation of susceptibility to the beautiful in reality and in art and the need for it; an integral part of the communist education of military personnel ...

  Dictionary of military terms

• - AESTHETIC EDUCATION in the most general sense, the formation of a person's susceptibility to art and beauty that exists in human creations and in nature. The claim is understood as ...

  Philosophical Encyclopedia

• - "...: acquaintance with the achievements of literature and art .....

  Official terminology

• - a purposeful process of forming a person's aesthetic attitude to reality ...

  Great Soviet Encyclopedia

"aesthetic perception" in books

Aesthetic effect

From the book Eye and Sun author Vavilov Sergey Ivanovich

Aesthetic effect

From the book Eye and Sun author Vavilov Sergey Ivanovich

Aesthetic effect 848 From the sensual and moral effect of colors, both singly and in combination, as discussed above, follows their aesthetic effect for the artist. We will also give only the most necessary indications about this, after first

aesthetic

author Team of authors

Aesthetic consciousness

From the book Lexicon of Nonclassics. Artistic and aesthetic culture of the XX century. author Team of authors

Aesthetic consciousness One of the main categories of aesthetics, characterizing the spiritual component of aesthetic experience (see: Aesthetic). It means a set of reflective verbal information related to the field of aesthetics and the aesthetic essence of art, plus

Aesthetic development

From the book Rocking the Cradle, or Profession "Parent" author Sheremeteva Galina Borisovna

Aesthetic development At this age, as far as possible, aesthetic taste should be educated in the child. The child gets acquainted with the outside world, and it is in your power to give him the opportunity to see beautiful landscapes, paintings, listen to music, and dance. Many children in

4.1. Aesthetic consciousness

From the book Social Philosophy author Krapivensky Solomon Eliazarovich

4.1. Aesthetic consciousness Aesthetic or artistic consciousness is one of the most ancient forms of social consciousness. The word "aesthetics" itself comes from the Greek "aesthetics" - feeling, sensual, and aesthetic consciousness is awareness

9. Aesthetic dimension

From the book Eros and Civilization. one dimensional man author Marcuse Herbert

9. The Aesthetic Dimension It is obvious that the aesthetic dimension cannot make the reality principle universally valid. Like imagination, which is its constitutive mental faculty, the world of the aesthetic is by its very nature "unrealistic": its freedom

3. Aesthetic perception

From the book Spiritual Exercises and Ancient Philosophy by Ado Pierre

7.2. aesthetic feeling

From the book Art and Beauty in Medieval Aesthetics by Eco Umberto

7.2. Aesthetic feeling From the point of view of philosophers, this problem is much more abstract and, at first, is devoid of connection with the topic of interest to us. However, in fact, at the center of the theories that we will study is precisely the problem of the relationship between the subject and

Aesthetic education

From the book Great Soviet Encyclopedia (ES) of the author TSB

§ 6. Aesthetic and aestheticism

author

§ 6. Aesthetic and Aestheticism The place of the aesthetic in a number of values ​​and, in particular, its relationship with the ethical (moral) has been and is understood in different ways. Thinkers of Germany at the beginning of the 19th century. often put aesthetic values ​​above all others. As F. Schiller believed,

§ 7. Aesthetic and artistic

From the book Theory of Literature author Khalizev Valentin Evgenievich

§ 7. Aesthetic and Artistic The relationship between artistic creativity and aesthetic as such has been and is understood in different ways. In a number of cases, art, being understood as a cognitive, world-contemplative, communicative activity,

Aesthetic perception and broken harmony

From the book Prose as Poetry. Pushkin, Dostoevsky, Chekhov, avant-garde author Schmid Wolf

Aesthetic perception and disturbed harmony The first paragraph describes the perception of an as yet unnamed subject. The weather is changing. "In the beginning" she was "good, quiet." However, with the onset of darkness, a cold piercing wind blew from the east. The word "in the beginning"

38. PERCEPTION OF TIME. PERCEPTION OF MOVEMENT

From the book Cheat Sheet on General Psychology author Voytina Yulia Mikhailovna

38. PERCEPTION OF TIME. PERCEPTION OF MOVEMENT The perception of time is a reflection of the duration and sequence of phenomena and events. Time intervals are determined by the rhythmic processes occurring in the human body. Rhythm in the work of the heart, rhythmic breathing,

Spiritual as aesthetic

From the book Russian medieval aesthetics of the XI-XVII century author Bychkov Viktor Vasilievich