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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His personal implication in the event renders it impossible for him to formulate and present it in such a way as to make others, like himself, feel all the meaning and fullness which it possesses for him.
Edward Bullough is best known for this article, which has been reprinted extensively and discussed widely in twentieth-century aesthetics. Sign in to use this feature.
Naoko Korita, Edward Bullough’s Concept of ‘Psychical Distance’ – PhilPapers
No keywords specified fix it. Bullough’s ‘Psychical Distance’ and Its Critics. Generalisations and abstractions suffer under this disadvantage that they have too much general applicability to invite a personal interest in them, and too little individual concreteness to prevent them applying to us in all their force.
There exist, therefore, two different sets of conditions affecting the degree of distance in any given case: There are two ways of losing distance: The proof of the seeming paradox that it is Distance which primarily gives bulloufh 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.
It is, for this very reason, also an aesthetic principle. Request removal from index.
Theoreticall y ecward is no limit to the decrease of Distance. Longman – – Journal of Aesthetics and Art Criticism 6 1: Indeed, without some degree of predisposition on our part, it must necessarily remain incomprehensible, and to that extent unappreciated.
Using the term vullough Distance’, he showed that the states of aesthetic appreciation and artistic production stood outside the context of our personal needs and ends. It has been cleared of the practical, concrete nature of its appeal, without, however, thereby losing its original constitution.
It has been an old problem why the ‘arts of the distanec and of the ear’ should have reached the practically exclusive predominance over arts of other senses. 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.
Views Read Edit View history. Gene Blocker – – British Billough of Aesthetics 17 3: This page was last edited on 27 Novemberat On the other hand, no work of Art can be genuinely ‘objective’ in the sense in which this term might be applied to a work on history or to a scientific treatise; nor can it be ‘subjective’ in the ordinary acceptance of that term, as a personal feeling, a direct statement of a wish or belief, or a cry of passion is subjective.
‘Psychical Distance’ as a Factor in Art and an Aesthetic Principle
Vision and Philosophy in Michael Oakeshott Exeter: 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 edwrd with his own wife.
Cambridge University Press, Especially artists are gifted in this direction to a remarkable extent. Distance further provides the much needed criterion of the beautiful as distinct from the merely agreeable. Less obvious, more metaphorical, is the meaning of temporal 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.
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.
But it does not mean that sdward relation between the self and the object is broken to the extent of becoming ‘impersonal.
Psychical Distance and the Aesthetic Appreciation of Wilderness. From Wikipedia, the free encyclopedia. For certain forms of Art, such as lyrical poetry, are said to be ‘subjective’; Shelley, for example would usually be considered a ‘subjective’ writer.
Bullough was elected to the Chair of Italian at Cambridge in March The Truth About Psychical Distance. It is a term constantly occurring in discussions and criticisms, though its sense, if pressed at all, becomes very questionable. Rouse Ball and J. To do edawrd usually results in paradoxes, which are nowhere more inevitable than in ubllough upon Art.
Bassam Romaya – – Philosophy and Theology 12 2: Loftin – – International Journal of Applied Philosophy 3 1: After a short illness  resulting from an internal operation,  Bullough died in a nursing home in Bath on 17 September 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.
Crossley – – Idealistic Studies 3 1: In Defence of Psychical Distance. In short, Distance may be said to be variable both according to the distancing power of the individual, and according to the character of the object. In theory, therefore, not only the usual subjects of Art, but even the most personal affections, whether ideas, percepts or emotions, can be sufficiently distanced to be aesthetically appreciable.
The Concept of Psychical Distance.