Feelings and pleasures experienced by a person are diverse in nature, structure and psychological mechanism. Some of them are very close to animals, while others are specifically human and are inherent only to people. The aesthetic sense belongs precisely to the latter. This is one of the most complex types spiritual experience, perhaps the noblest of human feelings. However, it should be noted that even to him, a man, an aesthetic sense is not given from birth. As scientific studies show, it originates in a child relatively late, or does not arise at all if the child, for some reason, grew up in an animal environment. As K. Marx pointed out, an aesthetic feeling appears only where a person is free from "gross practical need." And if the animal "produces only under the power of immediate physical need," then man produces even when he is free from physical need, and in the true sense of the word only then "produces when he is free from it." Developing the theory of human labor improvement, K. Marx found that the wealth of human sensibility and abilities arose and developed under the influence of diverse forms of practical activity.
Many animals have sight, but only man has an eye that can enjoy the beauty of objects. The organ of hearing is also inherent in many animals, but only humans have an ear for music. The formation of external feelings is the result of a long biological evolution of the world, the emergence and development of aesthetic spiritual feelings is the result of the entire social history of mankind. The ability to actively perceive the world around us in the forms of humanly developed sensibility is not inherent in our nature (unlike the sense organs themselves), but is a cultural and historical product. The forms of contemplation and representations are not only not determined by the anatomical and physiological characteristics of the organs of perception, but, on the contrary, are given to them from the outside by various forms of activity, by the variety of these forms.
The well-known Soviet philosopher E. V. Ilyenkov describes this process in such a figurative way: The “own form” (physiological form) of the human perception organs is similar to the “form of wax” precisely in the sense that it is structurally and physiologically not “encoded” in advance [a priori] none of the forms of their active functioning. Structurally, they are adapted by evolution precisely to perceive the form of any object, to adjust their activity to any objective form. physiologically, that is, together with the anatomy of the organs of thought and perception. Each time they are reproduced in the individual through the exercise of these organs and are inherited in a special way - through the forms of those objects that are created by man for man, through the forms and organization of the objective human world. The culture created by human labor is the material carrier of forms of thinking and forms of contemplation, through which they are transmitted from one generation to another.
Culture, its objective forms, spiritual content, as well as the human community are carriers of forms of feeling the world and forms of thinking. An individual person masters such forms individually, through various forms of activity and communication, through games and learning. Outside the world of culture and the human community, these generic qualities of a person do not develop. In other words, the way of transferring generic qualities is socio-cultural, and not biological, genetic, as in animals. Biologically and genetically, a person has only the prerequisites for a social form of life. Formed in early childhood, they really turn into psychological mechanisms and act as "natural" human abilities. Therefore, they seem to be the same "natural" features of a human being, as well as the anatomical structure of his body. Moreover, these abilities are characteristic of all people, differing only in the degree of their development and cultural and ethnic originality of manifestation. All this gives the impression that the forms of thinking and the forms of feeling are inherited in the same way as the color of the eyes and the shape of the nose.
An individual, entering into life, finds ready not only the socio-economic system, but also a certain culture of society, material and spiritual values. For him, they act, first of all, as a condition of real existence. Only in the process of practical appropriation by an individual of social experience, crystallized in the culture of society, his primary biological needs and feelings are humanized, proper human spiritual needs and abilities are formed. Among them is the aesthetic need and the aesthetic attitude as the ability to satisfy it.
But an aesthetic need arises only in the presence of an aesthetic feeling - this basis of an aesthetic relationship to the world. That is, an aesthetic feeling is such a spiritual formation, which means a certain level of socialization of the individual, the elevation of his needs to truly human ones.
At the same time, it should be borne in mind that a person cannot satisfy any need without satisfying himself holistically as a person. The nature of the aesthetic feeling, its value orientation is therefore the most important social characteristic of the individual.
The existing structure of cultural, in particular artistic, values of each specific era in relation to individual consciousness has a normative character. Assimilated by the individual in the process social interaction and aesthetic education, the aesthetic values accepted in society act as a guide in its aesthetic attitude to reality, serve as standards and criteria that allow it to form its own spiritual world, the internal structure of the personality.
The mediation of the aesthetic attitude by the previous aesthetic experience of mankind, fixed in culture, is one of the reasons for the commonality of the aesthetic feeling of people. The measure of the generality of the aesthetic feeling is different. The nature of the worldview can be common to an entire historical epoch. This is most clearly manifested in art. The romantic worldview is easy to distinguish from the classic, communicating with works of art representing these trends in art. One can detect the similarity of the aesthetic feeling in the national-ethnic community of people. This depends primarily on the social class position of the human community: the more complex the social, cultural, ethnic, demographic structure of society, the more diverse the aesthetic feelings of people.
The forms of aesthetic worldview that exist in society do not act in relation to an individual in the form of norms prescribing a certain attitude of a person to reality, they rather acquire the value of models on the basis of which a person builds his own worldview. The quality of individual aesthetic feeling depends on what complex of socio-cultural factors will have the greatest impact on the individual development of the individual. The measure of its development is also individual and largely depends on the efforts of the individual himself to master the richness of the aesthetic culture developed by mankind. It is at the same time a measure of the socialization of the individual. The underdevelopment of the aesthetic sense indicates the low spirituality of a person, his inability to rise to the true social reality of any act of life. Inspirituality, baseness, rough utilitarian needs, desires of the individual testify to the underdevelopment of the aesthetic sense.
One should also take into account the objective social conditions that may be unfavorable for the aesthetic development of both an individual and entire social strata or classes. Therefore, the accessibility of the wealth of aesthetic culture, i.e., the equal rights of all people to education, information, use of libraries, museums and other cultural institutions, is an important condition for social justice.
The degree of development of the aesthetic sense significantly affects the nature and quality of human social activity. This is most clearly manifested in the degree of craving for beauty, perfection, harmony. Moreover, becoming an essential characteristic of a person, the aesthetic feeling leaves an imprint on any act of human activity and his spiritual experience. It ensures not only the harmonization of the external world through activity, but also enriches, diversifies inner world man, his spiritual experiences.
Art has a significant influence on the development of aesthetic feeling. To a certain extent, it is a piggy bank, an experience of world perception and ensures not only the preservation of the culture of feelings, but also the sphere of development, enrichment of it. With the help of art, we not only develop and enrich our personal, individual experience of the relationship of the world, but also the ability to penetrate into the inner world of another person, we learn to see and feel the world through the eyes of others, and thereby reveal in ourselves the ability to sympathize with another person, to participate in his joy and misfortune. .
Aesthetic feeling, therefore, is the basis of aesthetic consciousness, on which more complex elements of its structure can be formed, ensuring the aesthetic development and improvement of the individual and society, such as aesthetic taste and aesthetic ideal.
In the history of aesthetic thought, various explanations have been proposed for the origin of a person's ability to aesthetically perceive, experience and evaluate the world around him and himself in this world. The extreme positions are represented by the most ancient conviction that goes back to the mythological consciousness that such is the gift of God (no further comments are needed here), and the view born in the last century under the influence of the works of Charles Darwin, according to which the “sense of beauty”, as this great scientist used to say inherited by humans from animals. In his classic book The Descent of Man and Sexual Selection, Darwin, relying on his numerous and varied observations, concluded that there is no reason at all to consider this feeling an exclusive feature of man, “since the same colors and sounds please us and the lower animals”; moreover, "among savages, aesthetic concepts are less developed than among other lower animals, for example, among birds." These judgments were supported by numerous examples: male birds "deliberately spread their feathers and flaunt bright colors in front of females," and females admire the "beauty of males," frilled birds "clean up playing arbors with great taste, and hummingbirds clean their nests." The same could be said, Darwin went on, of the song of birds: "The tender songs of the males in the season of love are undoubtedly liked by the females."
True, in the second edition of his work, Darwin, as G. Plekhanov noted, considered it necessary to make a clarifying reservation: a civilized person has aesthetic sensations
"closely associated" with his concepts and ideas; however, this remark did not change the essence of what he proclaimed biological origin of aesthetic feeling.
The followers of Ch. Darwin, applying his methodology, modified his conclusions, arguing, for example, that the roots of the aesthetic feeling lie in the play activity of animals or in other psychological and physiological mechanisms of their adaptation to conditions external environment. But no matter how different all versions of the theory of the biological origin of the aesthetic feeling may be from each other, and no matter how consistently materialistic they may seem, in fact their nature is purely positivist: they all carry out the “reduction” so characteristic of positivism, reducing the social to the biological, the spiritual to the physiological.
There is no doubt that many species of animals - insects, reptiles, birds, and sometimes even mammals - have certain and very persistent reactions to certain color, sound and other stimuli, that they have a selective attitude towards various colors of objects and their sounds, which well-known color and sound signals evoke in them a feeling of satisfaction, pleasure, similar, as it were, to the aesthetic pleasure experienced in similar situations by people. Doesn’t it follow from all this that these reactions of animals are, if not a developed sense of beauty, then at least an embryo, an embryo such the senses?
I will answer this question emphatically: no, it shouldn't, and here's why. The fact is that in the sensory-emotional experience of a person there are distinctly different two types of reactions: some are really extremely close to the reactions of the animal, others are very, very far from the latter. Therefore, not every perception of color and sound signals can be considered aesthetic perception that gives birth aesthetic feeling and summarized in aesthetic evaluation; far from all pleasure, joy, pleasure can be qualified as aesthetic pleasure, aesthetic pleasure, aesthetic joy.
There is, for example, erotic a pleasure whose nature is purely physiological and which is qualitatively different from pleasure aesthetic; in the same way, the pleasures that we receive from delicious food, fresh air, warmth, movement and rest, pleasant smells, communication with children, intellectual conversation, scientific research, etc., are not aesthetic pleasures. One of the most widespread and theoretically very dangerous errors lies in the fact that aesthetic pleasure is identified with
generally with pleasure(for example, in the concept of S. Lalo), and from here it is already one step to equating these states in humans and animals. If we proceed from the fact that the joys and pleasures experienced by people are diverse in nature, structure and psychological mechanism, that aesthetic perception is therefore specific and one of the most complex types of sensory-spiritual satisfaction, then we have the possibility of a more accurate comparison of the pleasures received by man and those available to animals.
Without setting ourselves the task of classifying all human pleasures (this problem is outside the scope of aesthetics), we are entitled, however, to establish that the selective attitude and positive reaction of the animal to certain visual, auditory and other stimuli really have direct analogues in the sphere of human pleasures. but not in those we call aesthetic, but in pleasure purely physiological kind. True, even these latter - for example, erotic, gastronomic, olfactory, motor-motor pleasure, etc. - have been transformed to a certain extent in the historical process of human development and therefore are not absolutely identical with analogous animal pleasures; nevertheless, they basically retain a biophysiological nature and go back genetically to the corresponding reactions of animals developed in the course of adaptation of living organisms to difficult conditions of existence and representing special orienting reflexes, facilitating the vital activity of the organism.
Experiments have shown that not only animals, but also plants react in a certain way to sound stimuli - as a result, it became possible to stimulate the growth of cereals by the influence of music. It would be absurd, however, on this basis to conclude that peas or beans have a rudimentary aesthetic sense. In the same way, the "dance" of a snake, enchanted by the fakir's flute playing, does not mean that she perceives music aesthetically; bird dances or the reaction of females to the singing and colorful play of male plumage are not a product of a sense of beauty.
It is indicative that even a person is not given an aesthetic perception of Color and sound from birth: if an infant falls asleep to the sounds of a lullaby, then this indicates precisely that he perceives sound signals far from aesthetically; it would be just as naive to see an aesthetic impulse in an infant's craving for brightly colored and shiny Rattles - a simple biophysiological reflex is at work here; likewise, the tears and laughter of a child do not indicate
the presence of an innate sense of tragedy or a natural sense of humor. An analysis of the development of the child - and here ontogenesis undoubtedly repeats phylogeny - shows that the aesthetic attitude to the world around us, the ability to recognize and evaluate beauty, grace, grace, majesty, tragedy and comedy of perceived objects, actions and situations, are born in the child relatively late. For an aesthetic relationship - and this has long been firmly established by science - is one in which a person free from gross practical need.
The feelings of the animal, and initially the experiences of the child, are completely determined by various vital practical needs, the process of satisfaction (or dissatisfaction) of food, sexual and other instincts. It already follows from this that we have no scientific right not only to name the reactions of an animal to sound and color stimuli aesthetic feeling, but also to see a direct genetic connection between a person's aesthetic attitude to the world and these reactions. Both ontogeny and phylogeny prove with the utmost persuasiveness that initially neither the individual nor humanity possesses an aesthetic susceptibility. Aesthetic consciousness is formed at a relatively high stage of the generic and individual development of a person, is formed in the context of culture and marks a qualitative leap from the level of biophysiological, purely animal pleasures to the level specifically human spiritual joys, from the level of instinctive orientations of the organism in the natural environment to the level sociocultural value orientations. It is up to us to find out what causes this leap and how it actually took place.
Contrary to popular notions, the aesthetic attitude of man to the world was not from the very beginning an independent form of spiritual activity. It took shape in a long process of development and improvement of social practice and public consciousness, being initially just a border the most ancient, not yet dissected type of consciousness, which can be defined as syncretic form of value orientation.
Judging by the most diverse data - archaeological, ethnographic, art history, historical and linguistic - this archaic form of social consciousness included elements of a moral, religious, aesthetic nature in a diffuse form, which would become isolated from each other much later and receive a relatively autonomous existence. Initially, the syncretic form of value orientation caught in the very general view polo-
positive and negative meaning for the primitive collective of those objects and phenomena of reality and those own actions of a person that played the most significant role in his practical life - in the labor process and in the process of social consolidation. Initial estimates had therefore vaguely generalized character, denoting only in general what is “good” and what is “bad”. Recall that the Bible, describing the process of God's creation of nature, after each act fixes the Creator's assessment of his creation: "And God said that it was good." Such an assessment expresses satisfaction from what has been done, including the emerging aesthetic feeling, but which had a much broader and more versatile meaning. Concepts that will later acquire a specific meaning - utilitarian, ethical, religious (for example, "useful" and "harmful", "good" and "evil", "sacred" and "devilish"), were originally used as synonyms for "good" and " bad", being applied in the strangest way for modern consciousness: in the myths of ancient peoples, the sun, light are called "good", and night, darkness - "evil", that is, they receive moral description, and different kind fantastic perfumes are valued utilitarian both beneficial and harmful. At the same time, these general diffuse assessments apparently contained an aesthetic connotation: “useful”, “good”, “sacred” meant both “beautiful”, and “harmful”, “evil”, “hostile” to a person. seemed "ugly". For example, in the myth of the American Indians about the White and the Dark, set forth in E. Taylor's classic study of primitive culture, the sun god Iuskega also acts as the bearer of everything useful to humans: he taught people how to make fire, hunt, grow bread, and as a bearer of good, and as an admirable embodiment of beauty, a the lunar deity Aataentsik personifies everything harmful to people, deadly, evil and ugly. Similarly, the axiological content of the myths of other peoples inhabiting the most diverse regions of the globe: Hindus, Bushmen, Eskimos ... Let us also recall that in the mythology of the ancient Greeks, Apollo combined many different functions, including the aesthetic function.
So it is in ontogeny: in his famous book “What is good and what is bad”, V. Mayakovsky was precisely guided by the nature of children's consciousness, for which the assessments of “good” and “bad” have a general, undifferentiated character, containing and beginning to form an aesthetic aspect , but the child, like the biblical hero, does not yet distinguish between what is “good” and what is “beautiful”.
But more than that: in the childhood of each of us, as in the childhood of all mankind, value judgment the surrounding world has not yet exfoliated from it knowledge and from design by the power of imagination of the non-existent world - that's why the child's consciousness in both large-scale situations operates not with abstract-logical constructions, but artistic images(in the childhood of mankind - mythological, in the childhood of an individual - fabulous). This means that we are dealing here, so to speak, with "double syncretism" - both general psychological and intra-axiological. It is not surprising - after all, the initial state of human consciousness, as socio-psychological studies and the study of child psychology have convincingly shown (for example, in the works of B. Porshnev and I. Kohn), is not “I-consciousness” (i.e., awareness of one’s individually unique "I"), but "we-consciousness", and accordingly not the confrontation "I-you", but the opposition "we-they". Therefore, at this stage of development, there are still no conditions for isolating those forms of a person's value attitude to the world - aesthetic, moral, artistic, which are generated self-consciousness of the individual as a free subject of activity, the perception of the world, his experiences and spiritual positions are formed in the space of his individually peculiar life experience and individually peculiar selection of the fragments of the boundless heritage of culture mastered by him. The non-isolation of the individual from the clan, the dissolution of the individual subject in the group subject, the absorption of the “I” by the tribal, clan, family, friendly “we” fetters the possibilities of a free, original, from the spiritual depths of the individuality of the growing experience by the individual of everything that enters into his experience and should be evaluated by feeling in accordance with this experience, and not with the impersonal doctrine contained in the "we-consciousness". Therefore, the subject of cognitive activity cannot yet become a “transcendental subject” (I. Kant), above-group, universal, and the subject of a value relationship - individual, personal, free in his experiences and assessments.
The development of the social practice of mankind, which is becoming more complex and differentiated, and the process of individualization of a child, adolescent, young man in the course of mastering wider and individually uniquely selected "monuments" of culture lead to the self-determination of value consciousness as such and to the differentiation of its various forms based on " I am consciousness." Indeed, as the history of culture shows (we will return to its analysis in the last part of the
our course) and the biography of the person, here it should be highlighted three levels of this process.
Firstly, the cognitive mechanisms of the human psyche were developed and improved, acquiring ever greater independence from value consciousness, which ultimately led to the birth and independent existence of scientific knowledge; secondly, the initial diffuseness of value orientations was overcome in the course of gradual self-determination of moral, religious, political, legal, and finally, aesthetic consciousness; thirdly, internal differentiation also affected this latter: it became more and more rich and dissected, learning to distinguish between such specific aesthetic values as beauty, grace, grace, splendor, grandeur and many others; so it was born and historically evolved system of aesthetic values.
Let us consider all these levels of the process of disintegration of syncretism of the most ancient form of value consciousness more carefully.
Aesthetic feelings - an emotional state associated with the attitude towards beauty in the surrounding social and natural environment. Both physical objects and relationships between people can be beautiful. Aesthetic feelings merge with moral feelings (hence the expression "beautiful deed", "beautiful character", etc.). V.G. Belinsky rightly said that beauty is the sister of morality. Moral education is inextricably linked with the education of an aesthetic attitude to reality. People's actions are evaluated both as an ethical and as an aesthetic phenomenon, they are experienced both as beautiful (or ugly) and as good (or evil). Depending on the properties of phenomena, aesthetic feelings are expressed as an experience of the beautiful or the ugly, the tragic or the comic. The concept of beauty changes depending on changes in the development of society. So, the norm of the external beauty of a woman among the peasants was a dense, large physique, physical strength, blush as a sign of health, etc. The ideal of a secular beauty was completely different.
The feeling of the tragic is associated with a reflection of the contradiction between necessity and possibility, with a reflection of the confrontation between the beautiful and the ugly. Sorrow in connection with tragic events activates the progressive activity of people. Tragic evokes hatred for base things.
The feeling of the comic is based on the inconsistency of this or that social phenomenon, people's actions with the objective properties of things: the new - the old, the content - the form, the real essence of a person - his opinion about himself, etc.
The reflection of phenomena as tragic and comic, funny and sad depends not only on what a person perceives, but also on his aesthetic, moral positions, the established system of assessments. Laughter for any trifling occasion, and even more so in connection with circumstances unpleasant for other people, is not aesthetic, it indicates a lack of understanding of the funny, the absence of a genuine sense of humor.
The experience of beauty in art is expressed in a state of artistic enjoyment. It depends on systematic communication with the beautiful, on the aesthetic knowledge of a person, his artistic assessments and tastes, emotional excitability, impressionability, understanding the relationship between the content and form of a given work, artistic style and method.
Works of art are one of the most powerful sources of human emotional experience, they form a person's attitude to life.
The emotional impact of art is based on the fact that true art exposes the essence of phenomena, manifests this essence in a directly perceived form.
AESTHETIC FEELING - not a mediocre emotional experience by a person of his aesthetic attitude to reality, fixed by aesthetic activity in all its forms, including art. creativity, and accompanying them as an active energy basis. As soon as this experience is lost, the person goes out to reality or passes into the plane of reflective judgment. In Ch. e. in the filmed form, the entire spiritual world of a person, his and his social experience is presented. It always has a selective-evaluative character. Despite Ch. e. (like - dislike), positive emotion always prevails in it, even in relation to the terrible and ugly. The prevalence of a negative emotional tone extinguishes it. H. e. inherent subject-situational character. It is always directed at the object and aesthetically reproduces it in the imagination as an image of the desired reality. In the depth and intensity of the aesthetic experience and the creative work of the imagination, which “completes” the situation to the desired one, Vygotsky’s law of the dual expression of chaotic e., when philosophic flows into the plane of imagination, and imagination induces it, manifests itself. H. e. can have a different degree of awareness: it can be both unconscious and reflective, rising to a detailed judgment of taste ( Judgment). Being the emotional plan of the aesthetic relation and developing synchronously with it, Ch. e. has its own dominant development. It begins with a preliminary emotion, an involuntary aesthetic reaction (“ah!”, “Suddenly!”), which takes a person’s consciousness beyond the limits of everyday life and includes it in an aesthetic relationship. On its basis, a stable, positively colored feeling of joy, spiritual comfort is formed. Its culmination Ch. e. reaches in catharsis. Possessing innate prerequisites and being subjective, Ch. e. socially conditioned. It is the product of both purposeful and unintentional aesthetic education. Hence Kant's marked universality: what pleases me is the object of universal pleasure. Social determinism Ch. e. determines its historicity: each historical era is characterized by its own historical type of Chest e., which finds expression, including in art (tearful, heroic-ironic, reflective, etc.). Stability and social significance Ch. e. is fixed in an aesthetic need, which, having formed, finds a way out in different kinds human activity and relationship to reality. In this sense, Lunacharsky said that "the aesthetic feeling is the feeling of enjoying life."
Aesthetics: Dictionary. - M.: Politizdat. Under total ed. A. A. Belyaeva. 1989 .
See what "AESTHETIC FEELING" is in other dictionaries:
feeling- restless (Avseenko); blissful (Dal); cheerful (Ropshin); inspirational (Pushkin); sublime (Kozlov, Pushkin); enthusiastic (L. Tolstoy); all-devouring (Orlov); bitter (Nemir. Danchenko); hotter (Lermontov, Nadson); creepy (Andreev); ... ... Dictionary of epithets
AESTHETIC DEVELOPMENT- (from the Greek aisthesis sensation, understanding) the development of the ability to experience various phenomena of reality as beautiful. E. r. takes place in the process of perceiving objects that can cause experiences, and during one's own artistic ... ... Great Psychological Encyclopedia
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
feeling- noun, s., use. max. often Morphology: (no) what? feelings for what? feel (see) what? feeling what? feeling about what? about feeling; pl. what? feelings, (no) what? feelings for what? feelings, (see) what? feelings what? feelings about what? about feelings 1. ... ... Dictionary of Dmitriev
feeling- [u / stv], a, p. 1) The ability of a living being to feel, perceive the world around, external influences. Sense organs. Feeling pain. Sight, hearing, touch, smell, taste are the feelings with which we perceive the world around us. 2) Condition, ... ... Popular dictionary of the Russian language
Aesthetic education- one of the directions of the content of the upbringing of the younger generation. It consists in developing students' aesthetic perception of the world around them and the ability to create beauty. It is based on emotions, feelings and natural, ... ... Fundamentals of spiritual culture (encyclopedic dictionary of a teacher)
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
- (from the Greek aistheti kos feeling, sensual) the original category of aesthetics as a science, which gave it a name and determines the specifics of its subject in all its manifestations: E. feeling, E. attitude, E. taste, E. ideal, E. value, claim in kind… … Aesthetics: Dictionary
feeling- a; cf. 1. The ability of a living being to perceive psychophysical sensations, to respond to external stimuli. Sense organs (sight, hearing, smell, touch, taste). Hunger. H. pain. H. chills. Experience hours of fear. Ch. Orientation in birds ... encyclopedic Dictionary
feeling- a; cf. 1) The ability of a living being to perceive psychophysical sensations, to respond to external stimuli. Sense organs (sight, hearing, smell, touch, taste) Sense of hunger. Chu / vstvo pain. Chu/vstvo chills. To experience a feeling of fear... Dictionary of many expressions
Books
- Aesthetic feeling and a work of art, LG Yuldashev. Aesthetic sense and a work of art…
Page 16 of 24
aesthetic feelings.
Feelings are a special kind of emotional experiences that have a clearly expressed objective character and are characterized by comparative stability.
Aesthetic feelings as a kind of human experience arise from the perception of specific objects - works of art, beautiful objects, natural phenomena. They stimulate the social activity of a person, have a regulatory influence on his behavior and influence the formation of socio-political, aesthetic, ethical and other ideals of the individual.
It is difficult to imagine a person without the joy brought to him by art, without the happiness of aesthetic experiences. Aesthetic feelings in everyday life help us perceive the surrounding reality as close to us, not alien, not hostile. Aesthetic feelings make being multicolored.
Aesthetic feelings are a complex mental formation. They are inherent only to man as a social being. At the same time, their social nature is determined not only by the fact that they arose historically, but also by the fact that in the ontogeny of the individual they become human only due to its participation in public life.
Aesthetic feelings, like the entire emotional and sensory sphere of the human psyche, are a kind of reflection of reality, in which object-subject relations differ significantly from the same relationships in the cognitive reflection of reality.
The subjective experiences of a person are part of her own individual life, the blood and flesh of her real being. In emotions, there is no separation of the objective content, reflecting the surrounding reality, from the internal states of the subject. In them, the world does not act as something that exists objectively, in itself, not related to the life of the subject. Feelings and emotions are the form of mental activity in which a person appropriates the objective world, makes it a part of himself, gives it a subjective significance. And the objective properties of reality in this case have no meaning for a person.
Through aesthetic feelings, we discover the beauty of the world and man. The connection of aesthetic feelings with the objects that evoke them is so deep that some psychologists and aestheticians began to assert that aesthetic feelings are "feeling into" the object. That is, these feelings are not simply generated by the corresponding objects, but enter the object, penetrate it with special intimate love. And this penetration generates the object's own essence, reveals it and makes a person a co-author of the object.
Under the influence of aesthetic feelings, significant changes occur in a person's personality. They leave an indelible mark on our memory, which often lasts a lifetime. This explains the long-lasting impact of authentic works of art. We sometimes remember social phenomena, events described by the artist better than those that we saw with our own eyes. Objective changes in his mental functions that do not depend on the will and desire of the subject, occurring in aesthetic feelings, contribute to the transformation of personality traits of the heroes of works of art, images and ideas of the artist into traits, beliefs, images and personality traits of the reader, listener, viewer. In this transformation of the content-personal features of the perceived image into personality traits, aesthetic feelings play the role of a “fixer”.
Aesthetic feelings have a positive, tonic and optimizing effect on all psychophysiological processes of a person. As a rule, they stimulate our creative social activity.
Aesthetic experiences are formed in our minds like a mosaic. This is a complex combination and interweaving of various, as a rule, oppositely directed, more elementary emotional reactions, images, ideas that naturally line up in our minds. Therefore, they cannot be characterized by any one simple emotion. Laughter and tears, love and hate, sympathy and disgust, happiness and sorrow, sadness and joy - all these emotions in each individual aesthetic experience in a person are combined in a peculiar way, complementing, balancing, moderating and ennobling each other.
So, for example, laughter caused by works of art of a comedic nature is accompanied by a whole gamut of emotions of very different directions and intensity. It is known that N.V. Gogol characterized his humor as laughter through tears invisible to the world. In A.P. Chekhov, the funny is always sad at the same time, often causing pain for both the author and the reader.
We experience a similar variety and complex interweaving of emotional reactions in the perception of tragedies. Fear and compassion, heavy grief at the realization of the death of people close to us and the collapse of ideals along with pleasure - this is a far from complete picture of the emotional reactions that make up the tragic aesthetic feeling. This complex interaction of simultaneously experienced and successive, mutually reinforcing and inhibiting emotions determines the incomparable charm of aesthetic feelings.
Another feature of aesthetic feelings is the change in the nature of the emotions that make up them. Aesthetic emotions differ significantly from their original “natural” prototypes. They are “humanized”, brought under the common denominator of the tonality of the entire aesthetic object, they participate in the implementation of the artist’s plan that unites them. Thus, the fear we experience when perceiving a tragic work is not the emotion that we experience in real life under threatening circumstances, although it is called the same. Grief and joy, happiness and unhappiness, hope and despair, love and hate, delight and disappointment as components of aesthetic feelings differ significantly from their prototypes in real life.
When perceiving works of art, a person does not passively experience certain emotions. With all his soul, with all his essence, he participates in the events described by the artist. In aesthetic feelings, there is excitement for the fate of the characters, which has a certain line of development: from the birth of a feeling to its maximum intensity and discharge. We rejoice in the triumph of justice, the victory of the heroes we sympathize with, we feel fear when their lives are in danger, we really cry when they die.
Essential feature aesthetic feelings is a complex interaction in them of aesthetic and ethical moments in our psyche.
A morally educated person is not one who only firmly knows the norms and rules of behavior, but one whose knowledge is inextricably merged with feeling, turning into convictions that make up the essence of the human personality. It is thanks to aesthetic experiences that our knowledge of the norms of behavior, our ideas about what is good and what is bad in life, receive their emotional “reinforcement” and become beliefs, motivating forces.
The figurative and aesthetic content of a work of art is directly related to the aesthetic feelings that take Active participation in the formation of an ethical assessment by a person of what causes aesthetic experiences.
Considering the relationship between aesthetic feelings and the socio-ethical functions of art, it should be borne in mind that the ground for ethical influence must be emotionally prepared.
Aesthetic feelings are not a secondary reaction to the objectively objective image that has formed in the mind of what is laid down by the artist in his work. What is formed in the mind as some kind of objective-figurative content depends primarily on the emotional-aesthetic reaction to the relevant events. At the same time, the sensory material that is part of the image carries the appropriate emotional coloring, it is selected according to the “ethical measure” of the personality, it is tendentious in its composition and ethical “load”. Therefore, the same events depicted by the artist can be perceived by specifically different people precisely from an ethical point of view. Depending on the emotional and aesthetic reaction, one person may condemn the actions of the hero, while another person may perceive them as a role model.
Ethical education with the help of aesthetic means is carried out not by verbal calls to imitate the actions of heroes, but by a positive reaction to them, by an aesthetic attitude. We will imitate only those heroes who are estimated by us as beautiful, sublime, heroic.
In modern society, technical aesthetics, production aesthetics and other types of aesthetic development of reality are rapidly developing. The main goal of this type of aesthetic activity is to promote the development of creativity, spiritual and emotional enrichment of the individual and aesthetic education. The main channel through which the means of aesthetization of human activity affect the mood and personality formation are aesthetic feelings.
It is the shifts in the psycho-emotional states of a person that determine the achievement of the goal of aesthetic exploration of the world. As for production aesthetics, through the aesthetic feelings generated by the skillful use of light and color, in a number of production processes, we can compensate for the negative factors of their impact on the human body. We are talking not only about reducing fatigue, but also about protecting the organs of vision, about stopping the adverse effects of the microclimate. industrial premises etc. Music at work not only rhythmizes the work process and makes it much more efficient, but also has an optimizing effect on the cardiovascular and respiratory systems, not to mention the positive emotions it causes.
All these effects of the aestheticization of labor are explained by the fact that the emotional life of a person is connected with the activity of those formations of his brain that are most directly related to the regulation of his most important physiological and mental functions.
An analysis of aesthetic feelings would be incomplete without a characterization of such a property, with which Aristotle associated "catharsis" or "tragic purification".
In a work of art, the artist shows completed actions that achieve their goal. Objective reality, not subjected to aesthetic processing (the prototype of the reality depicted by the artist), is given to the reader, listener, viewer only in the imagination. He sees it thanks to the associations that arise in his mind under the influence visual means art. This reality, which is only imaginary at the level of presentation, evokes “removed”, “imaginary”, neutralized negative emotions from the point of view of the idea of the whole work. Negative emotions in aesthetic experience are most likely in the nature of memories of real life events. Positive emotions caused by aesthetically processed reality are real at the level of sensation, that is, their irritability acts directly on our senses and has the character of a “tangible” reality.
In aesthetic feelings, real positive emotions collide with negative emotions removed, imagined, left in the past, behind the context of aesthetic perception. At the same time, the dynamics of aesthetic emotional reactions in time unfolds from “imaginary” negative to full-fledged positive emotions.
The unfolding of aesthetic feelings from “imaginary” negative emotions to positive ones, noted here, goes in parallel with the solution of real problems in the sphere of real time, real life. Most often, these are tasks that a person could not solve before the perception of the corresponding work of art and which she solves for herself, following the logic of events depicted by the artist. It is in this way that a person removes the causes of pathogenic affects, masters the “unconditioned stimulus” and eliminates the source of moral and ethical conflict.
The same thing happens in those cases when aesthetic experiences and ethical-aesthetic decisions of possible life situations precede a person's real encounter with similar situations in his personal and social life. Aesthetic experiences that have left a mark on a person’s mind suggest the rules for solving real life problems, the logic of a person’s real actions is built on their model, on this path life, non-aesthetic negative emotions fall into the “trap” of a holistic reaction of a person associated with aesthetic feelings. This happens due to the fact that emotional experiences grouped, associated with each other not for the external reasons that cause them, but for their personal value sign (fear, compassion, joy, pain, grief, delight).
Because of this, the fear, despair and compassion that evoke in us tragic works of art, are associated into single complexes with similar affects generated by real life. Therefore, the aesthetic feeling, bringing any integral mental activity to a positive finish, together with “imaginary” aesthetic negative emotions, brings out, cleanses the human soul from similar affects caused by real life.
These mechanisms underlie the “therapeutic and prophylactic (immunization)” function of aesthetic experiences. At the same time, while purifying, art educates the personality, helps it to solve the most complex ethical problems according to a given aesthetic model. The cathartic action of art is a dual process of purification from negative pathogenic affects and ethical education of the individual.
Thus, we see that aesthetic feelings arise in the process of aesthetic assimilation of reality. They contribute to the formation of certain personality traits, take an active part in its social and ethical education and play an important role in the self-regulation of the mental and physiological functions of the body. By “cleansing” us from “stagnant” negative emotions, they have an ethical and aesthetic impact on the formation of a person's personality.
