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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But surely the proverbial unsophisticated yokel whose chivalrous interference in the play on behalf of the hapless heroine can only be prevented by impressing upon him that ‘they are only pretending,’ is not the ideal type of theatrical audience.
Thereby the ‘contemplation’ of the object becomes alone possible. This difference, so well known as to be almost trivial, is generally explained by reference to the knowledge that the characters and situations are ‘unreal,’ imaginary. In a Fog at Sea.
Its peculiarity lies in that the personal character of the relation has been, so to speak, filtered. Perhaps the most obvious suggestion is that of actual spatial distance, i. In the First World WarBullough was recruited as a civilian in the summer of to the Admiralty ‘s cryptoanalysis section, Room The variability of Distance in respect to Art, disregarding for the moment the subjective complication, appears both as a general feature in Art, and in the differences between the special arts.
Bullough and the Concept of Psychical Distance.
On the contrary, it describes a personal relation, often highly emotionally coloured, but of a peculiar character. The Aesthetic Experience of Video Games: In reality, the concordance will merely render him acutely conscious of his own jealousy; by a sudden reversal of perspective he will no longer see Othello apparently betrayed by Desdemona, but himself in an analogous situation with his own wife.
‘Psychical Distance’ as a Factor in Art and an Aesthetic Principle
Temporal distance, remoteness from us in point of time, though often a cause of misconceptions, has been djstance to be a factor of considerable weight in our appreciation. Allusions to social institutions of any degree of personal importance – in particular, allusions implying any doubt as to their validity – the questioning of some generally recognised ethical sanctions, references to topical subjects occupying public attention at the moment, and such like, are all dangerously near the average limit and may at any time fall below it, arousing, instead of aesthetic appreciation, concrete hostility or mere amusement.
Edward Bullough 28 March — 17 September was an English aesthetician and scholar of modern languageswho worked at the University of Cambridge. Psychical distance Bullough capitalises the words is that psydhical, in certain situations, “appears to lie between our own self and its affections, using the latter term in its broadest sense as anything which affects our being”.
Edward Bullough – Wikipedia
Setup an account with your affiliations in order to access resources via your University’s proxy server Configure custom proxy use this if your affiliation does not provide a proxy. This personal, but ‘distanced’ relation as I will venture to call this nameless character of our view directs attention to a strange fact which appears to be one of the fundamental paradoxes of Art: Sascha Talmor – – Philosophical Studies The working of Distance is, accordingly, not simple, but highly complex.
Sign in Create an account. One of the best known examples is to be found in our attitude towards the events and characters of the drama; they appeal to us like persons and incidents of normal experience, except that that side of their appeal, which would usually affect us in a directly personal manner, is held in abeyance. History of Western Philosophy.
As a rule, experiences constantly turn the same side edware us, namely, that which has the strongest practical force of appeal. The success and intensity of its appeal would seem, therefore, to stand in direct proportion to the completeness with which it corresponds with our intellectual and emotional peculiarities and the idiosyncracies of our experience.
Evennett, “Edward Bullough,” Dublin Reviewno.
According to Bullough, this distance lies between the self and affections or objects as the sources of those affections. Views Read Edit View history. Suppose a man, who believes that he has cause to be jealous about his wife, witnesses a bullkugh of ‘Othello. The Concept of Psychical Distance. By mere force of generalisation, a general truth or a universal ideal is so far distanced from myself that I fail to realise it concretely at all, or, when I do so, I can realise it only as part of my practical actual beingi.
Crossley – – Idealistic Studies 3 1: It was a convention at the time that articles in the Caian were signed with initials only. Paragraph numbering below has been added to facilitate class discussion.
Several studies have been made on the definition and validity of ‘Psychical Distance’. The average individual, on the contrary, very rapidly reaches his limit of decreasing Distance, his ‘Distance-limit,’ i.
Eric vd Luft – – Evental Aesthetics 2 2: It has been cleared of the practical, concrete nature of its appeal, without, however, thereby losing its original constitution.
Herein especially lies the advantage of Distance compared with such terms as ‘objectivity’ and ‘detachment. Usually, though not always, it amounts to the same thing to say that the Distance lies between our own self and bullough objects as are the sources or vehicles of such affections. Theoreticall y there is no limit to the decrease of Distance.
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.
They appeal to everybody and therefore to none.
“Psychical Distance” (Edward Bullough)