General idea of the image of the world. Psychology of the image of a.n.
Psychological Dictionary
Image of the World
The image of the world (author A.N. Leontiev -) is a methodological setting that prescribes the study of the cognitive processes of an individual in the context of his subjective picture of the world, as it develops for this individual throughout development cognitive activity. This is a multidimensional image of the world, an image of reality.
Literature.
Leontiev A.N. Psychology of the image // Vestnik Mosk. un - that. Ser. 14. Psychology. 1979, No. 2, p. 3 - 13.
- - 1. Statement of the question. 2. O. as a phenomenon of class ideology. 3. Individualization of reality in O.. 4...
Literary Encyclopedia
- - IMAGE. The question of the nature of the poetic image is one of the most difficult questions poetics, because it intersects several hitherto unresolved problems of aesthetics...
Dictionary of literary terms
- - a subjective picture of the world or its fragments, including the subject himself, other people, the spatial environment and the temporal sequence of events ...
Great Psychological Encyclopedia
- - subjective representation of objects of the surrounding world, due to both sensually perceived signs and hypothetical constructs ...
Psychological Dictionary
- - The image of the world is a methodological setting that prescribes the study of the cognitive processes of an individual in the context of his subjective picture of the world, as it develops for this individual throughout development ...
Psychological Dictionary
- - the context in which the symbol is enclosed, both personal and collective ...
Analytical Psychology Dictionary
- - the same as Image; appearance, appearance of a person; depends to a large extent on clothes, hairstyles and shoes ...
Encyclopedia of fashion and clothing
- - see Icon...
Orthodox Encyclopedic Dictionary
- - in philosophy, the result of the reflection of the object in the mind of man. On feelings...
Philosophical Encyclopedia
- - IMAGE - the result of the transformation of an object in the mind of a person, a way of understanding reality ...
Encyclopedia of Epistemology and Philosophy of Science
- - English. picture/image; German Master. 1. A mental or material construct representing c.-l. an object. 2. A holistic but incomplete representation of c.-l. object or class of objects. 3...
Encyclopedia of Sociology
- - in psychology, a subjective picture of the world, including the subject himself, other people, spaces. environment and temporal sequence of events...
Natural science. encyclopedic Dictionary
- - The idea in the minds of people about an organization or its products ...
Glossary of business terms
- - in philosophy, the result and the ideal form of reflection of an object in the mind of a person, arising in the conditions of socio-historical practice, on the basis and in the form of sign systems ...
- - 1) in psychology - a subjective picture of the world, including the subject himself, other people, the spatial environment and the temporal sequence of events ...
Big encyclopedic dictionary
- - @font-face (font-family: "ChurchArial"; src: url;) span (font-size:17px; font-weight:normal !important; font-family: "ChurchArial",Arial,Serif;) = n. - symbol; content; similarity; style; a statue; icon...
Church Slavonic Dictionary
"Image of the World" in books
"IMAGE OF A BEAUTIFUL WORLD"
From the book Poetry. Fate. Russia: Book. 1. Russian person author Kunyaev Stanislav Yurievich"IMAGE OF A BEAUTIFUL WORLD" Our acquaintance with Nikolai Rubtsov. His letters to me. Opening of the monument in Totma. Correspondence with a fan of Rubtsov Nifontovna. Fight in the House of Writers. Rubtsov is forgiven with the help of Slutsky and Yashin. Slutsky about Rubtsov. Today's attempts to slander
Chapter 3. The World and the Image of the World
the author Shevtsov AlexeyChapter 1
From the book Magic and Culture in Management Science the author Shevtsov AlexeyTHE SCIENCE OF THOUGHT AND THE IMAGE OF THE WORLD
From the book Essays on Russian Ethnopsychology authorImage of the world
From the book Symbol Language [Collection of Articles] author Team of authorsTHE SCIENCE OF THOUGHT AND THE IMAGE OF THE WORLD
From the book World of the Trail. Essays on Russian ethnopsychology author Andreev A.Image of the world
From the book Secrets of Ancient Civilizations. Volume 1 [Collection of Articles] author Team of authorsThe image of the world If the dwelling of the soul and the symbol of its deeds is the heart, then the dwelling of God and the image of the world created by him is the temple. It is a copy of the celestial model - the first temple, the first sacred space, and its construction corresponds to the creation of the Cosmos. Architect, master,
Chapter 4. The World and the Image of the World
From the book Fundamentals of the Science of Thinking. Book 1. reasoning author Shevtsov Alexander AlexandrovichChapter 4. The World and the Image of the World The world is the space of life. There is no world without man, and there is no one who can give the world a name. Spaces can exist both before and after a person, but only with his appearance they become worlds. The size of space, in essence, does not matter. If a
Chapter IV. Image of the world
From the book Byzantine Culture author Kazhdan Alexander PetrovichChapter IV. The image of the world medieval world view both in Western Europe and in Byzantium there was Christianity. By the end of the 4th c. it established itself as a state religion, although some remnants of pagan beliefs persisted for centuries: as early as the 12th century.
Chapter 6 IMAGE OF THE WORLD
From the book Generation Kitezh. Your adopted child author Morozov Dmitry VladimirovichChapter 6 IMAGE OF THE WORLD Katya at the age of 12: - Today I went to the regional center and suddenly realized that Kitezh is not a village! This girl, only in her third year, was able to notice that she lives in some unusual, unlike the others, village. A person notices or, rather, recognizes in the world around him
H. Image of the world
From the book People who play games [Psychology human destiny] author Bern Eric3. The image of the world The child has his own image of the world, not at all the same as that of his parents. It is a fairy-tale world full of monsters and wizards, and this representation lasts a lifetime and forms the archaic background of the script. A simple example is nightmares and fears when a child
Image of the world
From the book People who play games [book 2] author Bern EricImage of the world A child perceives the world in a completely different way than his parents. For children, this is a fairy-tale world full of monsters and wizards. All parents remember how their child woke up and screamed that a bear was walking in his room. Parents come, turn on the light and affectionately say:
The symbolism of physiology: the image of the body and the image of the world
From the book Anthropology of Extreme Groups: Dominant Relations among Military Personnel military service Russian Army author Bannikov Konstantin LeonardovichThe symbolism of physiology: the image of the body and the image of the world The anthropomorphic principle in cosmogony represents human body and the products of his life as an allegory structural components world and the laws of their functioning. In some archaic myths
The image of the world and the development of the mind
From the book The Structure and Laws of the Mind author Zhikarentsev Vladimir VasilievichThe Image of the World and the Development of the Mind Man relies on the Image of the world while living on earth. The image of the world is a set of images regarding the state of the world, its structure and content. These images a person loads into memory in childhood. It is estimated that before the age of five, a child downloads 97%
The image of the creation of the world
From the book Orthodox Dogmatic Theology author Anointed Protopresbyter MichaelImage of the Creation of the World The world was created from nothing. It would be better to say: brought into being from non-existence, as the Fathers usually express it, since if we say “from”, then, obviously, we are already thinking about material, but “nothing” is not material. However, it is conditionally accepted and quite acceptable to use this
In the works of researchers dealing with the problems of forming the image of the world, there is no well-established conceptual apparatus, there are a number of categories that do not have a single interpretation. An appeal to the sphere of the formation of the image of the world is found in various fields of knowledge: psychology, pedagogy, philosophy, ethnology, cultural studies, sociology, etc. The category "image of the world" is relatively recent and is designated as a "snapshot" of the work of consciousness, as a source of images.
In the field of psychology, the theoretical development of the category "image of the world" is presented in the works of G.M. Andreeva, E.P. Belinskaya, V.I. Brul, G.D. Gacheva, E.V. Galazhinsky, T.G. Grushevitskaya, L.N. Gumilev, V.E. Klochko, O.M. Krasnoryadtseva, V.G. Krysko, V. S. Kukushkina, Z.I. Levina, A.N. Leontiev, SV. Lurie, V.I. Mathis, Yu.P. Platonova, A.P. Sadokhin, E.A. Sarakueva, G.F. Sevilgaeva, S.D. Smirnova, T.G. Stefanenko, L.D. Stolyarenko, V.N. Filippova, K. Jaspers and others.
For the first time the concept of "image of the world" in psychology was introduced by A.N. Leontiev, he defined this category as a mental reflection taken in the system of connections and relations of the subject with the world around him. In his writings, the image of the world is considered as a holistic, multi-level system of a person's ideas about the world, other people, about himself and his activities. A.N. Leontiev studied the process of the appearance of the image of the world, explaining it by the active nature that sets the image as a moment of its movement. The image arises only in activity and therefore is inseparable from it, the problem of generating an objective image of the world is the problem of perception, "the world in its remoteness from the subject is amodal".
Based on the provisions of A.N. Leontiev, N.G. Osukhova builds through the prism of the subjective image of the human world, comparing it with the concept of "myth" in the cultural sense that this term has acquired today. She defines the image of the world as "an individual myth of a person about himself, other people, the life world in the time of his life." This researcher considers this category as a holistic mental formation, noting that it exists at the cognitive and figurative-emotional levels. Considering the constituent components included in the image of the world, N.G. Osukhova singles out the "image of the Self" as a system of ideas and attitudes of a person towards himself in the course of life, including everything that a person considers his own. In addition, the image of another person, the image of the world as a whole and the psychological time of the individual are considered.
A.N. Leontiev, revealing the structure of the image of the world, made a conclusion regarding its multidimensionality. Moreover, the number of dimensions was determined not only by three-dimensional space, but also by the fourth - time, and the fifth quasi-dimension, "in which the objective world opens up to man" . The explanation of the fifth dimension is based on the fact that when a person perceives an object, he perceives it "not only in its spatial dimensions and in time, but also in its meaning" . It is with the problem of perception that A.N. Leontiev linked the construction of a multidimensional image of the world in the mind of an individual, his image of reality. Moreover, he called the psychology of perception concrete scientific knowledge about how, in the process of their activity, individuals build an image of the world "in which they live, act, which they themselves remake and partially create; this knowledge is also about how the image of the world functions. mediating their activity in the objectively real world". .
Considering the dimension of the image of the human world, V.E. Klochko emphasizes its multidimensionality, revealing it as follows: "A multidimensional image of the world, therefore, can only be the result of a reflection of a multidimensional world. The assumption that the human world has four dimensions, while others are added to the image, making it multidimensional, is without any foundation "First of all, it is difficult to imagine the very process of introducing new dimensions to the emerging image. In addition, the main thing will be lost: the ability to explain the mechanism of selectivity of mental reflection. Measurements characteristic of a person proper (meanings, meanings and values) represent objects included in the human world, and are qualities of the objects themselves. This ensures their difference from an infinite set of objective phenomena, simultaneously affecting the human senses, but not penetrating into consciousness, thereby determining both the content of consciousness at each moment of time and its value-semantic richness" (55 ).
Development of mediated and voluntary memorization
In preschool childhood, there is a process of improving the child's memory. If for perception the possibilities of development at this age are limited, then for memory they are much wider. Its improvement in preschool children can go in several directions at once. The first is giving the processes of memorization an arbitrary character, the second is ...
Adulthood.
As we have already noted, the focus on one or another object of self-assessment changes with age. In addition, the dominant area of self-esteem depends on gender. There are priority areas in which men and women need to feel confident. For men, this dominant area is most often work. For women, this is...
Brain research. Central braking
Even in his doctoral dissertation, Sechenov put forward a position about the originality of reflexes, the centers of which lie in the brain, and a number of ideas that contributed to the subsequent study of the brain. In Paris, in the laboratory of Claude Bernard (1862), Ivan Mikhailovich experimentally tested the hypothesis of the influence of brain centers on motor ...
Shpinarskaya E.N.
The image of the ancient world in the paintings of N. Poussin
Where to look for, if you do look for, eternal and absolute beauty? - In Antiquity, philosophers have taught since the Renaissance. However, it is well known that the period called Antiquity covers about two (if not three) thousand years. The classics begin from the 5th century BC, and the last ancient thinkers lived out their lives in the 6th century AD. And the monolithic, flourishing, optimistic wholeness of a huge era turns out to be in a certain sense idealization, a myth that reflected the humanistic ideals of the new European enlightenment. But consciousness turns back again and again in search of lost time, in the hope of returning to infantile sinlessness, the original purity of human birthright. Thoughts are seized by nostalgia for bygone centuries.
How attractive the Hellenic civilization of the 5th century BC. Age of Pericles, healthy and life-affirming classics. In science, it is called the "epoch of independence" (F. Zelinsky), the "classical era" (R. Wipper). It is unanimously perceived as a time of widespread prosperity, social and cultural activity of the Greeks, a time of affirmation and generous disclosure of their spiritual and ethical identity. Its characterization as a "heyday" (G. Helmont), the highest realization of the cultural vocation of the Greeks has become a cultural axiom. However, the real Greek classics are inherently ambivalent and full of inner anxieties. “Ancient Greece, like a living paradox, serves as a clear example of how difficult the knowledge of civilization is,” says A. Bonnard. Hellenic history says that fermenting, decaying forces never disappeared behind its external-facial well-being, which, even in the brightest hours of its flowering, undermined the building under construction. Russian researcher of early antique antiquities Vyach. Ivanov was right when he called this time - despite its accessibility and clarity - "an epoch not yet sufficiently disclosed."
Contradictions are also characteristic in the work of the great ancient poets. Let us remember that Homer, the author of the Iliad and the Odyssey, along with the development of mythology as thinking, undermined the religious function of myth. EAT. Meletinsky writes that when the sacred information about the mythical routes of totem ancestors is withdrawn from the myth ... attention is increased to the “family” relations of totem ancestors, their quarrels and fights, to all kinds of adventurous moments, the desacralization of the myth inevitably occurs. Further. Ovid. He went even further than Homer in the artistic and literary interpretation of the myth. His famous Metamorphoses a prime example epic poem, which includes many legends (mainly Greek) about the transformation of gods and people into animals, plants, stones, rivers, constellations. But if for a prehistoric Greek the religious-mythological worldview was an ideology, a life-normative value that shapes his behavior and consciousness, then Homer and Ovid turn myth into an object. literary creativity, its religious beginning is reduced to aesthetics, mythology is reduced to epic. Homer and Ovid have a metamorphosis with mythology: it turns into an epic. The poets and sages of Greece have already noticed that along with the myth, something so important and necessary for the life of the Greek was lost, which neither epic, nor lyricism, nor dramaturgy, nor philosophy can replace. Such is the price paid for the desire to "comprehend the world, learn what it is made of and how it is made, and, having unraveled its laws, learn to control them.
At the same time, “the civilization of the Greeks conjugates the world and man”, unites them in harmony through struggle and battle, and this approach makes Antiquity so rich in ideas and all kinds of transformations, and so bright that the consciousness of all subsequent European eras cannot do without mastering its culture. .
The appeal to Antiquity is one of the most important features in the art of the Renaissance. The term itself implies precisely the revival of antiquity. In the 15th century, the opinion was firmly established that antiquity is a great past that has ended, and the Middle Ages have come to replace it. "Media aetas" ( middle age) replaced "santa vetustas" (holy antiquity).
The influence of ancient aesthetics on the theory and practice of Renaissance art is extremely important. Alberti tried to apply the categories of classical rhetoric to the work of painting: fiction (inventione), composition (compositione), introduced the concept of “convenienza” or “concinnitas” also taken from ancient authors, which can best be explained by the word “harmony”. From the desire for a system and the demand for harmony separate parts the science of the proportions of the human body and ideal proportions has grown. In the works of Phidias and Poliklet, in the treatises of Vitruvius, the artists of the high Renaissance felt the possibility of synthesizing the best that nature gives, and, moreover, perceived the example of Antiquity as a call to create an ideal spiritually and physically image. The search for this image led to the emergence of the slogan "surpass nature" ("superare la natura"). Alberti in Ten Books on Architecture writes: “I confess to you: if the ancients, who had an abundance of whom to learn and whom to imitate, it was not so difficult to rise to the knowledge of these higher arts, which are now given to us with such efforts, then our names deserve all the more recognition that we, without any mentors and without any models, create arts and sciences unheard of and unseen.
Antiquity and its experience by the Renaissance is comprehended by the following centuries. Classicism finds the embodiment of its social and cultural ideals again in Ancient Greece and Republican Rome. New artistic ideas arise as a result of the processing of ideas that have long existed and practiced. It was the appeal to ancient art, to the images and techniques of the classics that gave rise to the very term "classicism". The value of ancient art as an indisputable model forms the basis of the consistently developed doctrine of classicism, which operates in painting, literature and dramaturgy.
True, as well as within the exemplary period, as we briefly mentioned above, with antiquity, when it is comprehended by classicism (and the Renaissance), significant metamorphoses occur. The poetic images of antiquity - Medea, Hercules, Horace, Germanicus appear in classicism as the personification of their inherent passions since ancient times, unchanged and cleansed of everything that was the imprint of their "barbarian age". The inseparability of poetic vision from rational speculation is expressed in the careful selection of "ideal models" and "ideal passions", moreover, saturated with a high social or moral idea. Thus, transformations take place with classical images, moreover, transformations are due to the cult of reason, which appeared not without the influence of the ancient interpretation of aesthetics through mathematics. The worldview of classicism exalts the analytical approach to the Beautiful, the mind from "one of" becomes the main criterion of beauty. The theme of nature is the highest embodiment of rationality. This is how classicism thinks, and, as in the case of the ancient characters of the epic, it does not allow “barbaric”, unprocessed nature into art. As a result, the landscape, for example, in painting is transformed into an ideally thought-out composition, completely eliminating the chances and nuances of the real area. In classicism, a kind of reconstruction of life was carried out, and in all its manifestations, the ideals of order and severe discipline were opposed to the imperfection of reality, with the help of which the tragic collisions of real life should be overcome.
The most popular source for experiments with ancient subjects and images in classicism was Ovid's Metamorphoses. The appeal to the poem was completely in the spirit of the humanistic culture of the 17th century. It is difficult to name another literary work that would have had such an impact on the visual arts of this time. Aesthetic creativity, being a part of the spiritual, rational activity of a person, introducing the “material of life” into its sphere, cleansed it of everything insignificant. So considered the representatives of classicism. Ovid pushed them to this idea: he masterfully omitted everything in the plots of myths that, from his point of view, was not essential.
It is difficult to list the names of all the artists who drew plots and inspiration from the poem. We will focus on one of them. This is Nicolas Poussin (1594-1665).
Poussin is known as the head of French classic painting of the 17th century, but first I would like to present him as an enthusiastic reader of Ovid, who carried his love for the Metamorphoses throughout his life, and then as the creator of his surprisingly attractive image of the ancient world. Poussin can be conditionally attributed to the third generation, whose work was inspired by antiquity.
The surviving works of Poussin from the early Parisian period illustrate Ovid's Metamorphoses and Virgil's Aeneid. From "Metamorphoses" the artist chooses plots about the laws of natural transformations. Poussin is thought to have been influenced by earlier illustrations of Ovid from the Langelier edition of 1619. However, Poussin is characterized by a more thoughtful attitude to the text. He's looking for more expressiveness dramatic action, introduces the missing figures in the text, in his opinion. In the drawings "Thetis and Achilles", "The Transformation of Akida into a River God" there are many figures, each of which expresses one feeling. Together, these figures form a diverse emotional picture. The painter's alphabet is revealed - the disclosure of a dramatic event through the state of its participants, embodied in a pose and gesture. The drawings of "Adonis" and "The Rape of Europa" are of the same plan.
Metamorphoses according to Ovid and Poussin new life, which took on a new meaning. The process of transformation is always very rich in events: they quickly replace each other and have great amount witnesses. Poussin's works on the subjects of "Metamorphoses" very accurately convey these qualities of the Ovid poem. They are also rich in characters and events. A typical example is the painting "The Kingdom of Flora" (circa 1631).
It is a multi-figured composition with a clear, measured, literally musical rhythm. Obeying this rhythm, numerous heroes of Ovid live in the picture. We can say that Poussin brings the richness of the ancient Roman text to the limit - "The Kingdom of Flora" contains the heroes of several chapters at once. Each character tells their own story in full. Here is the death of Ajax, throwing himself at the sword, and Clytia, in love with Apollo, and Echo, and Narcissus admiring his own reflection, and Adonis, and Hyacinth. All of them gave life after their death to various flowers that adorned the fragrant realm of Flora. She is depicted in the center of the canvas - graceful and graceful, showering the earth with flowers.
Let's consider one more picture, or rather two of its variants, as a rather sharp transition from the perception of antiquity "according to Ovid" to antiquity "according to Poussin". The plot is quite unusual: the shepherds suddenly discover a tomb with the inscription “And I was in Arcadia…” The happy Arcadia could serve as an excellent backdrop for the endlessly changing characters of Ovid, but it turns out to be the starting point for reflection on the meaning of life. Poussin silences the noise of voices and events in order to finally hear something more. Therefore, the decrease in characters in the second version of The Arcadian Shepherds (1650) is quite naturally perceived. And the silent and majestic nature becomes an alternative to the human noisy environment. She is getting more and more attention.
For Poussin, nature is the personification of the highest harmony of being. Man has lost his dominant position, he is perceived only as one of the many creations of nature, the laws of which he is forced to obey. As V.N. Prokofiev, researcher of French visual arts XVII century and the work of Poussin in particular: "now the plot - human action - goes deep into the natural whole," referring to Poussin's antique landscape painting after 1643. Poussin's landscapes are imbued with a sense of the grandeur and grandeur of the world. Heaping rocks, clumps of lush trees, crystal clear lakes, cool springs flowing among stones and shady bushes are combined in a plastically clear, integral composition based on the alternation of spatial plans, each of which is located parallel to the plane of the canvas. The range of colors is very restrained, most often based on a combination of cold blue and bluish tones of the sky and water and warm brownish-gray tones of soil and rocks.
Each landscape creates its own unique image: "Landscape with Polyphemus" (1649), "Landscape with Hercules and Cacus" (1649), "Focion's Funeral" (after 1648), the landscape cycle "Four Seasons".
One of the peaks in the work of Nicolas Poussin is the painting “Landscape with Polyphemus”.
From the viewer who has stopped in front of the picture, attention and perseverance are required. The work is called "Landscape with Polyphemus", but even to see Polyphemus, you have to work hard. The mighty figure of the Cyclops is, as it were, an extension of the mountain on which he sits and plays the pipe. The figure is located in the center of the canvas, but in the background.
Let us recall the legend of Polyphemus: the terrible, terrible, cruel Cyclops Polyphemus fell in love with the nymph Galatea. Galatea, on the other hand, loved the beautiful young man Akida, and the passion of the monster was disgusting to her. Once Polyphemus tracked them down and threw stones at Akida. Akis turned into a river god, and Galatea then retells the words of the Cyclops addressed to her:
You, Galatea, are whiter than the petals of the snow-white ligustra,
Spring flowering meadows and above the long-stemmed alder,
You, brighter than crystal, more playful young goat!
You are smoother than those shells that are wiped by the sea all the time;
The winter sun is sweeter, more comforting than summer shadows;
Mountain plane trees are slimmer, trees are more generous than fruit trees;
Ice floes are more transparent you; ripe grapes are sweeter.
You are softer than cottage cheese, you are lighter than swan fluff ...
Truly amazing is such tenderness of words in the mouth of Polyphemus. "Cruel and terrible" Polyphemus becomes "in love" - extraordinary metamorphoses occurred with the Cyclops. Previously, his main entertainment was throwing stones at ships approaching the island, now it is playing the flute. Polyphemus, with the help of Poussin, became forever playing music. Music is beautiful and harmonious, connected with nature. The whimsical play of the contour of the clouds over Polyphemus is the music itself, pouring from the flute of the cyclops. Music and clouds turn into each other, transform into a harmonious beginning of nature. Metamorphosis is a concept that can be used to interpret everything in a picture. Metamorphoses of the most diverse phenomena are in love and harmony with each other.
Love is the main key to the picture. In turn, the picture is a kind of way to help nature find a stable and peaceful state of love and beauty. This quality is originally inherent in nature, but often disappears behind the vanity and excessive human activity. Poussin, on the other hand, excludes fuss and leaves the opportunity for nature to be, as it were, alone with itself.
Antiquity appears here as one of the metamorphoses of nature and humanity. Again transformations and again love. One from the other and vice versa: love from transformation and transformation because of love. There are a great many examples. In myths, these are stories about Apollo and Daphne, Zeus and Io, Zeus and Europa, Poseidon and Demeter. This list can be continued for a very long time. The main metamorphosis of love is that a person becomes a person. And if we consider “Landscape with Polyphemus” as a work in which “Poussin’s soul was expressed most fully and fully” (A. N. Benois), then it becomes clear why the myth of Polyphemus was chosen for the picture: a monster becomes a man. Although there are analogues of this kind of event in earlier literary works. In the poem about Gilgamesh, which for a thousand extra years older than "Metamorphoses", there is a story about Enkidu, who used to live among wild animals, but, having fallen in love with Chess, he became completely different, became a man. The epic says about him: "He became smarter, deeper understanding."
Back to Ovid:
Wedge, long and sharp, extends far into the sea
Cape, from both sides we wash the sea wave.
A wild cyclops climbed on it and sat down in the middle.
Wandering sheep climbed in behind him without a guard.
After he laid at his feet the pine that served
Shepherd's stick to him and would fit boldly on the mast
He took a flute with his fingers, fastened from a hundred pipes,
And the village whistles of the mountains heard him,
And heard streams...
Poussin very accurately reproduces the lines of the poem in painting. The mountain serving as a bed for Polyphemus is placed in the center of the picture. Polyphemus himself almost merges with the rough mass of the mountain, likened to a smoking volcano. It is curious that in the text "Metamorphoses" there is an indication of a volcano. Polyphemus exclaims:
I am burning, an unbearable fire has raged in me, -
As if in my chest I carry all of Etna with all its power,
Transferred to me!
Further, moving your eyes around the picture, you note the perfect thoughtfulness of the composition. She is emphatically static. Many tricks are used: a strict alternation of verticals and horizontals parallel to the borders of the canvas. Then symmetry: the outlines of the rock on the left are repeated in the silhouette of the tree on the right, and the mountain with Polyphemus in the middle forms right triangle. This illustrates Poussin's deep reverence for ancient art, his knowledge of the belief of the ancients in the closest relationship of symmetry and harmony, embodying the idea of beauty.
Four plans can be distinguished in the space of the canvas. The first corresponds to the figures of the river deity, nymphs and satyrs; to the second, people cultivating the field; the third - a rocky seashore with Polyphemus on one of the peaks; the fourth - the sea and the city on the coast. The first plan is compared with the third, the second with the fourth. Poussin is faithful to the idea of harmony in everything: without violating the perspective system and observing the conditions set by the theme (Polyphemus must be much larger than everyone else), the painter connects the characters with a relation of commensurability. Hence the one-scale nature of the figures of the foreground and Polyphemus. In the foreground, various personifications of nature are presented: a river deity, forest goddesses, dryads, nymphs, satyrs, on the third, Polyphemus is the embodiment of the natural elements.
The element itself is static. It is written in very carefully selected colors, perfectly coordinated with each other. The tone deserves a separate discussion: the image modeling is dark, almost not broken by light, which contrasts very strongly with the light text of "Metamorphoses" and the very light and bright in color "Kingdom of Flora". Again, through The Arcadian Shepherds there is a "darkening" of Poussin's landscapes. A more or less stable, static harmony is possible with dim lighting. With the help of tone and color, the environment in the picture almost consumes the characters.
The dark tone is associated with eternity, but also with the black void of chaos. Many researchers of Poussin's work note that "Poussin's happy utopia is far from serene." What does the picture still carry in itself - harmony or its opposite?
"Landscape with Polyphemus" was painted in Rome, under blue and bright sky, next to the colorful and noisy beauty of the Italian streets. An alternative to the visible living environment was "Landscape ...", in which an ideal, but closed world is created.
Even if you try to continue it beyond the frame of the picture, it turns out that it closes in a wonderful panorama. Or gradually transforms into its own mirror image. Is such a charming landscape not able to turn, even for a moment, into a reality that bestows us with harmony? Is there a way out to the "sinful earth"? From the right edge of the picture, behind a lush tree, you can see the sea, and even further - the city. This is the brightest place in the picture. People busy with their own affairs in the background of the "Landscape ..." apparently came from there.
But we, the spectators, are on this side, and we still have to look at the city inhabited by people. It seems to be very good there, the sun and water give peace and joy. There are a lot of images of water in the picture. Perhaps it is she who is the cherished key that opens the way from the earthly world to the ideal world.
In the middle of the composition there are lakes and a majestic river, in the foreground a transparent stream is carefully drawn, washing the pebbles, a jug of water.
Carefully, slowly looking at the picture, you involuntarily begin to feel the coolness of the water, peep at the nymphs and dryads along with the satyrs, and you almost find yourself in this ideal world until you meet an unexpected obstacle. This is a sage (V.N. Prokofiev calls the figure in the picture a sage, S.M. Daniel - the god of the river) in a laurel wreath. He calmly observes what is happening, calls to join the contemplation of the landscape, but at the same time he is the guardian of harmony. Before going further, the viewer needs to earn his trust, unlike the characters in the picture, who, as participants in harmony, are allowed to do everything. People and other inhabitants of the picture, going about their business, do not heed the bewitching music. It is heard by the sage, by Polyphemus himself and, perhaps, by the majestic nature. We, approaching Polyphemus, meet there less and less characters. Polyphemus will not be interested in anyone and nothing for a long time, so they left him alone with his music.
Poussin created his own image of the ancient world, if not a completely different, special world. Symmetry and harmony, strict subordination of the composition to the artist's intention, based on the classic canon, are on the very border of the living world. A little more and the predominance of dogmatic correctness alone will lead to the death of the characters. Even now they are extremely self-sufficient: they do not need spectators, they do not need neighbors in the picture, up to the danger of being useless to themselves. V.N. Prokofiev notes the same situation in the famous self-portrait of Poussin (1650): “the majestic inaccessibility of the monolithic figure of the artist-thinker is ready to turn into loneliness, the rigid mathematical organization of space fetters it, as if soldering it forever into an immovable crystalline structure.”
Carefully calculated and self-sufficient harmony is doomed to inactivity, and, as a result, destruction. It is interesting to observe that an unprepared viewer will rarely stop at the Hermitage masterpiece we are studying: it is too dark, too correct, too laborious to perceive.
Is harmony possible in self-sufficiency? Is it possible to have a dialogue, a process of communication with a mathematically verified composition?
Recall that one of the main functions of art is communication. Therefore, color, light, the calm found with their help are needed in order to convey to the viewer a sense of harmony. The artist uses all the means available to him, even somewhat “overloads” with classicism, to remind him of the integrity of being, the majesty and beauty of nature. The Beautiful that reigns in the “Landscape with Polyphemus” endows the sensitive viewer with its light, if he finds the strength to escape from the vanity of the everyday world and devote himself to contemplation. “The past becomes here an active educational force, and history first- the main tool for influencing the present for the sake of the future, ”notes V.N. Prokofiev on the role of antiquity in Poussin's work (moreover, he emphasizes that even the biblical "Sacred History" in Poussin acts as ancient history).
Consider Aphrodite. According to Empedocles, Aphrodite is a symbol of the unifying principle. She gives the world a state of "venerable harmony", which is depicted in the "Landscape with Polyphemus". This is the point of stillness at the very end of the way up. In it, at this point, according to Aristotle, peace reigns. The anxieties and passions of the sensually perceived world subside in it, and being freezes in a blissful, serene-royal stupor. The Universe, equal to itself, remains alone with itself: its depths are no longer tormented by either the pangs of birth or the pangs of dying. She, as it were, is resting after the trials she has endured, having overcome bifurcation and multiplicity in herself. This is the happiest, “stellar” hour of universal life: all things are embraced by original equality, tried on in the “unibearing womb”.
These thoughts about calm and harmony were born by the ancient Greek philosophers, Empedocles and Aristotle, but to a large extent characterize the “Landscape with Polyphemus”, written by a French artist of the 17th century. In contrast to the saturated movement and passion of Ovid's "Metamorphoses", with the illustration of which N. Poussin's communication with antiquity began.
Antiquity made a passionate admirer of Poussin, brought to life his work. But as much as antiquity was ambivalent in its essence, Poussin's experience of it also has several options, from the "Kingdom of Flora" through "The Arcadian Shepherds" to "Landscape with Polyphemus".
N. Poussin stopped at such an understanding of antiquity, which was most reflected in his landscapes, where the main actor Nature has become, and harmony has become its way of existence.
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A prescriptive study of the cognitive processes of an individual in the context of his subjective picture of the world, as it develops for this individual during the development of cognitive activity. This is a multidimensional image of the world, an image of reality.
Literature.
Leontiev A.N. Psychology of the image // Vestnik Mosk. un - that. Ser. 14. Psychology. 1979, No. 2, p. 3 - 13.
Psychological Dictionary. 2000 .
See what the "Image of the World" is in other dictionaries:
image of the world- a holistic, multi-level system of human ideas about the world, other people, about themselves and their activities. The concept of O. m. embodies the idea of integrity and continuity in the origin, development and functioning of the cognitive sphere of the individual. O. m ...
IMAGE OF THE WORLD- a holistic, multi-level system of human ideas about the world, other people, about themselves and their activities. The activity nature of O. m. manifests itself in the presence of space and time coordinates along with the coordinates of space and time inherent in the physical world ... ... Psychomotor: Dictionary Reference
IMAGE OF THE WORLD- a holistic, multi-level system of a person's ideas about the world, other people, about himself and his activities, a more or less conscious system of a person's ideas about himself ... Dictionary of Career Guidance and Psychological Support
A psychological concept, an abstract stable model that describes common features and visions of the world by different people and is characteristic of these people. The invariant image of the world is directly correlated with meanings and other socially developed supports ... Wikipedia
Subjective image of the world in a child- the system of the child's ideas about the surrounding reality, natural and social, about his place in it. S. o. m. also includes an attitude to this reality and to oneself, and thereby determines the position of the child. S. o. m., which ... ... Encyclopedic Dictionary of Psychology and Pedagogy
1. Statement of the question. 2. O. as a phenomenon of class ideology. 3. Individualization of reality in O. 4. Typification of reality in O. 5. Artistic fiction in O. 6. O. and imagery; system O. 7. Content O. 8. Public ... ... Literary Encyclopedia
image- a subjective picture of the world or its fragments, including the subject himself, other people, the spatial environment and the temporal sequence of events. In psychology, the concept of O. is used in several meanings. Along with the expansion ... ... Great Psychological Encyclopedia
1. IMAGE, a; pl. images; m. 1. Appearance, appearance; appearance, appearance. God created man in his own image and likeness. I often think of her gentle Fr. O. young Chekhov is captured in photographs. It was a real devil in the form of ... ... encyclopedic Dictionary
Image- IMAGE (in poetry). The question of the nature of the poetic image belongs to the most difficult questions of poetics, for it intersects several hitherto unresolved problems of aesthetics. First of all, one should discard those narrow and superficial ... ... Dictionary of literary terms
Philosophical sociological. a category covering the totality of typical types of life activity of an individual, social group, society as a whole, which is taken in unity with the conditions of life. It provides an opportunity for a complex, interconnected ... ... Philosophical Encyclopedia
Books
- The image of the world is the world of images, Rashid Dominov. The proposed album is the most complete representation of the work of the famous St. Petersburg artist Rashid Dominov to date. The book, compiled by the author himself, includes his…
- The image of the world. Texts, voice, memory. To the 80th anniversary of the birth of N. L. Leiderman (1939-2010), Leiderman Naum Lazarevich. The book of Naum Lazarevich Leiderman (1939-2010), an outstanding literary critic and creator of the Ural scientific school in philology, includes a collection of his selected papers on theory and history...
1.2 The essence of the concept of "image of the world" in psychology
The concept of "image of the world" was introduced by A.N. Leontiev, considering the problems of perception. In his opinion, perception is not only a reflection of reality, it includes not only a picture of the world, but also concepts in which objects of reality can be described. That is, in the process of constructing an image of an object or situation, not individual sensory impressions, but the image of the world as a whole, are of primary importance.
Development of the concept of "image of the world" by A.N. Leontiev is connected with his general psychological theory of activity. According to A.V. Petrovsky, the formation of the image of the world occurs in the process of interactions of the subject with the world, that is, through activity.
The psychology of the image, in the understanding of A.N. Leontiev, this is specifically scientific knowledge about how, in the process of their activity, individuals build an image of the world - the world in which they live, act, which they themselves remake and partially realize; it is also knowledge about how the image of the world functions, mediating their activity in the objective real world. He noted that the image of the world, in addition to the four dimensions of the reality of space-time, also has a fifth quasi-dimension - the meaning of the objective world reflected for the subject in the cognized objective intrasystemic connections of the objective world.
A.N. Leontiev, speaking about the "image of the world", wanted to emphasize the difference between the concepts of "world of images" and "image of the world", as he addressed the researchers of perception. If we consider other forms of emotional reflection of the world, then other terms could be used, such as, for example, "the world of experiences" (or feelings) and "experience (feeling) of the world. And if we use the representation process to describe this concept, then we can use the concept of "representation of the world."
Further discussion of the problem of the "image of the world" led to the emergence of two theoretical provisions. The first proposition includes the notion that any mental phenomenon or the process has its carrier, the subject. That is, a person perceives and cognizes the world as an integral mental being. When modeling even individual aspects of the functioning of particular cognitive processes, cognitive processes are taken into account. The second position complements the first. According to him, any human activity is mediated by his individual picture of the world and his place in this world.
V.V. Petukhov believes that the perception of any object or situation, a particular person or an abstract idea is determined by a holistic image of the world, and he - by the whole experience of a person's life in the world, his social practice. Thus, the image (or representation) of the world reflects that specific historical - ecological, social, cultural - background against which (or within which) the whole mental activity person. From this position, activity is described from the point of view of the requirements that are imposed on perception, attention, memory, thinking, etc., when it is performed.
According to S.D. Smirnova real world is reflected in consciousness as an image of the world in the form of a multi-level system of human ideas about the world, other people, oneself and one's activity. The image of the world is "a universal form of knowledge organization that determines the possibilities of cognition and behavior control."
A.A. Leontiev distinguishes two forms of the image of the world:
1. situational (or fragmentary) - i.e. an image of the world that is not included in the perception of the world, but is completely reflective, distant from our action in the world, in particular, perception (as, for example, during the work of memory or imagination);
2. extra-situational (or global) - i.e. an image of an integral world, a kind of scheme (image) of the universe.
From this point of view, the image of the world is a reflection, that is, comprehension. The image of the universe A.N. Leontiev considers as education associated with human activity. And the image of the world as a component of personal meaning, as a subsystem of consciousness. Moreover, according to E.Yu. Artemyeva, the image of the world is born simultaneously in consciousness and in the unconscious.
The image of the world acts as a source of subjective certainty, which makes it possible to unambiguously perceive objectively ambiguous situations. The system of apperceptive expectations that arises on the basis of the image of the world in a particular situation affects the content of perceptions and representations, generating illusions and perception errors, and also determining the nature of the perception of ambiguous stimuli in such a way that the actually perceived or represented content corresponds to a holistic image of the world, structuring its semantic structures and interpretations, attributions and forecasts arising from it regarding this situation, as well as actual semantic attitudes.
In the works of E.Yu. Artemyev's image of the world is understood as an "integrator" of traces of human interaction with objective reality. "From the standpoint of modern psychology, the image of the world is defined as an integral multi-level system of a person's ideas about the world, other people, about himself and his activity, a system that" mediates, refracts through itself any external influence". The image of the world is generated by all cognitive processes, being in this sense their integral characteristic.
The concept of "image of the world" is found in a number of works by foreign psychologists, among which the founder of analytical psychology, K.G. Cabin boy. In his concept, the image of the world appears as a dynamic formation: it can change all the time, just like a person’s opinion of himself. Each discovery, each new thought gives the image of the world new outlines.
S.D. Smirnov brings out the main qualities inherent in the image of the world - integrity and consistency, as well as complex hierarchical dynamics. S.D. Smirnov proposes to distinguish between nuclear and surface structures of the image of the world. He believes that the image of the world is a nuclear formation in relation to what appears on the surface as a sensually (modally) formed picture of the world.
The concept of "picture of the world" is often replaced by a number of terms - "image of the world", "scheme of reality", "model of the universe", "cognitive map". In the studies of psychologists, the following concepts are correlated: "picture of the world", "model of the world", "image of the world", "information model of reality", "conceptual model".
The picture of the world includes a historical component, a person's worldview and attitude, a holistic spiritual content, and a person's emotional attitude to the world. The image reflects not only the personal-ideological and emotional component of the personality, but also a special component - this is the spiritual state of the era, ideology.
The picture of the world is formed as a representation of the world, its external and internal structure. The picture of the world, in contrast to the worldview, is the totality of worldview knowledge about the world, the totality of knowledge about the objects and phenomena of reality. To understand the structure of the picture of the world, it is necessary to understand the ways of its formation and development.
G.A. Berulaeva notes that in the conscious picture of the world, 3 layers of consciousness are distinguished: its sensual fabric (sensory images); meanings, the carriers of which are sign systems, formed on the basis of the internalization of subject and operational meanings; personal meaning.
The first layer is the sensory fabric of consciousness - these are sensory experiences.
The second layer of consciousness is meanings. The bearers of meanings are the objects of material and spiritual culture, norms and patterns of behavior, enshrined in rituals and traditions, sign systems and, above all, language. In meaning, socially developed ways of acting with reality and in reality are fixed. The internalization of operational and objective meanings on the basis of sign systems leads to the emergence of concepts (verbal meanings).
The third layer of consciousness is formed by personal meanings. Objective content, which is carried by specific events, phenomena or concepts, i.e. what they mean for society as a whole, and for the psychologist in particular, may not substantially coincide with what the individual discovers in them. A person not only reflects the objective content of certain events and phenomena, but at the same time fixes his attitude towards them, experienced in the form of interest, emotions. The concept of meaning is not associated with the context, but with a subtext that appeals to the affective-volitional sphere. The system of meanings is constantly changing and developing, ultimately determining the meaning of any individual activity and life as a whole, while science is mainly engaged in the production of meanings.
So, the image of the world is understood as a certain aggregate or an ordered multi-level system of human knowledge about the world, about oneself, about other people, which mediates, refracts through itself any external influence.
The image of the world is a personally conditioned, initially unreflected, holistic attitude of the subject to himself and to the world around him, which carries the irrational attitudes that a person has.
In the mental image, personal significance is hidden, the personal meaning of the information imprinted in it.
The image of the world in to a large extent mythological, that is, it is real only for the person whose image it is.
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