Background. In modern Russian psychology of giftedness, a prominent place is occupied by studies of initiative in its various aspects. The author explores a creative initiative, which manifests itself not in the discovery of something objectively existing, but in the creation of something that has not yet existed, in particular, of an individual artistic image. Objective. Research into the creative initiative in child's artistic creativity requires a special, “understanding” analysis of children's works and the very situation of their appearance. Such an analysis is not aimed at the correspondence or non-compliance of the objective results of children's creativity with the requirements of the task but primary at understanding the goals and intentions of the child, which are manifested in the initiative actions that go beyond the proposed task. It is due to such initiative changes that an external task common to all children turns into an individual, internally motivated creative work. Sample. The study involved 37 primary school students from one of the schools in Moscow, who studied within the programme by G.N. Kudina and Z.N. Novlyanskaya “Literature as a subject of the aesthetic cycle”, developed for the system of developing education by D.B. Elkonin and V.V. Davydov Methods. The article deals with the works of literary and artistic creativity of younger schoolchildren, composed in the conditions of teaching literature according to the developing programme of G.N. Kudina and Z.N. Novlyanskaya “Literature as a subject of the aesthetic cycle”. The author briefly outlines the theoretical foundations of this programme and describes the methodological principle of changing the positions of the author and the reader, which underlies training. Results. Examples of an understanding analysis of essays created in the process of mastering the concept of “point of view” are given. The works of different levels of understanding of the task and the presence of the author's initiative in the children's essay are considered. At the same time, proceeding from the conviction that literary and creative development is, in principle, accessible to every child the author emphasizes that even in a weak essay, an understanding analysis makes it possible to detect the germ of an independent idea that deserves to be noticed and supported. Therefore, special attention is paid to the management of the collective discussion of children's compositions, which is designed to help the little author not only to see the shortcomings of the work but also, and most importantly, realize the most valuable thing in it, which can be improved in the following compositions. Conclusion. One of the main conclusions of the study is the assertion that attention to children's literary creativity and mastery of an understanding analysis of its results is the missing link in the professional training of future teachers of literature.
{"title":"Understanding analysis of children’s writings as a means of identifying “creative initiative”","authors":"Zinaida N. Novlianskaya","doi":"10.11621/npj.2023.0314","DOIUrl":"https://doi.org/10.11621/npj.2023.0314","url":null,"abstract":"Background. In modern Russian psychology of giftedness, a prominent place is occupied by studies of initiative in its various aspects. The author explores a creative initiative, which manifests itself not in the discovery of something objectively existing, but in the creation of something that has not yet existed, in particular, of an individual artistic image. Objective. Research into the creative initiative in child's artistic creativity requires a special, “understanding” analysis of children's works and the very situation of their appearance. Such an analysis is not aimed at the correspondence or non-compliance of the objective results of children's creativity with the requirements of the task but primary at understanding the goals and intentions of the child, which are manifested in the initiative actions that go beyond the proposed task. It is due to such initiative changes that an external task common to all children turns into an individual, internally motivated creative work. Sample. The study involved 37 primary school students from one of the schools in Moscow, who studied within the programme by G.N. Kudina and Z.N. Novlyanskaya “Literature as a subject of the aesthetic cycle”, developed for the system of developing education by D.B. Elkonin and V.V. Davydov Methods. The article deals with the works of literary and artistic creativity of younger schoolchildren, composed in the conditions of teaching literature according to the developing programme of G.N. Kudina and Z.N. Novlyanskaya “Literature as a subject of the aesthetic cycle”. The author briefly outlines the theoretical foundations of this programme and describes the methodological principle of changing the positions of the author and the reader, which underlies training. Results. Examples of an understanding analysis of essays created in the process of mastering the concept of “point of view” are given. The works of different levels of understanding of the task and the presence of the author's initiative in the children's essay are considered. At the same time, proceeding from the conviction that literary and creative development is, in principle, accessible to every child the author emphasizes that even in a weak essay, an understanding analysis makes it possible to detect the germ of an independent idea that deserves to be noticed and supported. Therefore, special attention is paid to the management of the collective discussion of children's compositions, which is designed to help the little author not only to see the shortcomings of the work but also, and most importantly, realize the most valuable thing in it, which can be improved in the following compositions. Conclusion. One of the main conclusions of the study is the assertion that attention to children's literary creativity and mastery of an understanding analysis of its results is the missing link in the professional training of future teachers of literature.","PeriodicalId":31171,"journal":{"name":"Nacional''nyj Psihologiceskij Zurnal","volume":"21 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"135599633","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
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.
{"title":"Three concepts of the Psychology of Art (correlation of discourses in psychology, art criticism, and philosophy)","authors":"Vadim M. Rosin","doi":"10.11621/npj.2023.0302","DOIUrl":"https://doi.org/10.11621/npj.2023.0302","url":null,"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.","PeriodicalId":31171,"journal":{"name":"Nacional''nyj Psihologiceskij Zurnal","volume":"16 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"135501301","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Background. The article touches upon the problems of age self-identification in creative people. The question of the forced influence of the lived years on the interpretation of reality is considered. Questions of the influence of age on the philosophical scenario of texts are analyzed. Objective. The article considers the age-related self-awareness of the author in the context of the role of emotions in cognitive processes and creativity, as they are associated with the history of ideas and the empiricism of the existence of art. Results. For the first time, instrumental approaches are introduced in the strategy of interpreting cultural phenomena, the Universal Dictionary of Existential Definitions and the Concept Subtraction Procedure, which allow to introduce new semantic overtones into the study of prejudices and the reality of artistic self-consciousness. Conclusion. The study of the phenomenon of an artist’s age self-awareness, as a regulatory mechanism for mastering the world, may involve the choice of a wide variety of interpretations. At the same time, the interpretation of culture with the help of the Universal Dictionary of Existential Definitions and the Procedure for Subtracting Concepts makes it possible to supplement well-known research methods, to reveal the specifics of models and processes of world development by a creative person. With some speculation (in the philosophical sense) or controversy, such an approach can become one of the tools in identifying and reconstructing the responses of age self-identification in the artistic world of texts.
{"title":"Age self-identification of a creative person in literature","authors":"Аndrey L. Yastrebov","doi":"10.11621/npj.2023.0310","DOIUrl":"https://doi.org/10.11621/npj.2023.0310","url":null,"abstract":"Background. The article touches upon the problems of age self-identification in creative people. The question of the forced influence of the lived years on the interpretation of reality is considered. Questions of the influence of age on the philosophical scenario of texts are analyzed. Objective. The article considers the age-related self-awareness of the author in the context of the role of emotions in cognitive processes and creativity, as they are associated with the history of ideas and the empiricism of the existence of art. Results. For the first time, instrumental approaches are introduced in the strategy of interpreting cultural phenomena, the Universal Dictionary of Existential Definitions and the Concept Subtraction Procedure, which allow to introduce new semantic overtones into the study of prejudices and the reality of artistic self-consciousness. Conclusion. The study of the phenomenon of an artist’s age self-awareness, as a regulatory mechanism for mastering the world, may involve the choice of a wide variety of interpretations. At the same time, the interpretation of culture with the help of the Universal Dictionary of Existential Definitions and the Procedure for Subtracting Concepts makes it possible to supplement well-known research methods, to reveal the specifics of models and processes of world development by a creative person. With some speculation (in the philosophical sense) or controversy, such an approach can become one of the tools in identifying and reconstructing the responses of age self-identification in the artistic world of texts.","PeriodicalId":31171,"journal":{"name":"Nacional''nyj Psihologiceskij Zurnal","volume":"33 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"135501305","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Background. New challenges of the time require the actualization of cultural codes that ensure the stability of Russian world. Special attention is to be paid to education of the younger generations as bearers of traditional Russian values. The appeal to national musical culture meets the priorities of the state policy, reflected in the Decree of the President of the Russian Federation dated November 9, 2022 No. 809. Objective. The aim is to analyze the potential of Russian music of the 2nd half of the 20th century in introducing students to traditional Russian values and the peculiarities of its perception by modern schoolchildren. Results. The analysis of educational programmes and of the repertoire of music education in different types of educational organizations showed the need to introduce students to the national musical culture through perception of Russian music of the 2nd half of the 20th century. The educational potential of modern local musical works is revealed in the interiorization of traditional Russian values by students. Approaches to the design of programmes as well as to the selection of the repertoire for music education are developed. Conclusions. New challenges of the time create the need to update music education programmes in order to deepen students' acquaintance with the national musical culture. The perception of musical works should take place in both the historical and cultural and the modern context. Musical culture is a holistic phenomenon, a diverse hierarchical system of relations, including philosophical, aesthetic, and ethical foundations of the value attitude to musical art in various types of musical and creative activities. To make continuous musical education effective, it is necessary to appeal to modern musical culture. Immersion of students in the musical continuum of modern culture creates conditions in which not only the musical and creative development of students takes place more organically, but also the formation of the qualities of a true “man of culture”, spirituality, morality, and patriotism are developed. The basis of musical perception is the ability to hear and experience musical content as an artistic and figurative reflection of reality, which determines its powerful influence on personality. Music is designed to develop a sense of inner involvement in the spiritual culture of the native country.
{"title":"Development of students’ musical culture in their perception of Russian music of the 2nd half of the XXth century","authors":"Ekaterina M. Akishina","doi":"10.11621/npj.2023.0316","DOIUrl":"https://doi.org/10.11621/npj.2023.0316","url":null,"abstract":"Background. New challenges of the time require the actualization of cultural codes that ensure the stability of Russian world. Special attention is to be paid to education of the younger generations as bearers of traditional Russian values. The appeal to national musical culture meets the priorities of the state policy, reflected in the Decree of the President of the Russian Federation dated November 9, 2022 No. 809. Objective. The aim is to analyze the potential of Russian music of the 2nd half of the 20th century in introducing students to traditional Russian values and the peculiarities of its perception by modern schoolchildren. Results. The analysis of educational programmes and of the repertoire of music education in different types of educational organizations showed the need to introduce students to the national musical culture through perception of Russian music of the 2nd half of the 20th century. The educational potential of modern local musical works is revealed in the interiorization of traditional Russian values by students. Approaches to the design of programmes as well as to the selection of the repertoire for music education are developed. Conclusions. New challenges of the time create the need to update music education programmes in order to deepen students' acquaintance with the national musical culture. The perception of musical works should take place in both the historical and cultural and the modern context. Musical culture is a holistic phenomenon, a diverse hierarchical system of relations, including philosophical, aesthetic, and ethical foundations of the value attitude to musical art in various types of musical and creative activities. To make continuous musical education effective, it is necessary to appeal to modern musical culture. Immersion of students in the musical continuum of modern culture creates conditions in which not only the musical and creative development of students takes place more organically, but also the formation of the qualities of a true “man of culture”, spirituality, morality, and patriotism are developed. The basis of musical perception is the ability to hear and experience musical content as an artistic and figurative reflection of reality, which determines its powerful influence on personality. Music is designed to develop a sense of inner involvement in the spiritual culture of the native country.","PeriodicalId":31171,"journal":{"name":"Nacional''nyj Psihologiceskij Zurnal","volume":"274 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"135599636","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Background. Currently, there is a contradiction between the high guidelines of psychological and pedagogical science for the creative development of each student in the lessons of art disciplines and the traditional academic orientation of art curricula. It raises questions about the orientation of children to participate in competitions that require mental stress from the child, are held within a time frame for which it is impossible to create a meaningful work worthy of the author who is a subject of culture. The solution to the problem should be sought in referring to the historical experience of art pedagogy, when creativity of children was studied as a phenomenon of artistic culture, while the child was perceived as a participant in the cultural process. Objective. The aim is to reveal the method of studying children's drawing as a phenomenon of artistic culture. This method has been tested and reflected in scientific research and the results of children's artistic creativity during the period between years 1910 and 1920. Methods. Analysis of psychological, pedagogical and cultural literature on the problem, comparative comprehensive analysis of the results of artistic education and methodological documents. Results. The psychological and pedagogical value is shown. The collection of children's drawings formed by A.V. Bakushinsky and his colleagues during their work at the State Academy of Art Sciences (1921–1929), which is now part of the International Collection of Children’s Drawings of the Institute of Art Education and Cultural Studies of RAE, as part of his psychological and pedagogical heritage, is introduced into scientific circulation. The methods of systematization, description, study of children's creativity, analysis and generalization of the results of artistic development from the standpoint of artistic culture, psychology and pedagogy of his time are revealed. Conclusion. The research of A.V. Bakushinsky and his students represents an ideal model of a scientifically based system of aesthetic education aimed at development of an artistic culture of a person capable of creative invention in the field of a chosen area.
{"title":"The study of children’s drawing as a phenomenon of artistic culture","authors":"Natalia N. Fomina","doi":"10.11621/npj.2023.0315","DOIUrl":"https://doi.org/10.11621/npj.2023.0315","url":null,"abstract":"Background. Currently, there is a contradiction between the high guidelines of psychological and pedagogical science for the creative development of each student in the lessons of art disciplines and the traditional academic orientation of art curricula. It raises questions about the orientation of children to participate in competitions that require mental stress from the child, are held within a time frame for which it is impossible to create a meaningful work worthy of the author who is a subject of culture. The solution to the problem should be sought in referring to the historical experience of art pedagogy, when creativity of children was studied as a phenomenon of artistic culture, while the child was perceived as a participant in the cultural process. Objective. The aim is to reveal the method of studying children's drawing as a phenomenon of artistic culture. This method has been tested and reflected in scientific research and the results of children's artistic creativity during the period between years 1910 and 1920. Methods. Analysis of psychological, pedagogical and cultural literature on the problem, comparative comprehensive analysis of the results of artistic education and methodological documents. Results. The psychological and pedagogical value is shown. The collection of children's drawings formed by A.V. Bakushinsky and his colleagues during their work at the State Academy of Art Sciences (1921–1929), which is now part of the International Collection of Children’s Drawings of the Institute of Art Education and Cultural Studies of RAE, as part of his psychological and pedagogical heritage, is introduced into scientific circulation. The methods of systematization, description, study of children's creativity, analysis and generalization of the results of artistic development from the standpoint of artistic culture, psychology and pedagogy of his time are revealed. Conclusion. The research of A.V. Bakushinsky and his students represents an ideal model of a scientifically based system of aesthetic education aimed at development of an artistic culture of a person capable of creative invention in the field of a chosen area.","PeriodicalId":31171,"journal":{"name":"Nacional''nyj Psihologiceskij Zurnal","volume":"49 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"135599634","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Elena V. Bazhanova, Irina I. Potashova, Anita T. Poudel
Relevance. Significant changes in understanding disability and special needs of children experiencing disability and their families have occurred around the world over the past decades. Together with integration processes that have affected the structure of the contingent in educational organizations at various levels, these changes have led to a change in approaches to assistance and support programmes for students with disabilities, including those with mental retardation (intellectual disabilities). In this regard, the search, approbation and introduction into practice of the system of education and social protection as well as of complex psychological, pedagogical and rehabilitation technologies and methods that activate the development of higher mental functions, stimulate cognitive and creative activity, develop emotional and volitional spheres and personal qualities of children of these categories are of particular importance. The development of new methods of work that are aimed at preparing such children for the future, if possible, independent life and activity, are important both for the family and for the state as a whole in terms of reducing the economic and social burden. Objective. The study aims to generalize the experience of using the Ebru-therapy art technology, which reveals the unique possibilities of Ebru art in psychological and pedagogical practice of working with children with disabilities. The focus is placed on the effectiveness of Ebru-therapy in rehabilitation and correction for children of this category. Methods included free and directed observation, questionnaires, interviews with teachers, specialists of the school psychological and pedagogical service, parents and other family members raising children with disabilities, analysis of the productive activity of children, analysis of literary sources, and peer review method. Results. The authors present the experience of practical and experimental work on the study of the impact of Ebru art and the technology of “Ebru-therapy” on the development of mental functions and the activation of the creative abilities of students with mental retardation (intellectual disabilities). In the course of the study, art-therapeutic and art-pedagogical resources of this technology were identified. The potential possibilities of its use when working with various categories of clients were described. The authors introduce the qualitative results of testing the Ebru-therapy technology in the process of psychological and pedagogical rehabilitation of children with mental retardation (intellectual disabilities), focusing on the additional (in relation to other art methods) possibilities of Ebru art, due to the very process of creating artistic images on the water. Conclusions. Studies have confirmed that children with disabilities of various nosologies and levels of manifestation as well as of different psychophysical developmental features can master the techniques of classical Ebru and
{"title":"Application of Ebru art techniques in the system of psychological and pedagogical rehabilitation of children with disabilities","authors":"Elena V. Bazhanova, Irina I. Potashova, Anita T. Poudel","doi":"10.11621/npj.2023.0320","DOIUrl":"https://doi.org/10.11621/npj.2023.0320","url":null,"abstract":"Relevance. Significant changes in understanding disability and special needs of children experiencing disability and their families have occurred around the world over the past decades. Together with integration processes that have affected the structure of the contingent in educational organizations at various levels, these changes have led to a change in approaches to assistance and support programmes for students with disabilities, including those with mental retardation (intellectual disabilities). In this regard, the search, approbation and introduction into practice of the system of education and social protection as well as of complex psychological, pedagogical and rehabilitation technologies and methods that activate the development of higher mental functions, stimulate cognitive and creative activity, develop emotional and volitional spheres and personal qualities of children of these categories are of particular importance. The development of new methods of work that are aimed at preparing such children for the future, if possible, independent life and activity, are important both for the family and for the state as a whole in terms of reducing the economic and social burden. Objective. The study aims to generalize the experience of using the Ebru-therapy art technology, which reveals the unique possibilities of Ebru art in psychological and pedagogical practice of working with children with disabilities. The focus is placed on the effectiveness of Ebru-therapy in rehabilitation and correction for children of this category. Methods included free and directed observation, questionnaires, interviews with teachers, specialists of the school psychological and pedagogical service, parents and other family members raising children with disabilities, analysis of the productive activity of children, analysis of literary sources, and peer review method. Results. The authors present the experience of practical and experimental work on the study of the impact of Ebru art and the technology of “Ebru-therapy” on the development of mental functions and the activation of the creative abilities of students with mental retardation (intellectual disabilities). In the course of the study, art-therapeutic and art-pedagogical resources of this technology were identified. The potential possibilities of its use when working with various categories of clients were described. The authors introduce the qualitative results of testing the Ebru-therapy technology in the process of psychological and pedagogical rehabilitation of children with mental retardation (intellectual disabilities), focusing on the additional (in relation to other art methods) possibilities of Ebru art, due to the very process of creating artistic images on the water. Conclusions. Studies have confirmed that children with disabilities of various nosologies and levels of manifestation as well as of different psychophysical developmental features can master the techniques of classical Ebru and ","PeriodicalId":31171,"journal":{"name":"Nacional''nyj Psihologiceskij Zurnal","volume":"16 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"135599635","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Background. The issue of the methods in aesthetic education, including music, is of particular importance in connection with the task of personal development and formation of the moral sphere. The question of organizing the work that the listener does when perceiving a piece of music arises. Practical solution to this problem requires considering and identifying the content and structure of musical perception. Objectives. The article aims (1) to research the mechanisms and orientation of musical perception; (2) to analyze approaches to the problem of musical content in musicology and music psychology; (3) to reveal the possibilities of rhythmoplasty in the formation of musical perception as the ability to understand and experience and to respond to sounding music. Methods. The work is a theoretical and analytical study summarizing the experience of practice, musical movement, and other methods of rhythmoplasty. The methods of logical and meaningful analysis of theoretical approaches to the description of musical perception are used. The study of musical-motor forms created in practice is carried out from the point of view of reflecting the formal structures of music, as well as from the point of view of revealing the musical content. Sample. Musical-motor forms and compositions created in the practice of musical movement, as well as written reviews of participants of classes and members of the “Heptahor” studio are used as a material for analysis. Results. The conducted research allows us to confirm the assumption that the expressive movements carried out in response to sounding music reflect rather the internal, meaningful and semantic side of the music than its external, formal-structural aspects. Conclusion. The results obtained allow us to define the process of musical perception as a complex activity of “listening” to the inner semantic side of a musical work, which is not reducible to purely analytical work. It is also shown that using the means of rhythmoplasty makes it possible to reflect the inner semantic side of a musical work and translate a musical image into spatio-temporal forms.
{"title":"Musical movement as a means of comprehending the inner form of a musical work","authors":"Aida M. Alimazyan","doi":"10.11621/npj.2023.0307","DOIUrl":"https://doi.org/10.11621/npj.2023.0307","url":null,"abstract":"Background. The issue of the methods in aesthetic education, including music, is of particular importance in connection with the task of personal development and formation of the moral sphere. The question of organizing the work that the listener does when perceiving a piece of music arises. Practical solution to this problem requires considering and identifying the content and structure of musical perception. Objectives. The article aims (1) to research the mechanisms and orientation of musical perception; (2) to analyze approaches to the problem of musical content in musicology and music psychology; (3) to reveal the possibilities of rhythmoplasty in the formation of musical perception as the ability to understand and experience and to respond to sounding music. Methods. The work is a theoretical and analytical study summarizing the experience of practice, musical movement, and other methods of rhythmoplasty. The methods of logical and meaningful analysis of theoretical approaches to the description of musical perception are used. The study of musical-motor forms created in practice is carried out from the point of view of reflecting the formal structures of music, as well as from the point of view of revealing the musical content. Sample. Musical-motor forms and compositions created in the practice of musical movement, as well as written reviews of participants of classes and members of the “Heptahor” studio are used as a material for analysis. Results. The conducted research allows us to confirm the assumption that the expressive movements carried out in response to sounding music reflect rather the internal, meaningful and semantic side of the music than its external, formal-structural aspects. Conclusion. The results obtained allow us to define the process of musical perception as a complex activity of “listening” to the inner semantic side of a musical work, which is not reducible to purely analytical work. It is also shown that using the means of rhythmoplasty makes it possible to reflect the inner semantic side of a musical work and translate a musical image into spatio-temporal forms.","PeriodicalId":31171,"journal":{"name":"Nacional''nyj Psihologiceskij Zurnal","volume":"5 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"135501303","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Background. The modern changeable and uncertain situation actualizes the problem of art, which is able to reflect the emotional experiences of people, harmonize their ideas about themselves and the world, and also play the role of a certain coping strategy that helps to overcome uncertainty and variability. Objective. The study aims to work out the theoretical and methodological analysis of trends that have existed in the art of the XX–XXI centuries. Methods. Comparative analysis of the concepts of the psychology of art in the XX–XXI centuries and the new aesthetic concepts of the last decades of the XXI century is carried out. Results. The results obtained showed that contemporary art combines the aesthetics of everyday life and the “torn” aesthetics of abrupt changes. Crystallization of artists and viewers’ experiences connects them with a commonality of emotions and attitudes to the situation. The mechanism of both creativity and catharsis is the mutual “spots of time”, leading from disharmony to harmony between the human and the world. Conclusion. The changed situation throughout the world leads to change in the “language” of art, which obtains new mechanisms of emotional impact. Aesthetics of transitivity connects aesthetic transformations with everyday life, making new images familiar. This leads to the fact that these images become a new type of aesthetics and help to get used to the transformations.
{"title":"Psychology of art in a transitive world: the aesthetics of change","authors":"Tatiana D. Martsinkovskaya","doi":"10.11621/npj.2023.0303","DOIUrl":"https://doi.org/10.11621/npj.2023.0303","url":null,"abstract":"Background. The modern changeable and uncertain situation actualizes the problem of art, which is able to reflect the emotional experiences of people, harmonize their ideas about themselves and the world, and also play the role of a certain coping strategy that helps to overcome uncertainty and variability. Objective. The study aims to work out the theoretical and methodological analysis of trends that have existed in the art of the XX–XXI centuries. Methods. Comparative analysis of the concepts of the psychology of art in the XX–XXI centuries and the new aesthetic concepts of the last decades of the XXI century is carried out. Results. The results obtained showed that contemporary art combines the aesthetics of everyday life and the “torn” aesthetics of abrupt changes. Crystallization of artists and viewers’ experiences connects them with a commonality of emotions and attitudes to the situation. The mechanism of both creativity and catharsis is the mutual “spots of time”, leading from disharmony to harmony between the human and the world. Conclusion. The changed situation throughout the world leads to change in the “language” of art, which obtains new mechanisms of emotional impact. Aesthetics of transitivity connects aesthetic transformations with everyday life, making new images familiar. This leads to the fact that these images become a new type of aesthetics and help to get used to the transformations.","PeriodicalId":31171,"journal":{"name":"Nacional''nyj Psihologiceskij Zurnal","volume":"102 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"135501304","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Background. The relevance of the study is due to the growing popularity of research into political and protest potential of carnival culture in foreign studies. Objective. The aim is to test the hypothesis that foreign concepts of carnival culture indirectly influenced the fact that street theatre is interpreted not as art but rather as an attribute of carnivalized protest. Methods. The study uses a theoretical method of analysis, which makes it possible to compare the current data of interdisciplinary studies of the nature of laughter and the comic with the interpretations of the carnival in the author's theories and concepts as well as to identify the inaccuracies in the definitions of humor and serious-laughter phenomena. Sample. The results of the analysis of a sample of studies published from 2006 to 2022 in foreign periodicals and non-periodicals devoted to the protest, political potential of carnival culture is presented. Results. On the example of several cases, it is shown that when in the process of analyzing carnival phenomena, irony and satire are considered by researchers within the category of humor, carnival culture is equated to a carnivalized protest. Street theatre is one of the forms of a carnivalized protest. Conclusion. Non-use of the latest data in the field of the nature of laughter phenomena in the study of carnival phenomena by foreign researchers leads to the growth of scientific works in which protest, carnival and street theatre are equelled without evidence. The categorical delimitation of humor and such serious-laughter phenomena as irony and satire reveals the groundlessness of the definitions in which carnival phenomena and street theatre refer to forms of non-violent protest practice.
{"title":"Street theatre in the context of foreign concepts of carnival culture","authors":"Elena А. Semenova","doi":"10.11621/npj.2023.0304","DOIUrl":"https://doi.org/10.11621/npj.2023.0304","url":null,"abstract":"Background. The relevance of the study is due to the growing popularity of research into political and protest potential of carnival culture in foreign studies. Objective. The aim is to test the hypothesis that foreign concepts of carnival culture indirectly influenced the fact that street theatre is interpreted not as art but rather as an attribute of carnivalized protest. Methods. The study uses a theoretical method of analysis, which makes it possible to compare the current data of interdisciplinary studies of the nature of laughter and the comic with the interpretations of the carnival in the author's theories and concepts as well as to identify the inaccuracies in the definitions of humor and serious-laughter phenomena. Sample. The results of the analysis of a sample of studies published from 2006 to 2022 in foreign periodicals and non-periodicals devoted to the protest, political potential of carnival culture is presented. Results. On the example of several cases, it is shown that when in the process of analyzing carnival phenomena, irony and satire are considered by researchers within the category of humor, carnival culture is equated to a carnivalized protest. Street theatre is one of the forms of a carnivalized protest. Conclusion. Non-use of the latest data in the field of the nature of laughter phenomena in the study of carnival phenomena by foreign researchers leads to the growth of scientific works in which protest, carnival and street theatre are equelled without evidence. The categorical delimitation of humor and such serious-laughter phenomena as irony and satire reveals the groundlessness of the definitions in which carnival phenomena and street theatre refer to forms of non-violent protest practice.","PeriodicalId":31171,"journal":{"name":"Nacional''nyj Psihologiceskij Zurnal","volume":"5 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"135501525","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
京公网安备 11010802042870号
京ICP备2023020795号-1
扫码关注我们
求助内容：
应助结果提醒方式：