Везде
The artist: The mirror phenomenon.
Table of contents
Annotation Estimate Publication content
References Comments
Share
QR
Metrics
The artist: The mirror phenomenon.
Annotation
PII
S0236-20070000392-2-1
Publication type
Article
Status
Published
Authors
Oleg A. Krivtsun 
Edition
Issue 3
Pages
54-67
Abstract
The complex processes of selfobservation and selfcorrection are explored a con dition for fullfledged creativity. The stage of a mirror, or the mechanism of a mirror is interpreted as productive states of the artist’s consciousness in any kind of art. Along with spontaneity and intuition, creativity requires a thirdparty view, grinding and evaluating the work being created. Often this is the artist (actor, musician) him self/herself, his/her own detached view that functions as such an outsider, the Other. Thus, the dialogue of the creator is tied to his/her own self, in the process of creation the artist acts as the director of himself
Keywords
CREATIVITY, THE STAGE OF THE MIRROR, THE ARTIST'S CONSCIOUSNESS, THE PROCESS OF INTROSPECTION, I AS THE OTHER, "MIRRORED CONSCIOUSNESS", SELF-CORRECTION
Date of publication
01.06.2018
Number of purchasers
8
Views
960
Readers community rating
0.0 (0 votes)
Cite Download pdf
1

References



Additional sources and materials

    

  1. Bernar S. Moya dvojnaya zhizn'. M.: Raduga, 1991. S. 352-353.
    2. 

  2. Bodrijyar Zh. Fatal'nye strategii M.: RIPOL klassik, 2017.
    3. 

  3. Vil'son G. Psikhologiya artisticheskoj deyatel'nosti. M.: Kogito-tsentr, 2001. S. 123.
    4. 

  4. Vishnevskaya G. Galina. M.: Gorizont; Aurika, 1992. S. 221.
    5. 

  5. Vsevolodskij-Gerngross V.N. Kratkij kurs istorii russkogo teatra. M.: Lan'; Planeta muzyki, 2011. S. 117-118.
    6. 

  6. Gofman I. Predstavlenie sebya drugim v povsednevnoj zhizni. M.: Kanon-press-Ts; Kuchkovo pole, 2000. S. 23.
    7. 

  7. Gofman I. Predstavlenie sebya drugim // Sovremennaya zarubezhnaya sotsial'naya psikhologiya: Teksty. M.: Izd-vo MGU, 1984. S. 192.
    8. 

  8. Kollingvud R.Dzh. Printsipy iskusstva. M.: Yaz. rus. kul'tury, 1999. S. 291.
    9. 

  9. Kostomarov A.S. Maska kak sposob ob'yavleniya litsa v sotsiokul'turnom prostranstve. SPb.: Aletejya. 2006.
    10. 

  10. Krivtsun O.A. Khudozhnik i ego dvojnik. Samootozhdestvlenie i identifikatsiya v tvorchestve // Chelovek. 2006. № 4-5.
    11. 

  11. Lakan Zh. Seminary. M.: Gnozis; Logos, 1998.
    12. 

  12. Perepelova N.V. Izobrazitel'no-simvolicheskie funktsii motiva zerkala: na materiale zhivopisi: dis.. kand. filos. nauk. M.: MGU im. M.V. Lomonosova, 2007.
    13. 

  13. Rastorguev M.V. Krizis "antropologii samotozhdestvennosti" v sovremennoj kul'ture. M.: Amfora. 2006.
    14. 

  14. Ron M.V. Metamorfozy obraza zerkala v istorii kul'tury. SPb.: Ros. gos. ped. un-t im. A.I. Gertsena. 2004.
    15. 

  15. Silant'eva I., Klimenko Yu. Akter i alter ego. M.: Graal', 2000. S. 125. 16.
    16. 

  16. Fanni Ardan: ehnergichnyj pessimist // Kul'tura. 2005. № 50. S. 16.
    17. 

  17. Frankl V. Chelovek v poiskakh smysla. M.: Progress, 1990. S. 55.
    18. 

  18. Fuko M. Ispol'zovanie udovol'stvij: v 2 t. T. [2]. M.: Akadem. Proekt, 2004.
    19. 

  19. Chaplin Ch. Moya biografiya. M.: VAGRIUS, 2000. S. 288.
    20. 

  20. Chulkov O.A. Metafizicheskie kontseptsii zerkal'nogo otrazheniya: dis.. kand. filos. nauk. SPb.: Sankt-Peterb. un-t, 2002.
    21. 

  21. Maslow A. Lessons from the Peak-Experiences // J. of Human. Psychol. 1962. N 2. P. 9.
    22.

Comments

No posts found

Write a review
Translate