REFF - Faculty of Philosophy Repository
University of Belgrade - Faculty of Philosophy
    • English
    • Српски
    • Српски (Serbia)
  • English 
    • English
    • Serbian (Cyrillic)
    • Serbian (Latin)
  • Login
View Item 
  •   REFF
  • Psihologija / Psychology
  • Radovi istraživača / Researcher's publications - Odeljenje za psihologiju
  • View Item
  •   REFF
  • Psihologija / Psychology
  • Radovi istraživača / Researcher's publications - Odeljenje za psihologiju
  • View Item
JavaScript is disabled for your browser. Some features of this site may not work without it.

Praksa kao primarna kategorija psihologije umetnosti

Practice as the primary category of the psychology of art

No Thumbnail
Authors
Marković, Slobodan
Article (Published version)
Metadata
Show full item record
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 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.

Keywords:
umetnost / subjekt / struktura / objekt / funkcija / estetska praksa / subject / structure / object / function / art / aesthetic practice
Source:
Psihologija, 1994, 27, 3-4, 375-386
Publisher:
  • Društvo psihologa Srbije, Beograd

ISSN: 0048-5705

[ Google Scholar ]
Handle
https://hdl.handle.net/21.15107/rcub_reff_155
URI
http://reff.f.bg.ac.rs/handle/123456789/155
Collections
  • Radovi istraživača / Researcher's publications - Odeljenje za psihologiju
Institution/Community
Psihologija / Psychology
TY  - 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 .

DSpace software copyright © 2002-2015  DuraSpace
About REFF | Send Feedback

OpenAIRERCUB
 

 

All of DSpaceInstitutions/communitiesAuthorsTitlesSubjectsThis institutionAuthorsTitlesSubjects

Statistics

View Usage Statistics

DSpace software copyright © 2002-2015  DuraSpace
About REFF | Send Feedback

OpenAIRERCUB