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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Views Read Edit View history. Apart from the physical annoyance and remoter forms of discomfort such as delays, disrance is apt to produce feelings of peculiar anxiety, fears of invisible dangers, strains of watching and listening for distant and unlocalised signals.
Edward Bullough – Wikipedia
The lectures are first announced, to begin on 14 Octoberin the Cambridge University Reporter 37, no. No keywords specified fix it. The Aesthetic Experience of Video Games: Loftin – – International Journal of Applied Philosophy 3 1: And here one may remark that not only do persons differ from each other in their habitual measure of distance, but that the same individual differs in his ability to maintain it in the face of different objects and of different arts.
Psychicxl Blocker – – British Journal of Aesthetics 17 3: 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. That distance, by changing our relation to the characters, renders them seemingly fictitious, not that the fictitiousness of the characters alters our feelings toward them.
There are two ways of losing distance: History of Western Philosophy. It is on account of the same difficulty that the expert and the professional critic makes a bad audience, since their expertness and critical professionalism are practical activities, involving their concrete personality and constantly endangering their Distance.
Bradley on Censorship and Psychical Distance. Sign in Create an account. Tad Bratkowski – unknown. Van Camp They may be freely reproduced, so long as this complete citation is included with any such reproductions.
Naoko Korita, Edward Bullough’s Concept of ‘Psychical Distance’ – PhilPapers
But it does not mean that the relation between the self and the object is broken to the extent of becoming ‘impersonal. This article is in the bullougb domain, as the copyright has expired. His power distancee 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.
Distance, as I said before, is obtained by separating the object and its appeal from one’s own self, by putting it out of gear with practical needs and ends. A short illustration will explain what is meant by ‘Psychical Distance. Attempts to raise ‘culinary art’ to the level of a Fine Art have failed in spite of all propaganda, as completely as the creation of scent or liquer ‘symphonies.
It is, of course, to be granted that the actual and admitted unreality of the dramatic action reinforces the effect of Distance. Imprint Academic,— Such works have consequently profited greatly by lapse of time and have reached the level of art only with the help of temporal distance, while others, on the contrary, often for the same reason have suffered a loss of distance, through over -distancing.
The discussion questions, bibliographic references, and hyperlinks have been added by Julie Van Camp. George Dickie – – British Journal of Aesthetics 13 1: There exist, therefore, two different sets of conditions affecting the degree of distance in any given case: In giving preference therefore to the term ‘impersonal’ to describe the relation between the spectator and a work of Art, it is to be noticed that it is not impersonal in the sense in which we speak of the ‘impersonal’ character of Science, for instance.
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.
Edward Bullough’s Concept of ‘Psychical Distance’
The conception of ‘Distance’ suggests, in connexion with Art, certain trains of thought by no means devoid of interest or of speculative importance. Bowes and Bowes,xii. This general connotation is ‘Psychical Distance.
No categories specified categorize this paper. Again, it marks one of the most important steps in the process of artistic creation and serves as a distinguishing feature of what is common so loosely described as ditsance ‘artistic temperament.
The proof bullogh 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.