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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Wilkinson, introduction to Aestheticsby Edward Bullough Bkllough It has a negativeinhibitory aspect – the cutting-out of the practical sides of things and of our practical attitude to them – and a positive side – the elaboration of the experience on the new basis created by the inhibitory action of Distance. In languages, Bullough was a dedicated teacher who published little.

Edward Bullough’s Concept of ‘Psychical Distance’

Wilkinson, introduction to Aestheticsxii. In Bullough married Enrichetta Angelica Marchetti daughter of the actor Eleonora Dusewith whom he would have deward son and a daughter.

By using this site, you agree to the Terms of Wdward and Privacy Policy. Rouse Ball and J. This distance appears to lie between our own self and its affections, using the latter term in its broadest sense as anything which affects our being, bodily or spiritually, e. Oakeshott is identified in Elizabeth M.

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

Evennett, “Edward Bullough,” Dublin Reviewno. In Defence of Psychical Distance.

Sneh Pandit – – British Journal of Aesthetics 16 1: Psychical Distance and Temporality. The working of Distance is, accordingly, bulliugh simple, but highly complex.

This contrast, often emerging with startling suddenness, is like a momentary switching on of some new current, or the passing ray of a brighter light, illuminating the outlook upon perhaps the most ordinary and familiar objects – an impression which we experience sometimes in instants of direct extremity, edwwrd our practical interest snaps like a wire from sheer over-tension, and we watch the consummation of some impending catastrophe with the marvelling unconcern of a mere spectator.


Bullough and the Concept of Psychical Distance. It is one of the contentions of this essay that such opposites find their synthesis in the more fundamental conception of Distance. Bullough was elected to the Chair of Italian at Cambridge in Psyychical 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: Request removal from index.

He came to concentrate on Italian, and was elected to the Chair of Italian at Cambridge in Distance does not imply an impersonal, purely intellectually interested relation of such a kind.

Edward Bullough – Wikipedia

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. Art has with equal vigour been declared alternately ‘idealistic’ and ‘realistic,’ ‘sensual’ and ‘spiritual,’ ‘individualistic’ and ‘typical.

It is not, however, in any of these meanings that ‘Distance’ is put forward here, though it will be clear in the course of this essay that the above mentioned kinds of distance are rather special forms of the conception of distance as advocated here, and derive whatever aesthetic qualities they may possess from distance in its general connotation. This difference in the Distance-limit between artists and the public has been the source of much misunderstanding and injustice.

Its peculiarity lies in that the personal character of the relation has been, so to speak, filtered. His power of distancing, nay, the necessity of distancing feelings, sensations, situations which for the average person are too intimately bound up with his concrete existence to be regarded in that light, have often quite unjustly earned for him accusations of cynicism, sensualism, morbidness or frivolity.


This entry has no external links. George Dickie – – Philosophy and Phenomenological Research 22 2: Temporal distance, remoteness from us in point of time, though often a cause of misconceptions, has been declared to be a factor of considerable weight in our appreciation.

The first was noticed already by Aristotle in his Poetics ; the second has played a great part in the history of painting in the form of perspective; the distinction between these two kinds of distance assumes special importance theoretically in the differentiation between sculpture in the round, and relief-sculpture.

I mean here what is often rather loosely termed ‘idealistic Art,’ that is, Art springing from abstract conceptions, expressing allegorical meanings, or illustrating general truths.

Monthly downloads Sorry, there are not enough data points to plot this chart. There exist, therefore, two different sets of conditions affecting the degree of distance in any given case: Note that Bullough’s texts and translations of other authors are collected after the chronological presentation.

Theoreticall y there is no limit to the decrease of Distance. Vision and Philosophy in Michael Oakeshott Exeter: Those studies assert that it’s a psychical act or a set of properties of objects projected from subjective impressions.