Fav. psychologist. works, M.: Pedagogy, 1983, p. 251-261.
As you know, the psychology and psychophysiology of perception are characterized by perhaps the largest number of studies and publications, an immense amount of accumulated facts. Research is carried out at various levels: morphophysiological, psychophysical, psychological, epistemological, cellular, phenomenological ("phonographic" - K. Holzkamp) (Holzkamp K. Sinnlliehe Egkenntnis: Historischen Upsprung und gesellschaftliche Function der Wahrnehmung. Frankfurt / Main, 1963. ), at the level of micro- and macroanalysis. Phylogeny, ontogeny of perception, its functional development and processes of its recovery are studied. A wide variety of specific methods, procedures, indicators are used. Various approaches and interpretations have become widespread: physicalist, cybernetic, logical-mathematical, "model". Numerous phenomena have been described, some of them quite astonishing and yet unexplained.
But what is significant, according to the most authoritative researchers, now there is no convincing theory of perception that can cover the accumulated knowledge, outline a conceptual system. The pitiful state of the theory of perception, with the wealth of accumulated specific knowledge, indicates that now there is an urgent need to reconsider the fundamental direction in which research is moving.
The general proposition which I will try to defend today is that the problem of perception must be posed and developed how the problem of the psychology of the image of the world.(I note, by the way, that the theory of reflection in German is Bildtheorie, that is, the theory of the image.)
This means that every thing is initially posited objectively - in the objective connections of the objective world; that it - secondarily - also posits itself in subjectivity, human sensibility, and in human consciousness (in its ideal forms). It is necessary to proceed from this in the psychological study of the image, the processes of its generation and functioning.
Animals, humans live in the objective world, which from the very beginning acts as a four-dimensional: three-dimensional space and time (movement). The adaptation of animals occurs as an adaptation to the connections that fill the world of things, their changes in time, their movement; that, accordingly, the evolution of the sense organs reflects the development of adaptation to the four-dimensionality of the world, i.e. provides orientation in the world as it is, and not in its individual elements.
I say this to the fact that only with such an approach can many facts that escape from zoopsychology be comprehended, because they do not fit into traditional, essentially atomic, schemes. Such facts include, for example, the paradoxically early appearance in the evolution of animals of the perception of space and the estimation of distances. The same applies to the perception of movements, changes in time - perception, so to speak, of continuity through discontinuity. But, of course, I will not touch on these issues in more detail. This is a special, highly specialized conversation.
Turning to human consciousness, I must introduce one more concept - the concept of the fifth quasi-dimension, in which the objective world opens up to man. It - semantic field, system of meanings.
The introduction of this concept requires a more detailed explanation. The fact is that when I perceive an object, I perceive it not only in its spatial dimensions and in time, but also in its meaning. When, for example, I cast a glance at a wrist watch, then, strictly speaking, I have no image of the individual attributes of this object, their sum, their "associative set." This, by the way, is the basis of the criticism of associative theories of perception. It is also not enough to say that I have a picture of their form, as Gestalt psychologists insist. I perceive not the form, but an object that is a watch.
Of course, in the presence of an appropriate perceptual task, I can single out and realize their form, their individual features - elements, their connections. Otherwise, although all this is included in invoice image, in his sensual fabric, but this texture can be curtailed, obscured, replaced without destroying or distorting the objectivity of the image. The thesis I have stated is proved by many facts, both obtained in experiments and known from everyday life. It is not necessary for perceptual psychologists to enumerate these facts. I will only note that they appear especially brightly in images-representations.
The traditional interpretation here is to attribute to the perception itself such properties as meaningfulness or categoriality. As for the explanation of these properties of perception, they, as R. Gregory correctly says (Gregory R. Reasonable Eye. M., 1972.), At best, remain within the boundaries of the theory of G. Helmholtz.
The general idea I am defending can be expressed in the following propositions. The properties of meaningfulness, categorization are the characteristics of the conscious image of the world, not immanent in the image itself. Let me put it another way: meanings appear not as what lies in front of things, but as what lies behind the face of things- in the cognized objective connections of the objective world, in various systems in which they only exist, and only reveal their properties. Values thus carry a special dimension. This is the dimension intrasystem connections of the objective objective world. She is the fifth quasi-dimension of it.
^ Summing up
The thesis I defend is that in psychology the problem of perception should be posed as the problem of building in the mind of an individual a multidimensional image of the world, an image of reality. That, in other words, the psychology of the image (perception) is a concrete scientific knowledge of 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 create. It is also knowledge about how the image of the world functions, mediating their activity in the real world.
Here I must interrupt myself with some illustrative digressions. I am reminded of a dispute between one of our philosophers and J. Piaget when he visited us.
“What you get,” this philosopher said, addressing Piaget, “is that the child, the subject in general, builds the world with the help of a system of operations. How can you stand on such a point of view? This is idealism.
“I do not at all adhere to this point of view,” answered J. Piaget, “in this problem my views coincide with Marxism, and it is absolutely wrong to consider me an idealist!”
– But how, then, do you assert that for a child the world is the way his logic constructs it?
Piaget did not give a clear answer to this question.
There is an answer, however, and a very simple one. We are really building, but not the World, but the Image, actively "scooping" it, as I usually say, from objective reality. The process of perception is the process, the means of this "scooping out", and the main thing is not how, with the help of what means this process proceeds, but what is obtained as a result of this process. I answer: the image of the objective world, objective reality. The image is more adequate or less adequate, more complete or less complete ... sometimes even false ...
Let me make one more digression of a completely different kind.
The fact is that the understanding of perception as a process by which an image of a multidimensional world is built, by each of its links, acts, moments, each sensory mechanism, comes into conflict with the inevitable analyticism of scientific psychological and psychophysiological research, with the inevitable abstractions of a laboratory experiment.
We isolate and explore the perception of distance, the distinction of shapes, the constancy of color, apparent movement, and so on. etc. By careful experiments and precise measurements, we seem to be drilling deep but narrow wells that penetrate into the depths of perception. True, we do not often succeed in laying "communication passages" between them, but we continue and continue this drilling of wells and scoop out of them great amount information - useful, as well as of little use and even completely useless. As a result, whole heaps of incomprehensible facts have now formed in psychology, which mask the true scientific relief of the problems of perception.
It goes without saying that by this I do not at all deny the need and even the inevitability of analytical study, the isolation of certain particular processes and even individual perceptual phenomena for the purpose of their study in vitro. You just can't do without it! My idea is completely different, namely, that by isolating the process under study in the experiment, we are dealing with some abstraction, therefore, the problem of returning to the integral subject of study in its real nature, origin and specific functioning immediately arises.
In relation to the study of perception, this is a return to the construction of an image in the mind of an individual. external multidimensional world, world like him there is, in which we live, in which we act, but in which our abstractions in themselves do not "inhabit", as they do not, for example, in it the so thoroughly studied and carefully measured "phi-motion" (Gregory R. Eye and brain. M., 1970, pp. 124 - 125).
Here I come to the most difficult, one might say, the critical point of the train of thought I am trying out.
I want to state this point right away in the form of a categorical thesis, deliberately omitting all the necessary reservations.
This thesis is that the world in its separation from the subject is amodal. We are talking, of course, about the meaning of the term "modality", which it has in psychophysics, psychophysiology and psychology, when, for example, we are talking about the form of an object given in a visual or tactile modality, or in modalities together.
Putting forward this thesis, I proceed from a very simple and, in my opinion, completely justified distinction between properties of two kinds.
One is those properties of inanimate things that are found in interactions with the same things (with "other" things), i.e. in the interaction "object - object". Some properties are revealed in interaction with things of a special kind - with living sentient organisms, i.e. in the interaction "object-subject". They are found in specific effects, depending on the properties of the recipient organs of the subject. In this sense, they are modal, i.e. subjective.
The smoothness of the surface of an object in the interaction "object - object" reveals itself, say, in the physical phenomenon of friction reduction. When palpated by hand - in the modal phenomenon of a tactile sensation of smoothness. The same property of the surface appears in the visual modality.
So, the fact is that the same property - in this case, the physical property of the body - causes, acting on a person, impressions that are completely different in modality. After all, "shine" is not like "smoothness", and "dullness" is not like "roughness". Therefore, sensory modalities cannot be given a "permanent registration" in the external objective world. I emphasize external, because man, with all his sensations, himself also belongs to the objective world, there is also a thing among things.
The properties that we become aware of through sight, hearing, smell, etc. are not completely different; our self absorbs various sensory impressions, combining them into a whole as "joint" properties. This idea has turned into an experimentally established fact. I mean the study of I. Rock (Rock I., Harris C. Vision and touch. - In the book: Perception. Mechanisms and models. M., 1974, p. 276-279.).
In his experiments, subjects were shown a square of hard plastic through a reducing lens. "The subject took the square with his fingers from below, through a piece of matter, so that he could not see his hand, otherwise he could understand that he was looking through a reducing lens ... We ... asked him to report his impression of the size of the square ... Some subjects were asked to draw as accurately as possible a square of the appropriate size, which requires the participation of both sight and touch.Others had to choose a square of equal size from a series of squares presented only visually, and still others from a series of squares whose size could only be determined by touch...
The subjects had a certain holistic impression of the size of the square... The perceived size of the square... was about the same as in the control experiment with only visual perception."
So, the objective world, taken as a system of only "object-object" connections (ie, the world before animals and humans), is amodal. Only with the emergence of subject-object relationships, interactions, various modalities arise, which, moreover, change from species to species (I mean the biological species.).
That is why, as soon as we digress from subject-object interactions, sensory modalities fall out of our descriptions of reality...
The image is fundamentally the product of not only the simultaneous, but also successive combinations, fusions. None of us, getting up from the desk, will move the chair so that it hits the bookcase, if he knows that the showcase is behind this chair. The world behind me is present in the picture of the world, but absent in the actual visual world.
^
Some general conclusions
1. The formation of the image of the world in a person is his transition beyond the "directly sensual picture." An image is not a picture!
2. Sensuality, sensual modalities are becoming more and more "indifferent". The image of the world of the deaf-blind is not different from the image of the world of the sighted-hearing, but is created from a different building material, from the material of other modalities, woven from a different sensory fabric. Therefore, it retains its simultaneity, and this is a problem for research!
4. Sensual modalities form the obligatory texture of the image of the world. But the texture of the image is not equivalent to the image itself! So in painting, an object shines through behind smears of oil. When I look at the depicted object, I see no strokes, and vice versa! The texture, the material is removed by the image, and not destroyed in it.
The image, the picture of the world, does not include the image, but the depicted (image, reflection is revealed only by reflection, and this is important!).
Introduction
1.1. Definition of the concept "image of the world"
2. The problem of the variability of the image of the world in psychology
2.1. Characteristics of the image of the world
2.2. The image of the world and consciousness
Conclusion
Bibliography
Extract from the text
The legal picture of the world consists of many existing and functioning present stage development of the society of national legal systems. All of them are to some extent interconnected, interdependent and exert, albeit to varying degrees, the impact on each other.
As a theoretical and practical basis, the paper used the works of domestic and foreign authors on research issues, legislative acts of the Russian Federation and foreign countries, various types of social advertising using the image of the family.
The professional image of a child psychologist includes, based on the structure of the activity of the psychological service of education (I.V. Dubrovina, V.E. Pakhalyan, M.R. Bityanova, T.I. Chirkova, etc.), competence in such types of work as: training and education, psychoprophylaxis, education, diagnostics, psychocorrection, etc.
As a research method, methods of summarizing existing sources of theoretical knowledge, intent and content analysis, statistical and stylistic analyzes, as well as the continuous sampling method were chosen.
The psychology of professional activity covers a huge field of problems that arise from the moment when a person just begins to think about choosing a profession. The problem of perception of professional images is represented by studies that analyze the attitude to certain professions: secretary, journalist, psychologist and others. The problem of perception of the image of a psychologist in the public mind is on the borders of these two areas of research: on the one hand, it acts as a professional stereotype, on the other, as a problem of the social well-being of future professionals.
The information and empirical base of the study is represented by the content of monographs, dissertations, scientific articles, other publications of Russian and foreign economists, as well as the legal reference system Garant and official sites of the global Internet. The empirical basis of the study was the official statistical materials of the Federal State Statistics Service of the Russian Federation and the Krasnodar Territory, analytical data published in scientific economic journals, expert developments and assessments of Russian and foreign scientists, as well as analytical and own calculation materials of the author.
Research hypothesis: the personal quality of the negotiator affects the negotiation process, namely: the level of empathy is associated with the preference for certain strategies of behavior in a conflict that may arise in the negotiation process, namely:
Research hypothesis: empathy, as a personal quality of a negotiator, affects the negotiation process, namely: the level of empathy is associated with the preference for certain strategies of behavior in a conflict that may arise in the negotiation process, namely:
The world of technological progress has changed the attitude towards reading. Bright and attractive television programs, the world of computer games are shifting the value system little man towards ease and accessibility of perception.
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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, 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 level. Considering the constituent components that make up the image of the world, N.G. Osukhova singles out the "image of the Self" as a system ideas and attitudes of a person towards himself in the time 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 psychological time personality.
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, an 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" is a vivid example of an epic poem, which includes many legends (mainly Greek) about the transformations 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 of literary creativity, reduce its religious origin to aesthetics, reduce mythology 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. This is the price paid for the desire "to comprehend the world around us, to find out what it is made of and how it is made, and, having unraveled its laws, to learn how to manage 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 Ages) 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 requirement for harmony of individual parts, the science of proportions has grown. human body and perfect proportion. 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 is looking for greater expressiveness of the 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 a huge number of 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, a researcher of French fine art of the 17th century and Poussin's work 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 is more than a thousand 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 a regular 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 a 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 settled on such an understanding of antiquity, which was most reflected in his landscapes, where Nature became the main character, and harmony was the way of its existence.
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Although the concepts of "image of the world" and "picture of the world" are used in the works of psychologists, educators, and philosophers, the content of these categories is not separated in most psychological studies. As a rule, the "image of the world" is defined as a "picture of the world" (Abramenkova V.V., 1999; Kulikovskaya I.E., 2002), "a picture of the world order" (Aksenova Yu.A., 1997), a cognitive scheme (Pishchalnikova V.A.; 1998; Zinchenko V.P., 2003), predictive model (Smirnov S.D., 1985), “objective reality” (Karaulov Yu.N., 1996), etc.
In the context of our work, we will rely on the concept of "image of the world".
One of the very first definitions of the concept of "image of the world" can be found in geographical studies. The “image of the world” was defined here as a holistic understanding of the world by a person: “Representations about the Universe and the place of the Earth in it, about its structure, about natural phenomena are an inseparable part of understanding the world as a single whole in all cultures, from primitive to modern times” (Melnikova E. A., 1998, p. 3).
Consider the features of the concept of "image of the world" in psychological research.
According to A.N. Leontiev, the concept of "image of the world" is associated with the perception "The psychology of the image (perception) is a concrete scientific knowledge of how, in the course of their activity, individuals build an image of the world - 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” (Leontiev A.N., 1983, p. 254).
From the point of view of many domestic researchers (Leontiev A.N., 1983; Smirnov S.D., 1985) and others, the “image of the world” has a sensual basis. For example, from the point of view of A.N. Leontiev, the image itself is sensual, objective: “every thing is initially posited objectively in the objective connections of the objective world; secondarily, it also posits itself in subjectivity, human sensibility, and in human consciousness ”(Leontiev A.N., 1983, p. 252).
Many studies point to the social nature of the "image of the world", its reflective nature. For example, S.D. Smirnov connects the origin of the “image of the world” with activity and communication “The first aspect of the active social nature of the image of the world is its genetic aspect - the origin and development of the image of the world in the course of mastering and developing activity and communication. The second aspect is that in the very image of the world (according to at least, at its nuclear levels) includes a reflection of the activity that allows you to highlight the properties of objects that are not detected by them when interacting with the senses ”(Smirnov S.D., 1985, p. 149) .. The subject meaning and emotional and personal meaning of the image are given the context of activity, “updated (in accordance with the tasks of activity) as part of the image of the world” (Smirnov S.D., 1985, p. 143). The content of the “image of the world” is connected with the activity of the person himself. Activity allows a person to build an “image of the world” as a “prognostic model, or rather, an image of the world, continuously generating cognitive hypotheses at all levels of reflection, including in the language of “sensory modalities” (ibid., p. 168). Hypotheses are the material from which the "image of the world" is built. An important characteristic"image of the world" is its activity and social nature (Smirnov S.D., 1985).
The "image of the world" has a holistic nature. From the point of view of S.D. Smirnov's "image of the world" reflects reality (ibid.). Thus, the “image of the world” from the point of view of S.D. Smirnov has a reflective character, in this context, consideration of the problem of the development of the "image of the world" is associated with incoming information.
I.A. Nikolaeva, considering the problem of the “image of the world”, highlights the concept of “social world” (Nikolaeva I.A., 2004, p. 9). Referring to V.A. Petrovsky, under the "social world" the researcher understands "the world of people, the world of relations" I - others ", the interpersonal relationships experienced by a person, which carry all levels of human social relations. In our context, those relationships with others that are carried out in the inner world of the individual with the “personalized other” are also recognized as interpersonal in our context. The image of the "social world" is the "top" structure of the image of the world, characterized by the following properties: the universality of formal characteristics; representation at different levels of consciousness; integrity; amodality of nuclear structures, their semantic nature; predictability - relative independence from the perceived objective and social situation "" The image of the social world includes two levels: "conscious, sensually designed, and deep, torn away from sensuality, sign, semantic level - a reflection of the world as a whole" (Nikolaeva I.A., 2004 , p. 9).
The "image of the world" includes not only the "social world". According to A. Obukhov, it contains "a basic, invariant part, common to all its carriers, and a variable one, reflecting the subject's unique life experience" (Obukhov A., 2003). The system of ideas about the world includes "a person's worldview in the context of the realities of being" (ibid.).
From the point of view of V.P. Zinchenko, “the image of the world” is “mediated by objective meanings, their corresponding cognitive schemes and amenable to conscious reflection, the reflection in the human psyche of the objective world” (Pishchalnikova V.A., 1998; Zinchenko V.P., 2003). In the context of the subject-activity approach, the “image of the world” is understood as a reflection of the real world in which a person lives and acts, at the same time being a part of this world. Reality, therefore, is perceived by a person only through the "image of the world", in a constant dialogue with him.
According to A.K. Osnitsky, the objective world is “a world objectified by all the predecessors, fellow human beings in culture” (Osnitsky A.K., 2011, p. 251). According to the scientist, the perception of the world should be a discovery for a person. In this, “representatives in the human mind” play an important role: “acceptable and preferred goals, mastered skills of self-regulation, images of control actions, habitual assessments of experiencing successful and erroneous actions” (Osnitsky A.K., 2011, p. 254). In his mind, a person “operates with a socially defined system of values, which for the subject of activity in his own regulatory experience act as “values” (Osnitsky A.K., 2011, p. 255).
In many studies, the concept of "image of the world" correlates with the "picture of the world" (Leontiev A.N., 1983), (Artemyeva Yu.A., 1999), (Aksyonova Yu.A., 1997) and others.
From the point of view of V.V. Morkovkin, the picture of the world exists only in “the imagination of a person, which in many respects forms it independently, i.e. creates his own idea of reality ”(V.V. Morkovkin, cited by the book G.V. Razumova, 1996, p. 96).
According to Yu.N. Karaulova, the picture of the world is “an objective reality, subjectively reflected in the mind of an individual, as a system of knowledge about nature, society and man” (Yu.N. Karaulov, cited by G.V. Razumova, 1996, p. 59 ).
G.V. Razumova understands the picture of the world as reflected in the human mind "the secondary existence of the objective world, fixed and materialized in a kind of material form - language" (Razumova G.V., 1996, p. 12).
According to V.A. Maslova, the concept of a picture of the world (linguistic) “is based on the study of human ideas about the world. If the world is a person and the environment in their interaction, then the picture of the world is the result of processing information about the environment and the person. According to the researcher, the picture of the world, namely the linguistic one, is a way of conceptualizing the world “Each language divides the world in its own way, i.e. has its own way of conceptualizing it” (Maslova V.A., 2001, p. 64) perception and organization (“conceptualization”) of the world” (Maslova V.A., 2001, p. 65).
From the point of view of A.N. Leontiev's "picture of the world" is compared with the "fifth quasi-dimension". It is by no means subjectively ascribed to the world! It is a transition through sensibility beyond the boundaries of sensibility, through sensory modalities to the amodal world. The objective world appears in meaning, i.e. the picture of the world is filled with meanings” (Leontiev A.N., 1983, p. 260). The picture of the world in the studies of E.Yu. Artemyeva is presented as a transitional layer of “subjective experience”, which is divided according to the shape of the trace of activity. E.Yu. Artemyeva calls this layer semantic. “Traces of interaction with objects are fixed in the form of multidimensional relationships: traces are attributed by a subjective relationship (good-bad, strong-weak, etc.). Such relations are close to semantic - systems of "meanings". Traces of activity, fixed in the form of relationships, are the result of all three stages of the genesis of the trace: sensory-perceptual, representational, mental ”(Artemyeva E.Yu., 1999, p. 21) ..
In his studies, Yu.A. Aksenova, as an integral part of the “image of the world”, singles out the “picture of the world order”, which is understood as a system of “ideas about the constituent parts, organization and functioning of the surrounding world, about their role and place in it” (Aksenova Yu.A., 2000, p. 19). The content of the picture of the world order is compared here with the images of the world order. The picture of the world order of each person consists of integrated, single components: “special”, i.e. shared by a certain social or gender and age group of people, and "universal", i.e. those that exist in a person as a whole are universal ”(Aksyonova Yu.A., 1997, p. 19). The picture of the world consists of elements of inanimate and living nature, the human world "(man-made world: buildings, roads, equipment, transport, household items, culture, games)", "supernatural world (good, evil)", "abstract figures (points, straight lines, etc.)” (ibid., pp. 73-76).
I.E. Kulikovskaya distinguishes the following types in the structure of the picture of the world: “mythopoetic, philosophical, religious, scientific” world of culture". The picture of the world includes various types of "(mytho-epic, philosophical, religious, scientific)" (Kulikovskaya I.E., 2002, p. 8)..
According to I.E. Kulikovskaya picture of the world is formed in the human mind as a result of worldview (Kulikovskaya I.E., 2002). Worldview includes worldview, worldinterpretation, worldview and worldtransformation. Understanding the world shows the attitude of a person to the outside world. Understanding the world is associated with comprehension, the search for "the meaning, causes and effects of phenomena, their explanation with the spiritual experience of society, the individual." Through the interpretation of the world, a person explains the world, "makes it adequate to the inner world of the individual and society, history." The perception of the world is connected with the sensual-emotional experience of “a person of his being in the world” (Kulikovskaya I.E., 2002, p. 9). The development of the "picture of the world" occurs in the process of training and education, relating oneself to society and its culture. Correlation with the world allows "the child to realize and feel like a particle of this world, deeply connected with it." In this case, culture is “a form of social heredity, as a certain order of things and events that “flows” through time from one era to another, allowing the world to be transformed on the basis of values” (ibid., p. 4). In this approach, the construction of a picture of the world is the result of relating oneself to social values. Consideration of these concepts only in the described context does not provide an opportunity to enter the understanding of the "image of the world" and "picture of the world" into the space of spirit and culture.
In these approaches, the "image of the world" develops as a result of the "mastering" of certain knowledge by a person. For example, from the point of view of A.N. Leontiev’s construction of the “image of the world” is connected with its active “scooping out” of the surrounding reality “We are really building, but not the World, but the Image, actively “scooping it out, as I usually say from objective reality. The process of perception is the process, the means of this “scooping out”, and the main thing is not how, with the help of what means this process proceeds, but what is obtained as a result of this process. I answer: the image of the objective world, objective reality. The image is more adequate or less adequate, more complete or less complete, sometimes even false ... ”(Leontiev A.N., 1983, p. 255) ..
In his studies, E.Yu. Artemyeva connects the acceptance of the world by a person with the experience of experienced activities “... the world is accepted by a biasedly structured subject and the characteristics of this structuring are significantly related to the experience of experienced activities” (Artemyeva E.Yu., 1999, p. 11). E.Yu. Artemyeva connects subjective experience with the appearance of traces of activity. Traces of activities form systems that stably structure external phenomena. By their nature, these systems are close to semantic formations “The system of meanings is understood “as traces of activities recorded in relation to their objects” (Artemyeva E.Yu., 1999, p. 13). E.Yu. Artemyeva identifies models of subjective experience, which consist in constructing constructs that describe the generation of transformation and the actualization of activity traces.
The researcher identified three layers of subjective experience, which differ in the form of the trace of activity: the surface layer “corresponds to the first and second stages of genesis - sensory-perceptual and representational levels of reflection” (Artemyeva E.Yu., 1999, p. 21), semantic “traces of interaction recorded in the form of multidimensional relationships: the traces are attributed by subjective attitude (good - bad, strong - weak, etc.) "..." This layer is called the picture of the world "(Artemyeva E.Yu., 1999, p. 21), a layer of amodal structures "The deepest layer, correlated with the nuclear structures of the image of the world and formed with the participation and the most significant contribution of conceptual thinking" (E.Yu. Artemyeva, 1999, p. 21).
The “image of the world” is the deepest structure; this structure is “non-modal and relatively static, because is rebuilt only as a result of implementation (an act of current activity), which shifts meanings after achieving or not achieving the goal, if the goal is recognized by the filtering systems as significant enough” (Artemyeva E.Yu., 1999, p. 21).
From the point of view of E.Yu. Artemyeva, the relationship of the “image of the world” and the “picture of the world”, represent the relationship of “homorphism”, “the image of the world controls, reflecting part of its (in its own language) relations, and the picture of the world “transmits” to it relations synthesized by multimodal properties to objects associated with the subject of current activity” (Artemyeva E.Yu., 1999, p. 21). Thus, from the point of view of this approach, the dynamics of the relationship between the “image of the world” and the “picture of the world” is ultimately determined by current activity. The "image of the world" acts as a semantic formation that controls the picture of the world. E.Yu. Artemyeva points out the importance of the appearance of one’s own meaning: “An additional link is needed that processes the trace of the system, turning our “meaning” into “personal meaning” (Artemyeva E.Yu., 1999, p. 29). Nevertheless, the author considers the generation of "personal meaning" as a result of the influence of "traces of activity" (ibid., p. 30).
Thus, the above approaches considered by us represent the “image of the world” as a system of reflection of social relations, the culture of society, and the system of values. The "image of the world" is considered as a deep structure, which includes a system of ideas about the world (nature, phenomena of reality), etc., a system of meanings about the world. This system of ideas can be different depending on the peculiarities of gender and age characteristics, the experience of a person's activity in society, his cognitive activity.
In our opinion, the described relationship between the "image of the world" and the "picture of the world" is a mutual subordination, reflection, "homorphism". These are finite relations, since there is no possibility of access to the socio-cultural space in them. Here, the study of these concepts is carried out mainly from a cognitive point of view.
V.V. Abramenkova considers the problem of the picture of the world not only in the space of social relations: "The picture of the world is a syncretic object-sensory formation, acting not as a passive-reflective, but as an actively constructing principle - building a space of one's own relations with the outside world as certain expectations and requirements for it" (Abramenkova V.V., 1999, p. 48). Building a picture of the world involves "the creation of a space of relations by a child in an ideal plan, it involves the active involvement of the child in recreating connections with the surrounding reality as the construction of holistic and harmonious (humane) relations" (Abramenkova V.V., 1999, p. 52).
V.V. Abramenkova points out that the mechanism of "formation of the child's relationship to the world, people and himself is the mechanism of identification (unification of oneself with other individuals - emotional connection - inclusion in one's own inner world- acceptance as one's own norms, values, samples of a given individual or group) ”(ibid., p. 53). According to the researcher, the identification mechanism “does not mean immersion either in one's own Self or in the Self of another person, but going beyond the field of communication and interaction with it. And then we find ourselves already in a three-dimensional space, where alienation turns into the ability of the subject to rise above the situation, and not be inside it ”(Abramenkova V.V., 1999, p. 57).
Based on this concept, we can conclude that the picture of the world is an actively constructing beginning of building a space of one's own relations, in which the ability to go beyond one's own "I" and "I" of another person arises. What is the reference point for this exit?
This going beyond oneself occurs when a person discovers the spiritual (socio-cultural) world.
The “sociocultural world” is presented by us as a value-semantic space that includes “sociocultural patterns” (Bolshunova N.Ya., 1999, p. 12). (This concept was considered by us in Section 1.1.).
The mystery of the discovery of the spiritual (socio-cultural) world is described by religiously oriented philosophers, writers as "revelation" (Zenkovsky V.V., 1992), as the highest grace (Florenskaya T.A., 2001), etc. The hero elder Zosima (from the work of F.M. Dostoevsky: “The Brothers Karamazov”) speaks about the sacrament, intimate communication with the spiritual world, in his teachings. higher and higher, and the roots of our thoughts and feelings are not here, but in other worlds. That is why philosophers say that the essence of things cannot be comprehended on earth. God took seeds from other worlds and sowed them on the earth and nurtured His garden and everything that could sprout sprouted, but the nurtured one lives and lives only by the feeling of its contact with the mysterious worlds of others, if this feeling weakens or is destroyed in you, then the nurtured in you. Then you will become indifferent to life and hate it ”(Quoted according to the book O.S. Soina, 2005, p. 14)..
The discovery of the socio-cultural world is compared by Yu.M. Lotman with the discovery of "beyond reality" (Lotman Yu.M., 1992, p. 9). In the apophatic knowledge of God, the relationship between man and the World is presented as enlightenment “The most Divine knowledge of God is knowledge by ignorance, when the mind, gradually renouncing everything that exists, eventually comes out of itself and unites with the most luminous radiance with super-sense unity, and then, in incomprehensible abyss of Wisdom, he achieves enlightenment ”(Quoted according to the book O.S. Soina, V.Sh. Sabirova, 2005, p. 40)..
The sociocultural world acts as an invisible semantic context of human life. Sociocultural “meanings” are discovered by a person intuitively, as “a kind of “voice”” (Bolshunova N.Ya., 2005, p. 71), the “voice” of the third (Bakhtin M.M., 2002, p. 336), set the situation “ future semantic event” (Lotman Yu.M., 1992, p. 28).
The movement of a person towards socio-cultural values contributes to the realization of "personal destiny, as a projection of the World" (Bolshunova N.Ya., 2005, p. 42). At the moment of dialogue with the World, an “infinity” (Nepomnyashchaya N.I., 2001, p. 51) of relations with the world opens up to a person, allowing a person to go beyond the “usual knowledge about the world and about himself” (Nepomnyashchaya N.I., 2001, p. 131). From the point of view of N.I. Nepomnyashchaya, the infinity (non-finiteness) of a person in the world allows “in the process of appropriation, and in the process of functioning, to go beyond the limits of the known, assimilated, including beyond the limits of oneself, to create something new, to create” (Nepomnyashchaya N.I., 2001, p. .21).
The discovery of the sociocultural world, from the point of view of N.Ya. Bolshunova, is a special “event” in which the experience of “ontologization of values as measures” takes place (Bolshunova N.Ya., 2005, pp. 41-42).
Based on our theoretical review of the problem related to the concept of the “image of the world”, we have drawn the following conclusions:
1) by the “image of the world” we mean an integral system of a person’s ideas about the world, other people, about himself and his activities in the world, accompanied by experience, i.e. they are experienced representations;
2) the "image of the world" is dialogical, has a complex structure, which includes the following components:
- "sociocultural world", includes sociocultural samples of values as measures presented in culture;
- "social world", includes those norms and requirements that exist in society;
- "objective world" (material, physical) - includes ideas about objects and phenomena of the natural and man-made material world, including natural-scientific ideas about the laws of its existence;
3) in the process of a genuine dialogue - a dialogue of "consent" with the World, a person is able to go beyond the boundaries of the usual ideas about the world and about himself.