Три концепции психологии искусства (соотношение психологического, искусствоведческого и философского дискурсов)

Abstract

Background. At the present time, there has appeared a new interest in understanding the concepts of the psychology of art. The awareness of art and its works lags far behind the practice of artistic life, in which new types of works and new aesthetic concepts, often very different from traditional art forms, have appeared. The problem of demarcation of art and non-art has become aggravated, there is a need for a new cycle of awareness of art and artistic activity. Objective. The article seeks to analyze the characteristic types of concepts in psychology of art, to understand their structure. Considering the approaches in which such concepts were created, as well as scientific discourses and concepts used in this fields, the author focuses on the analyses of three types of approaches (discourses) — psychological, art criticism and philosophical and on understanding the relationships between them. Methods. The paper analyzes the concept of psychology of art by L.S. Vygotsky and one of his followers, V.S. Sobkin, on the example of the discussion of theatrical reincarnation, the concept of art by N.V. Rozhdestvenskaya and the concept of art proposed by the author. The discourses and concepts used in each concept (psychological and non-psychological) are considered, as well as the ways to identify the common structures in these concepts, which determine the contexts of psychological processes and structures. To explain the author's concept of the psychology of art, a case analysis in formation of artistic vision in childhood is proposed. Results. It is shown that in the first two concepts of psychology of art, two main discourses are used — psychological and art history, and in the third — philosophical, within which the whole is set (comprehension of art, artistic communication, artistic reality). The first two concepts differ in the ways of specifying the whole and psychological constructions (in the first, the psychological mechanism is indicated, in the second, a set of processes and structures). Psychological constructions in the third concept are mediated by knowledge of the whole, as a result, some of them are quite well known in psychology, while others are introduced as new concepts. At the end of the article, two more contexts of the whole are indicated: features of individual perception and experience of art, as well as general psychological conditions. Conclusion. Naturally, psychological, philosophical and art criticism approaches to and concepts of art do not coincide. However, many of the issues and theoretical distinctions related to them are either common or overlapping, indicating the interactions of these disciplines.