Praksa kao primarna kategorija psihologije umetnosti
Practice as the primary category of the psychology of art
Апстракт
U radu se porede filozofska i psihološka značenja pojma prakse. Polazi se od toga da filozofska kategorija prakse obuhvata različite aspekte čovekovog odnosa sa spoljašnjim svetom: tehnički (radni), poetički (stvaralački), socijalni (međuljudski) i teorijski (saznajni) Ovi aspekti su često uključeni i u psihološke modele umetnosti i drugih estetskih fenomena. Razmatrajući strukturu estetske prakse dolazi se do zaključka da su doživljavanje i stvaranje estetskih sadržaja kvalitativno istovetni procesi čime se ukida klasična dihotomija na pasivnog i aktivnog subjekta estetskog akta (publika i stvaralac) Kroz analizu funkcije estetske prakse dolazi se do zaključka da time što predstavlja totalnu praksu (uključuje sve navedene aspekte) svaki estetski čin negira parcijalnu, prinudnu ili lošu praksu. Generalni zaključak je da filozofska kategorija prakse predstavlja najbolje polazište za formulisanje jedne opšte psihologije umetnosti.
The paper compares the philosophical and the psychological meanings of practice. The assumption is that the philosophical category of practice includes different aspects of the man's relationship with the outside world - the technical (working), the poetical (creative), the social (interpersonal) and the theoretical (cognitive) relationships. These aspects are often included also into psychological models both of art and other aesthetic phenomena. Considering the structure of the aesthetic practice we come to conclude that the experience and the creation of an aesthetic substance are qualitatively identical processes, whereby the classical dichotomy into the passive and active subject of the aesthetic act (the public and the author) is done away with. While analyzing the function of the aesthetic practice, we come to conclude that every aesthetic act denies a partial, compulsive or bad practice as it represents a whole (it includes all the above mentioned aspects) The general conclusio...n we can derive is that the philosophical category of the practice is the best starting point for the formulation of a general psychology of art.
Кључне речи:
umetnost / subjekt / struktura / objekt / funkcija / estetska praksa / subject / structure / object / function / art / aesthetic practiceИзвор:
Psihologija, 1994, 27, 3-4, 375-386Издавач:
- Društvo psihologa Srbije, Beograd
Институција/група
Psihologija / PsychologyTY - JOUR AU - Marković, Slobodan PY - 1994 UR - http://reff.f.bg.ac.rs/handle/123456789/155 AB - U radu se porede filozofska i psihološka značenja pojma prakse. Polazi se od toga da filozofska kategorija prakse obuhvata različite aspekte čovekovog odnosa sa spoljašnjim svetom: tehnički (radni), poetički (stvaralački), socijalni (međuljudski) i teorijski (saznajni) Ovi aspekti su često uključeni i u psihološke modele umetnosti i drugih estetskih fenomena. Razmatrajući strukturu estetske prakse dolazi se do zaključka da su doživljavanje i stvaranje estetskih sadržaja kvalitativno istovetni procesi čime se ukida klasična dihotomija na pasivnog i aktivnog subjekta estetskog akta (publika i stvaralac) Kroz analizu funkcije estetske prakse dolazi se do zaključka da time što predstavlja totalnu praksu (uključuje sve navedene aspekte) svaki estetski čin negira parcijalnu, prinudnu ili lošu praksu. Generalni zaključak je da filozofska kategorija prakse predstavlja najbolje polazište za formulisanje jedne opšte psihologije umetnosti. AB - The paper compares the philosophical and the psychological meanings of practice. The assumption is that the philosophical category of practice includes different aspects of the man's relationship with the outside world - the technical (working), the poetical (creative), the social (interpersonal) and the theoretical (cognitive) relationships. These aspects are often included also into psychological models both of art and other aesthetic phenomena. Considering the structure of the aesthetic practice we come to conclude that the experience and the creation of an aesthetic substance are qualitatively identical processes, whereby the classical dichotomy into the passive and active subject of the aesthetic act (the public and the author) is done away with. While analyzing the function of the aesthetic practice, we come to conclude that every aesthetic act denies a partial, compulsive or bad practice as it represents a whole (it includes all the above mentioned aspects) The general conclusion we can derive is that the philosophical category of the practice is the best starting point for the formulation of a general psychology of art. PB - Društvo psihologa Srbije, Beograd T2 - Psihologija T1 - Praksa kao primarna kategorija psihologije umetnosti T1 - Practice as the primary category of the psychology of art EP - 386 IS - 3-4 SP - 375 VL - 27 UR - https://hdl.handle.net/21.15107/rcub_reff_155 ER -
@article{ author = "Marković, Slobodan", year = "1994", abstract = "U radu se porede filozofska i psihološka značenja pojma prakse. Polazi se od toga da filozofska kategorija prakse obuhvata različite aspekte čovekovog odnosa sa spoljašnjim svetom: tehnički (radni), poetički (stvaralački), socijalni (međuljudski) i teorijski (saznajni) Ovi aspekti su često uključeni i u psihološke modele umetnosti i drugih estetskih fenomena. Razmatrajući strukturu estetske prakse dolazi se do zaključka da su doživljavanje i stvaranje estetskih sadržaja kvalitativno istovetni procesi čime se ukida klasična dihotomija na pasivnog i aktivnog subjekta estetskog akta (publika i stvaralac) Kroz analizu funkcije estetske prakse dolazi se do zaključka da time što predstavlja totalnu praksu (uključuje sve navedene aspekte) svaki estetski čin negira parcijalnu, prinudnu ili lošu praksu. Generalni zaključak je da filozofska kategorija prakse predstavlja najbolje polazište za formulisanje jedne opšte psihologije umetnosti., The paper compares the philosophical and the psychological meanings of practice. The assumption is that the philosophical category of practice includes different aspects of the man's relationship with the outside world - the technical (working), the poetical (creative), the social (interpersonal) and the theoretical (cognitive) relationships. These aspects are often included also into psychological models both of art and other aesthetic phenomena. Considering the structure of the aesthetic practice we come to conclude that the experience and the creation of an aesthetic substance are qualitatively identical processes, whereby the classical dichotomy into the passive and active subject of the aesthetic act (the public and the author) is done away with. While analyzing the function of the aesthetic practice, we come to conclude that every aesthetic act denies a partial, compulsive or bad practice as it represents a whole (it includes all the above mentioned aspects) The general conclusion we can derive is that the philosophical category of the practice is the best starting point for the formulation of a general psychology of art.", publisher = "Društvo psihologa Srbije, Beograd", journal = "Psihologija", title = "Praksa kao primarna kategorija psihologije umetnosti, Practice as the primary category of the psychology of art", pages = "386-375", number = "3-4", volume = "27", url = "https://hdl.handle.net/21.15107/rcub_reff_155" }
Marković, S.. (1994). Praksa kao primarna kategorija psihologije umetnosti. in Psihologija Društvo psihologa Srbije, Beograd., 27(3-4), 375-386. https://hdl.handle.net/21.15107/rcub_reff_155
Marković S. Praksa kao primarna kategorija psihologije umetnosti. in Psihologija. 1994;27(3-4):375-386. https://hdl.handle.net/21.15107/rcub_reff_155 .
Marković, Slobodan, "Praksa kao primarna kategorija psihologije umetnosti" in Psihologija, 27, no. 3-4 (1994):375-386, https://hdl.handle.net/21.15107/rcub_reff_155 .