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Practice as the primary category of the psychology of art

dc.creatorMarković, Slobodan
dc.date.accessioned2021-10-12T10:11:51Z
dc.date.available2021-10-12T10:11:51Z
dc.date.issued1994
dc.identifier.issn0048-5705
dc.identifier.urihttp://reff.f.bg.ac.rs/handle/123456789/155
dc.description.abstractU 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.sr
dc.description.abstractThe 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.en
dc.publisherDruštvo psihologa Srbije, Beograd
dc.rightsopenAccess
dc.rights.urihttps://creativecommons.org/licenses/by-sa/4.0/
dc.sourcePsihologija
dc.subjectumetnostsr
dc.subjectsubjektsr
dc.subjectstrukturasr
dc.subjectobjektsr
dc.subjectfunkcijasr
dc.subjectestetska praksasr
dc.subjectsubjecten
dc.subjectstructureen
dc.subjectobjecten
dc.subjectfunctionen
dc.subjectarten
dc.subjectaesthetic practiceen
dc.titlePraksa kao primarna kategorija psihologije umetnostisr
dc.titlePractice as the primary category of the psychology of arten
dc.typearticle
dc.rights.licenseBY-SA
dc.citation.epage386
dc.citation.issue3-4
dc.citation.other27(3-4): 375-386
dc.citation.spage375
dc.citation.volume27
dc.identifier.rcubhttps://hdl.handle.net/21.15107/rcub_reff_155
dc.type.versionpublishedVersion


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