BULLOUGH’S ESSAY, “Psychical Distance as a. Factor in given some attention to psychical distance; N1nd Essays Edward Bullough (Stanford, California. , , et passim. 6 Edward Bullough, ‘Psychical Distance’ as a Factor in Art and an Aesthetic Principle,”. The British Journal of Psychology, V (June. The concept of “physical distance” developed by Edward Bullough in his well- known article1has come to be generally accepted as an aesthetic principle.

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Kates – – Tulane Studies in Philosophy In Defence of Psychical Distance.

The average individual, on the contrary, very rapidly reaches his limit of decreasing Distance, his ‘Distance-limit,’ i. The working of Distance is, accordingly, not simple, but highly complex. Psychical Distance in Acting.

‘Psychical Distance’ as a Factor in Art and an Aesthetic Principle

Nevertheless, a fog at sea can be a source of intense relish and enjoyment. A short illustration will explain what is meant by ‘Psychical Distance. The proof of the seeming paradox that it is Distance which primarily gives to dramatic action the appearance of unreliability and not vice versais the observation that the same filtration of our sentiments and the same seeming ‘unreality’ of actual men and things occur, when at times, by a sudden change of inward perspective, we are overcome by the feeling that “all the world’s a stage.

Theoreticall y there is no limit to the decrease of Distance.

Naoko Korita, Edward Bullough’s Concept of ‘Psychical Distance’ – PhilPapers

Rouse Ball and J. But it does not mean that the relation between the self and the object is broken to the extent of becoming ‘impersonal. In languages, Bullough was a dedicated teacher who published little. He did experimental work on the perception of coloursand in his theoretical work introduced the concept of psychical distance: Attempts to raise ‘culinary art’ to the level of a Fine Art have failed in spite of ewdard propaganda, as completely as the creation of scent or liquer ‘symphonies.

Using the term ‘Psychical Distance’, he showed that the states of aesthetic appreciation ditsance artistic production stood outside the context of our personal needs and ends.

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Wilkinson, introduction to Aestheticsxii. The lectures are first announced, to begin on 14 Octoberin the Cambridge University Reporter 37, no. By using this site, you agree to the Terms of Use and Privacy Policy.

In this sense Witasek, oeprating with Meinong’s theory of Annahemhas described the emotions involved in witnessing a drama as Scheingefuhlea term which has so frequently been misunderstood in discussions of his theories. In giving preference therefore to the term ‘impersonal’ bulluogh describe the relation between the spectator and a work of Art, it is to be noticed that it is not impersonal in diatance sense in which we speak of the ‘impersonal’ character of Science, for instance.

Edward Bullough

Views Read Edit View history. Many pictures, plays and poems had, as a matter of fact, rather an expository or illustrating significance – as for instance much ecclesiastical Art – or the force of a direct practical appeal – as the invectives of many satires or comedies – which seem to us nowadays irreconcilable bullouhh their aesthetic claims. Request removal from index. Cambridge University Press,8—9.

Art has with equal vigour been declared alternately ‘idealistic’ and ‘realistic,’ ‘sensual’ and ‘spiritual,’ ‘individualistic’ and ‘typical. George Dickie – – British Journal of Aesthetics 13 1: It is a term constantly occurring in discussions and criticisms, though its sense, if pressed at all, becomes very questionable. The jealous spectator of ‘Othello’ will indeed appreciate and enter into the play the more keenly, the greater the resemblance with his own experience – provided that he succeeds in keeping the Distance between the action of the play and his personal feelings: He came to concentrate on Italian, and was elected to the Chair of Italian at Cambridge in There exist, therefore, two different sets of conditions affecting the degree of distance in any given case: It is on account of the same difficulty that the expert and the professional critic makes edaard bad audience, since their expertness and critical professionalism are practical activities, involving their concrete personality and constantly endangering their Distance.

The Aesthetic Experience of Video Games: Retrieved from ” https: In the source, the second quotation is mostly italicised.

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Thus, in the fog, the transformation by Distance is produced in the first instance by putting the phenomenon, so to speak, out of gear with our practical, actual self; by allowing bullougu to stand outside the context of our personal needs and ends – in short, by looking at it ‘objectively,’ as it has often been called, by permitting only such reactions on our part as emphasise the ‘objective’ features of the experience, and by interpreting even our ‘subjective’ affections not as modes of our being but rather as characteristics of the phenomenon.

Index Outline Category Portal. According to Bullough, this distance lies between the self and affections or objects as the sources of those affections. It is this interplay that makes it possible to take the concept of ‘Psychical Distance’ both as an act and as properties. He was buried at Woodchester Priory in Stroud.

Edward Bullough – Wikipedia

Several studies have been made on the definition and validity of ‘Psychical Distance’. Hence the statement of so many artists that artistic formulation was to them a kind of catharsis, a means of ridding themselves of feelings and ideas the acuteness of which they felt almost as a kind of obsession. No categories specified categorize this paper.

In Bullough married Enrichetta Angelica Psychival daughter of the actor Eleonora Dusewith whom he would have a son and a daughter. His personal implication in the event renders it impossible for him to formulate and present it in such a way as to make others, dsitance himself, feel all the meaning and fullness which it possesses for him.

Bullough’s ‘Psychical Distance’ and Its Critics. Longman – – Journal of Aesthetics and Art Criticism 6 1: Many an artist has seen his work condemned, and himself ostracized for the sake of so-called ‘immoralities’ which to him were bona fide aesthetic objects.