The role of religion and art in shaping the moral character of a person
Now the mass consciousness, through bourgeois propaganda, is infected with the opinion that the Bolsheviks tried to create an unspiritual state and did not attach importance to the moral education of the people, because they were atheists and opposed the church. The layman does not think of spirituality outside of religion at all, and sees worthy educators of morality only in the churchmen who forgive sins, without thinking about why, for two millennia, their sermons have not made people more humane? Why, no matter who you ask, everyone, as one, stands for high morality, while there are fewer and fewer truly moral people in society every day? Public morality, i.e. the set of rules that regulates human relationships at the level of public opinion has always been replete with beautifully sounding abstract maxims that are absolutely inapplicable in real life. And public morality, i.e. the actual, carried out in everyday life, the relationship of man to man has changed from era to era and has always left much to be desired.
Ilyenkov in his writings, following Marx, Engels and Lenin, exposes the roots that nourish the social tree, which bears fruit with forms of social consciousness, including ethics. These roots are a way of material production. It follows from this that morality and morality acquire a real meaning only in specific historical conditions. Considering the historical process, it is not difficult to see how social morality changes (morality, of course, to a lesser extent) depending on the mode of production that prevails in society. Those rules of human society that regulated relations between people in the days of the slave system became completely unacceptable in the days of the feudal system. And when the bourgeois mode of production matured in the depths of feudalism, then, sweeping away obsolete economic relations along with their corresponding morality, Europe began to be shaken by peasant wars, the Reformation and bourgeois revolutions. The new economic relations brought with them a new morality. All class partitions were broken, and a person became formally free in his choice. He was no longer obliged to work for anyone, but the invisible lash of hunger forced him to do it even more imperatively than the lash of an overseer or manager. He, as the owner of labor power, turned into a commodity, and was thrown into the market along with countless other commodities. Mankind was divided into representatives of the commodity "labor" and representatives of the commodity "capital". In conditions of fierce competition, the war of all against all was growing. The initial alienation of man from the product and process of labor, as well as from all other essential forces of his own, deepened more and more with each new stage in the development of capitalist production. Bloody wars broke out, the causes of which were crises of overproduction and attempts to seize new markets and sources of raw materials. It was these conditions that gave rise to and strengthened the morality characteristic of bourgeois society. "Everyone for himself, one God - for all", "man is a wolf to man", "everything is bought and sold", etc. etc.
And at that time, beautiful-hearted sermons were pouring from the ambos of churches, and to this day they are pouring out that one should “love your neighbor as yourself”, that you should “turn your left cheek when you are hit on the right”, that you should “not kill” and "do not steal" and so on. It is clear that these rules have not been and are not being applied in real life, leading people only to stupidity, deprivation of will and, ultimately, to reconciliation with the existing, truly hellish, reality. The reconciliation of a person with hellish reality turns him into a bent servant of God. He ceases to transform the world in the direction of its improvement and bring it into line with his human needs. Naturally, having ceased to engage in this purely human activity, a person begins to adapt to the world, the living conditions in which today are ugly, i.e. acts like an animal. Acting according to the animal type, a person inevitably degrades as a person. Moral responsibility and moral choice are integral features of a person. It is impossible to renounce them in favor of someone without ceasing to be a person. Consequently, by entrusting to God, and in fact to churchmen, the responsibility for his moral choice, a person automatically loses both will and choice. The results are disastrous. As in the case of Hitler, for example: at first the Fuhrer thought and decided for the entire German people, of course, with his tacit consent, and then, the entire German people cruelly paid for the decisions and actions of the Fuhrer and at the same time plunged the whole world into the fiercest battle. In the same way, people who have surrendered to religion gradually lose the ability to think and act independently; a man in a cassock, most often more immoral than themselves, becomes their master and at the same time a guarantor before God. His wealth grows with donations from the suffering, and for some reason, his instructions and advice always completely coincide with the interests and aspirations of the ruling classes. In life, everything happens differently than the modern "wise minnows" think. They believe that "God created man in his own image and likeness", but in fact, as Feuerbach understood, man created God in his own image and likeness. Moreover, in every era, the image presented on the icons exactly corresponds to the ideas of the human race, both about itself and about moral criteria, i.e. about good and evil. When humanity was writhing in the iron grip of the Middle Ages, God was also presented as a martyr. Now, for example, in the Protestant sects of the well-fed West, God is presented as such a well-groomed, prosperous owner of paradise, and even a multibillionaire. The layman believes that spirituality and religion are synonyms, but in reality it is the opposite: "Religion is the sigh of an oppressed creature. The heart of a heartless world, just as it is the spirit of a soulless order."
1.
But not a single truly spiritual person will reconcile himself to the position of an oppressed creature, will not look for a heart where there is none, and will not be guided in his actions by soulless orders, even if they are generally accepted. Consequently, religion at the moment serves exclusively the spiritual enslavement of mankind and the perpetuation of hell on earth, and does not and cannot determine its spiritual development at all. Once upon a time, when Christianity opposed the state machine of slave-owning Rome, there is no doubt that it not only contributed to the development of spirituality, but also reflected the emerging economic need for a transition to feudalism. Perhaps due to the fact that initially monotheism arose as a herald of a new social order, i.e. was progressive, the face of religion is always turned to the past? Therefore, it so often dissolves people whose past was happier than the present. Religion creates an illusion, a mirage of spirituality, in order to divert attention from the disgusting ulcers of a society built on the exploitation of man by man.
But along with religion, there is such a form of social consciousness as art. If religion today has a negative lulling effect on human morality, then with art the situation is completely different. Although in this matter, as they say, there is a nuance: depending on what kind of art ...
In the images created by artists, musicians, actors and writers, the spirit of the era in which they create is objectified. In works of art, in an individualized form, the universal is reflected and more or less completely (depending on the degree of universality of the artist's personality), i.e. those processes and trends that determine the direction of social development at a given point in time. A true artist, whether he understands it or not, tells people through his canvases: "Look into the existing given. Do you see where everything is going?" In the same way, a musician, a writer, and an artist - each in his own way influences the feelings of people in order to awaken in them an idea aimed at resolving the problems that have matured in society. Works of art do not provide ready-made recipes (they should be given in the scientific works of political economists, social scientists and other scientists), they fix and present social contradictions, as well as convey the degree of their tension.
It is known that the art of the Renaissance period anticipated the emergence of the bourgeois mode of production and the development of science that it caused. The titans of the Renaissance, with their monumental works, showed man that he is not a servant of God, but a thinking creator, that he is capable of creating something more perfect than prejudices and theological treatises. But it was precisely the artists of the Renaissance who, turning to the images of Antiquity, seemed to have a presentiment that this, more perfect something, in the final analysis, would be only a new modification of slavery, since ancient art arose on the basis of slave-owning relations. It should be noted a very remarkable detail: the craving for ancient images was inherent not only to the artists of the Renaissance, but also to Russian artists of the middle of the 19th century, as well as to many artists of the collapsing Soviet Union. Artists in a peculiar figurative language in different time and in different spaces they fixed the inevitability of the establishment of capitalism in society.
Ilyenkov believes that the artists of the Renaissance “did not understand well the sad circumstance that it is impossible to “revive” the ancient gods, that is, to form the image of a contemporary in the image and likeness of Zeus and Prometheus, Aphrodite and Nike, without reproducing all those conditions on on the soil of which these gods could breathe and live. In particular, without slavery, without the mass of "talking tools", due to which the true creators of the Statues of Zeus and Prometheus lived and created, those people who created the ancient gods in their own image and likeness.
2.
But, it seems to me, Ilyenkov overestimates the degree of mastery of dialectical logic by artists, but he clearly does not appreciate the degree of development of their intuition. For the most part, artists are not dialecticians and do not correlate pluses with minuses in their dialectical unity, contradiction and development. In a society with an unsurpassed division of labor, this is mainly the lot of philosophers, and sometimes scientists. Representatives of art feel, anticipate the realization of this or that form of being, the strengthening or extinction of certain tendencies of development. Most likely, this was the case with the Renaissance artists. Michelangelo or any other great master lived in certain conditions, communicated with people of different classes, signed some bills, borrowed goods in a grocery store, negotiated orders with someone, someone patronized him, someone harmed him, someone weaved intrigues around him, etc. And in the process of all this everyday whirlwind, for some reason (why he did not realize himself or simply did not think deeply) he suddenly began to worry about the images of Antiquity. They filled his thoughts and feelings, they haunted him, tormented him, demanding that he recreate them in material. And he recreated them, enriching them with individual understanding and skill. And they, in turn, gave him their content, decorating his personality with new facets.
For a representative of art, the whole world as a whole and each of its constituent objects are potential non-objectified images. Consequently, the artist and the image are opposing entities. From the moment the image instills in the artist, the act of creation begins, during which these two opposites must become a single entity. In this unity, their mutual negation takes place. The image destroys the artist as a real person. And the artist destroys the image as an object that exists independently of it. But the creative process continues and leads to the implementation of the second negation, as a result of which two new entities arise: the artist enriched with the content of the image and the image transformed by the artist. Therefore, in order to create an image, no matter artistic, musical, stage or literary, a person must identify himself with him, live his life, think with his thoughts, feel with his feelings, speak with his words. That is, in order to create a comprehensive idea of the other, the master must cease to be himself, that individual who really exists in a really existing society must die in him for a while. It can be said with certainty that when Michelangelo was thinking and creating David, Michelangelo did not exist in the world, because in his content he was identical to David. If it were otherwise, then David would not have taken place in the world as David, and Michelangelo would not have been realized in it as Michelangelo. This is always the case when it comes to great artists. The images appear in them seemingly by chance, but as a result of the act of creation through these images, people begin to see this or that social necessity. Mediocre artists differ from the great ones only in that they create their works without ceasing to be themselves. They do not die and are not born in the process of thinking and creating their images. Their works, like stillborn children, do not pulsate in them. living life. An artist who does not infuse living content into his images by identifying himself with them is doomed to create only empty forms. Therefore, as a creator, he cannot be realized.
In this process of identification-disidentification, with oneself in the name of reviving one's other, lies the similarity between religion and art. In order for God to come to life, a person must disidentify with himself and convey his content to him, i.e. it must die as the totality of all social relations that have shaped it. If this disidentification has taken place, the person ceases to exist as a creative social force. He looks fascinated at the Creature into which he breathed life, and this Creature lives for him instead of him. The artist disidentifies with himself so that the artistic image he creates comes to life, but not so that he later lives for him instead of him, but so that he lives an independent creative life in human society. The artist, while creating, dies for a while for society in order to spiritually enrich it. For the believer, most of all, the process of inner development ends with the first denial. It is in the sense and purposes, i.e. in the content of the process of identification-disidentification lies the difference between religion and art. This difference determines the opposite of the influence of religion and art, both on the process of the formation of human morality, and on the process of development of society. Religion, as noted above, has long used up the potential of its development and, as a result, acts as a reactionary force striving for the inviolability of the existing order of things. Art, on the contrary, appears as a force that indicates the need to change social relations.
The role of art in society is twofold: on the one hand, by reflecting and presenting the real contradictions of social life, it forces humanity to look for ways to actually resolve them, leading to the improvement and humanization of the way of life of society as a whole. On the other hand, it develops a sense of beauty in a person, therefore, plays a significant role in the process of educating his moral character. Indeed, without a developed aesthetic sense, there can be no high morality. Firstly, because a developed aesthetic perception includes an equally developed sense of proportion and expediency. Without mastering these qualities, a person will never become highly moral. Because without them, he will inevitably, figuratively speaking, fire cannons at sparrows, inflate elephants out of flies and commit many similar absurdities, which, ultimately, will not allow him to be humane in relation to others, and, accordingly, to himself. Secondly, since beauty is the correspondence of an object to a person’s idea of it, it turns out that a person with an undeveloped sense of beauty will always find beautiful objects and phenomena that strictly correspond to the underdevelopment of his idea of them. Examples of such an attitude are scattered in bourgeois society at every step, because an undeveloped or perverted sense of beauty is not brought up in this society by chance. It is the mass underdevelopment and perversion of aesthetic ideas that helps the ruling classes to prolong the period of their domination. When people consider flashy luxury to be beautiful, they thereby give consent to the existence of blatant poverty. As long as women admire the heroes of Schwarzenegger, and men admire the appearance of porn divas, capitalists can sleep peacefully, because people who consider the ugliness around them beautiful will never admit that the mode of social production that gave birth to it is ugly.
In this context, it is necessary to say a few words about contemporary art, generated by the bourgeois mode of production, which has long since exhausted itself. In people with a developed aesthetic sense, it, with the exception of its individual manifestations, causes acute rejection. Ugly images or the absence of them at all, vulgar primitivism, incoherent stupefying roar instead of music - cannot but cause such a reaction. In other words, contemporary bourgeois art during the 20th century lost and today has almost lost its aesthetic function. However, the function of a mirror of social contradictions was retained and even, one might say, strengthened, of course, due to the loss of aesthetic. Figures of contemporary art can think whatever they want about their work, but their works scream: "This is the end! A dead end! Further on this path, nothing awaits us but death!"
In a society that has brought the division of labor to the last, fatal limit, where a person is alienated from his essence to such an extent that he has become an extremely limited function of some technical device, where everyone sees only the bough on which he sits, and even then not all, it has become essentially it is almost impossible to maintain a human form. Instead of a person, a certain self-reproducing biological machine functions, alien to truly human needs and aspirations, which is designed to increase the wealth of capital owners, while providing itself with the means for biological existence. Most likely, precisely because of the lack of demand by society, the aesthetic function of art is rapidly atrophying. When the body decomposes alive, there is no time for aesthetics.
The way out of this impasse can be found only in the speedy overcoming of the division of labor, which is possible only on the path of building a classless society, i.e. communism. It is in the process of building such a society that religion will die out as unnecessary and the aesthetic function of art will be revived. It is in the process of creating human conditions of life that a comprehensively developed, and therefore highly moral, humanized person will be formed.
1. K. Marx, Op.
2. E. V. Ilyenkov, On idols and ideals, p. 57, Ed. Polit. Lit., M., 1966
Currently, it is relevant to determine the role of art in the formation and socialization of the individual in connection with the acuteness of the problems posed by the crisis of modern society. The process of socialization, which forms the personality and contributes to its development, as well as the process of self-realization of the personality, to a large extent depends on its creative activity, communication skills, and the development of self-awareness. All these tasks are called upon to solve art. Theories that developed the interdependence of the states of society and art belong to Plato, J.-J. Rousseau, F. Nietzsche, J.-M. Guyot, K. Mannheim, J. Ortega y Gasset and others.
Art is created for the sake of artistic perception, which evokes co-creative activity in contemplators. Communication with a genuine work of art and the experience caused by it becomes a fact of the perceiver's biography, i.e. there is a profound effect on inner world personality. By its nature, art resists disorganization and chaos, hence its main tendency is to help a person harmonize himself and the world, moreover, harmonizing the natural and social in a person, art protects the personal “I”, on the one hand, from standardization and stupid “massification”, on the other hand - from spiritual isolation from society. Its harmonizing effect is manifested in the fact that it opposes to social herding a humane social community, individualism - personal responsibility to society, excessive rationalism - an understanding of the immediate sensation of life.
Art influences human cognition, depriving the latter of one-sidedness, supplementing it with a specific figurative-concrete, intuitive-emotional and holistic comprehension of both oneself and the world around. Establishing a balance, art destroys personal stereotypes, exposing what are called social and moral ulcers.
Another function of art includes both getting rid of negative feelings and compensating for what, perhaps, a person was deprived of. personal experience and fate, i.e. helping to get rid of something and to fill something, art contributes to the establishment of a balance between a person and the world around him. With the help of art, a person unlimitedly expands his inner experience and joins the experience of all mankind, and art does not dissolve the personality in the multiple experience of others, but helps it to crystallize, i.e. find yourself as a unique individual. As the Swedish culturologist M. Kazinik writes, it is in art that a person manifests himself as authentic, i.e. as it should be, as intended.
Art forms not only the mind and heart: it forms a whole person. Thus, art as a special unique image of human self-realization acts as a form of personality development. At the same time, art as a specific system of value influence influences and shapes not only individuals, but also interpersonal relationships and social relationships in general. There is a huge humanistic potential in art, created by mankind over a long history.
Formation of the child's personality in the process of acquaintance with art
For children, art is an indispensable means of shaping the spiritual world: literature, music, sculpture, folk art, painting, theater. Without the education of aesthetically literate people, the education from childhood of respect for spiritual values, the ability to understand and appreciate art, without the awakening of creative principles in children, it is impossible to become a harmoniously developed and creatively active personality.
The world around rises before the astonished child as a single holistic picture of the world. In order to maintain this integrity, it is necessary to integrate the types of visual activity. Arts integration uniting different types artistic activity, carries a world of ideas, thoughts, images, emotions. Thanks to this, memory, thinking, imagination are stimulated and developed.
Painting, music, literature, sculpture, works of arts and crafts help to enrich the child's feelings and experiences, and thus enrich his perception and imagination. Children not only examine and discuss works of art, but also depict the world. Each children's work is a piece of spiritual life. The richer it is, the more diverse and original are the ideas and images of children's creativity.
The role of architecture as an art direction
The fact that the creations of human hands affect the psyche and well-being of the individual was proved back in Ancient Egypt. For example, the ancient Egyptian architect Imhatep, who led the construction of the pyramids, was at the same time a practicing physician, an encyclopedically educated person.
Today, psychologists around the world are studying human perception environment. They are also interested in the influence of the environment on human behavior, the perception of architectural space by people different ages: children, adults, the elderly. The environment in which a person is located is important for shaping the behavior and thinking of the whole people. I. Seredyuk in his research writes that architecture serves not only as a source of information, but also programs human feelings, as well as many responses.
The science that studies environmental factors that have a positive or negative impact on human physiology is called visual ecology. That's what the science says.
Visual images are subconsciously fixed by the brain. At the same time, the constant change of the "picture" has a calming effect, and its monotony, accumulating, irritates the subconscious. This is the secret of the unconscious attraction of fire and the feeling of comfort that every person experiences when they get out of the city into the forest.
In turn, there are so-called homogeneous structures, characterized by an endless uniformity of forms. The part of humanity that lives in cities constructs its own visual environment. On average, 16 hours a day, a person contemplates mostly not natural forms, but the works of architects and designers. The canons of art have long provided for the use of the metric system when creating houses and household items, based not on millimeters, but on fractions of the so-called. "golden section". Decorative elements imitating natural plant forms were used in all architectural styles - from Gothic to Art Nouveau. The gigantic experience of creating a comfortable visual environment, which architecture had accumulated over thousands of years, was suddenly crossed out in the 20th century. Functionalism of the 2nd half of the twentieth century finally formed the so-called. objects of mass development - typical box buildings. In other words, homogeneous structures that are replicated in millions of incarnations.
British scientists at one time studied encephalograms (a graphical display of brain activity) of people subjected to a simple test. The subjects were shown various architectural objects. So, when a person contemplated a reinforced concrete building of a typical building - no matter residential or industrial - his encephalogram did not differ much from that of an epileptic who was experiencing a seizure. According to a statistical survey conducted in our country, 72% of the inhabitants of the so-called. "sleeping" urban areas dream of moving, of which 35% frankly declare that they do not like the place. At the same time, in the process of settling "communal apartments" located in the historical centers of Moscow and St. Petersburg, a curious phenomenon is observed: many do not want to leave a more comfortable visual environment for the outskirts, even if they are offered better conditions.
What does a frivolous attitude to the visual appearance of cities lead to? Because of this, there is a colossal migration of the population from industrial centers. This is one of the main reasons why the statistical majority have no aesthetic values at all. Finally, this is one of the reasons for the increase in crime.
What is today, for example, Moscow, in terms of visual ecology? On the one hand, these are outstanding architectural objects, on the other hand, the architecture of the so-called functional style leading to the degradation of morality.
Just depending on the route of movement, a person can come to work either in a state of stress, or in good mood. And it's not about traffic, but about the route. In the first case, he moves along Novy Arbat or along the Enthusiasts highway, and in the second, he chooses Arbat lanes or the Main Alley of Izmailovsky Park. Unfortunately, in most cities there is no such choice.
CHAPTER 1. Art, its essence and manifestation.10
1". The specificity of art. 10
2. The system of functions of art. 39
CHAPTER P. The formation of personality is the highest purpose of art.50
1. general characteristics humanizing function of art. fifty
2. The moral influence of art on a person.8 7
Relevance of the research topic.
This work is devoted to the study of the influence of art on the inner world of the individual. The dissertation examines the humanizing role of art in the formation of man. The theoretical interpretation of this problem is built on the basis of both philosophical literature and research in psychology and art history.
Art has been the subject of philosophical research since ancient times, there are many different theories of art, but it cannot be said that its essence, specificity, social significance are fully understood, that there are no debatable issues in its understanding. This phenomenon of human life is too complex and multifaceted for it to be possible at a certain moment to create its complete and final theory. Therefore, the study of the problems of art theory remains relevant.
The problem of the social role of art, its influence on a person, on the formation of personality is now acquiring special practical significance. One of the features of the crisis we are experiencing is the spread of inhumane art in society that promotes violence, sexual promiscuity and other social vices. Questions arise: Isn't such art dangerous for society? Does it have a specific social purpose? To answer these and other similar questions, it is necessary to deeply understand the specific nature of art, the way in which it affects a person. There are still problems in this regard that require further study.
The relevance of the study is also in the fact that the author touches on the problem of pre-subject relations of philosophy as a general methodology with other sciences: Philosophy-Art History, Philosophy-Psychology.
The degree of scientific development of the problem.
Since antiquity, art and its influence on humans have been of interest to researchers. To date, considerable experience has been accumulated in the study of art problems. But the question of the specifics of art remains relevant. Aesthetic, educational, cognitive, playful, symbolic and other concepts of art do not provide a comprehensive understanding of its essence. We also do not find a systematic approach to the question of the functions of art in the light of its sensual-figurative specificity based on the synthesis of modern concepts in the field of philosophy, psychology and art history.
Each historical era focused on one or another sign of art.
As you know, even Plato, Aristotle posed the main problems related to the essence of art and its educational aspect. The Renaissance, which developed under the banner of humanism, revealed the cognitive and moral-humanizing meaning of art. A significant step in the philosophical understanding of art was made in modern times in the works of I. Kant and G. Hegel. The Hegelian understanding of art was based both on taking into account the cognitive significance of art and on identifying its sensory specificity. Kant approached art through the category of beauty, which for him carries a deep moral meaning.
In the philosophical thought of the 19th century, in particular in Russian, the aesthetic concept of art is affirmed. As an alternative theory, the theory of L.N. Tolstoy, who saw the essence of art primarily in its sensual nature, acts in this regard.
Soviet and Russian scientific literature is characterized by a difference in approaches to the question of the specifics of art. The most common are three theories of art: cognitive (A.T. Kalinkin, N.P. Skurtu and others) / aesthetic (A.I. Burov, L.N. Stolovich and others) and educational (V.I. Tolstykh and etc.). However, all these concepts require critical consideration and significant refinement.
In this paper, an attempt is made to overcome the shortcomings of these concepts to some extent.
In the literature, insufficient attention is paid to the "emotional" theory of art, which was most clearly developed by L.S. Vygotsky. It is she who allows us to approach the definition of the true essence of art. This understanding is the basis of the proposed work. However, from our point of view, the theory of L.S. Vygotsky requires development in a certain direction. It gives a deep understanding of the specifics of the artistic, but does not specify the question of the relationship between the artistic and the aesthetic. Without solving this problem, it is impossible to give a systematic understanding of art, and therefore to fully reveal its educational role. The idea of L.S. Vygotsky about the social significance of art, its humanizing function, needs to be developed in detail, which will make it possible to reveal the social and pedagogical significance of art.
The dissertation student uses research in the field of psychology in developing the problem, without which it is impossible to reveal the emotional nature of art. Therefore, we turn to works on the structure of personality (A.G. Kovalev, A.N. Luk) and works on the problems of the emotional sphere of a person (S.Kh. Rappoport, P.V. Simonov, S.L. Rubinshtein) .
Despite the large number of works on the essence of art and its role in the formation of personality, all problems have not yet been resolved.
In addition, the class approach to art that prevailed in Soviet science for a long time (this is the division of art into reactionary bourgeois and progressive socialist), which did not allow us to single out the general humanizing significance of art, had a strong influence on the problems of research.
Purpose and objectives of the study.
The purpose of this study is to develop a systematic understanding of the nature of art, on this basis, its humanizing role in the formation of personality is revealed.
In accordance with this goal, the following tasks are solved:
From the totality of the features of art, single out its specific feature, which has a backbone value .;
In the light of the specifics of art, determine the special meaning that aesthetic, cognitive and educational moments acquire;
Show the difference between the concepts of aesthetic and artistic;
To carry out the experience of creating a systemic concept of art;
To concretize the understanding of the educational function of art as a humanizing function;
Consider the moral and educational role of art as an essential element of its humanizing function.
Theoretical and methodological basis of the study.
The methodological basis of the study is the materialistic and dialectical understanding of the world. The principles of dialectical logic, the historical and philosophical approach, comparative analysis and elements of the systematic method of studying social phenomena are used as methodological prerequisites.
Theoretical prerequisites were the views of L.N. Tolstoy, L.S. Vygotsky, A.F. Eremeev, L.G. Yuldashev. Works of the philosophers of art I.Ten, L.N.Stolovich, Yu.B.Borev, M.S.Kagan and others.
Issues of moral consciousness were considered on the basis of the works of L.M. Arkhangelsky, V.A. Blyumkin, G.N. Gumnitsky, O.G. Drobnitsky, A.A. Huseynov,
In the study of complex issues related to the psychology of personality, the works on psychology by S. L. Rubinshtein, A. N. Luka, A. G. Kovalev, P. V. Simonov and others were used.
The study is based on numerous (over 100) examples from the field of art.
Scientific novelty of the research.
The problem of the essence of art and its influence on the personality is analyzed by the author of the dissertation in a new context, based on the emotional and figurative specificity of art, in the aspect of its humanizing meaning.
The new results obtained by the dissertation candidate and submitted for defense include the following:
By criticizing the basic concepts of art, its specific, and therefore system-forming property, is revealed - an emotionally figurative reflection of reality .;
The experience of creating a systematic concept of art is being carried out.
Unlike traditional approaches, where the functions of art are considered or isolated from each other, or their systemic characteristics are most often based on the aesthetic essence of art, the dissertation student presents and substantiates the system of functions based on the emotional and figurative specificity of art;
On the basis of understanding the specifics of art, the significance of the aesthetic, cognitive and educational moments inherent in it is clarified, while the non-identity of the concepts of aesthetic and artistic is shown, which makes it possible to understand the special role of aesthetic in art;
A new concept is introduced to clarify the characteristics of artistic emotion - "thought-feeling", where feelings, images of art are inseparably united with the ideological content of a work of art.
The presented emotional-figurative concept of art allows us to single out a single criterion for all types and genres of art, including the so-called "avant-garde" art (Suprematism, "op-art", "el-art", aleatorics, etc.), which in existing concepts ("aesthetic", for example), sometimes did not find proper understanding and was often rejected as pseudo-art.
The understanding of the educational function of art as a humanizing function, i.e. which forms the human personality in its entirety, in the sum of all its positive qualities. The existence of another primordial tendency (the dehumanizing effect of art) is also noted, some reasons for the deformation of spiritual and moral ideals in a work of art are identified.
The ability of art to humanize the emotional world of a person is shown. In this regard, the author applies the psychological classification of the levels of feeling proposed by prof. S.L. Rubinstein: "lower feelings" ("physiological"), "objective feelings", "supraobjective feelings". The impact of art at each level is analyzed. Rejecting the aesthetic theory of art, the dissertation examines the so-called "aesthetic categories" within the framework of the emotional-figurative specificity of art as "above-objective feelings".
The "levels of art" are singled out: everyday artistic consciousness, amateur artistic creativity, mass and elite art; substantiates the criteria of each "level", analyzes the features of the humanizing action of art at one or another "level".
The moral and educational role of art is considered as the most important element of the humanizing function, and the latter not only in a general form, as is usually defined in the literature on art, but on the example of a number of specific personal qualities.
Theoretical and practical significance of the research.
The study of the essence of art and its influence on the spiritual world of the individual on the basis of a systematic philosophical approach, the use of works in the field of psychology, works on art criticism allows us to approach the problem in a comprehensive manner, to expand the scope of scientific research.
Studying the issue in the most general view gives rise to new developments in this problem. This concerns, first of all, the concretization of the proposed ideas in psychology, sociology through direct experiment, testing, and other methods. the philosophical approach offers only a general concept of understanding the problem.
The practical significance of the study also lies in the fact that it allows you to revise some of the methods and principles of teaching aesthetic cycle subjects at school.
The materials of the proposed work can be used in the development of the following courses: "Social Philosophy", "Ethics", "Culturology", "Psychology", "Pedagogy", "Religious Studies".
Approbation of work.
The main provisions of the dissertation were discussed at a meeting of the Department of Philosophy and Political Science of the Ivanovo Academy of Architecture and Civil Engineering. Published articles and abstracts (10) on the main issues addressed in the work. The results of the study were reported at scientific conferences: scientific and practical conference on humanization (Ivanovo, 1996); international scientific-practical conference "Phenomenology of art education" (Vladimir, 1996), interuniversity scientific-theoretical conference "Myth and Culture" (Ivanovo, 1997); culturological seminar "From youth subculture to the heights of human culture" (Ivanovo, 1997); the first, second and third intra-university scientific conferences of young scientists of IGASA (Ivanovo, 1997; 1998; 1999).
The dissertation student has developed curricula on the subjects of the aesthetic cycle for secondary schools, which are based on the emotional-figurative theory of art. The course "Aesthetics" was tested at the Ivanovo school N55 from grades 1-10, the proposed system made it possible to bring the teaching of aesthetic cycle subjects into a system. The school-lyceum N22 (Ivanovo) tested the course "Aesthetic and emotional painting" (grades 7-9) for 3 years, the introduction of this course made it possible to reveal the psychological characteristics of adolescents, made it possible for the called "difficult children" and carry out correction of personal qualities. (The presented programs and the results of the experiment can be found at the Department of Aesthetics of the IPK and PKK in Ivanovo)
CONCLUSION.
Exploring the problem of the influence of art on the formation of personality, we came to the following results:
The main concepts of art (aesthetic, cognitive and educational), which have become widespread in domestic science, do not reveal the essence of art. Their approach to the specificity of art through one of its functions is not able to reveal the true nature of art. This issue has not been resolved in Western philosophy, where the essence of art was considered in the aspect of one or another of its features.
Art is a system of functions, and their place and role is determined by the specifics of art - the emotional-figurative characteristic of the reflection of reality.
Knowledge of the essence of art and its influence on the spiritual world of the individual is possible primarily on the basis of a systematic philosophical approach, research in the field of art history and works on psychology.
The specificity of art is in its emotional-figurative nature. Art is an area of human feelings and moods in the form of their direct experience. The bearers of emotions in art are images and symbols organized with the help of material in certain forms.
The emotions of art are always reasonable, a kind of "thought-feelings". Through feelings - the "gates of art", art influences the entire spiritual world of the individual, morally inspires and humanizes the individual.
The emotions of art are always typical, universally significant, filled with universal human meaning, but at the same time they are concrete-historical and purely individual.
The educational function dominates in art, but it is important to specify that art does not just educate, but is capable of shaping the image of a Person as a whole, i.e. humanize it (humanizing function). The mission of art, its social role is to humanize, to influence a person comprehensively in the fullness of his spiritual nature, to develop a holistic personality.
The main functions of art - aesthetic, cognitive, educational and main humanizing - can be correctly interpreted only on a single basis, based on the emotional and figurative specificity of art.
Throughout human life, at all levels of artistic consciousness: "ordinary artistic consciousness", "amateur artistic creativity", "mass art", "elite art" - reasonable emotions of art are called upon to bring harmony into the spiritual world of the individual, affecting the individual in a complex and multifaceted.
Art is able to instill in a person the highest spiritual values, ideals, introduce moral guidelines, form the moral qualities of a person. Thus, art not only reflects life, but shows it as it should be.
Along with moral and humanizing art, there is another art that can morally corrupt a person, lead to the dehumanization of the individual. The reason for this lies in the civic, ideological and moral position of the author of a work of art.
Some types and genres of art are neutral in relation to morality, but indirectly this art can also favorably influence a person, since art has a humanizing value.
The highest goal of art as a form of social consciousness is not just to educate, but to humanize, form a Human, a full-fledged personality.
In art criticism, the presented concept of art allows us to find a single criterion (emotionality of images-symbols) for all types and genres of art, including the so-called "avant-garde" (modern) art, which was not always properly understood and was often rejected as pseudo-art.
The study of the problem gives rise to new developments both in social philosophy (the problem of the humanization of the individual, the question of the specifics of the forms of social consciousness, etc.), and in psychology, sociology, practical pedagogy, and art history. Here it is required to concretize theoretical proposals through direct experiment, testing and other methods. the philosophical approach presupposes only a general concept of understanding the problem.
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Goodness in itself does not seem to be visible and convinces us only if its beauty illuminates it.
That is why the work of the artist is, bypassing the temptation of beautiful evil, to make beauty the sun of good.
instability economic sphere, social differentiation of society, the devaluation of the spiritual values of our time have had a negative impact on the public consciousness of most social and age groups of the population, especially today's youth. And in the current, rapidly developing time, when people do not have time to sympathize with the problems of others, the theme of kindness has become even more relevant. At present, such concepts as mercy, responsiveness, sympathy, mutual assistance, compassion, respect for elders, care for the disabled, are acquiring importance. Questions of kindness, good deeds have always interested humanity.
And today it is appropriate to recall the words of Archpriest Andrei Tkachev: “There are professions that require the impossible, namely love. A teacher, a doctor, a priest should love. If these three do not love, then they do not heal, do not teach, and do not minister.”
In accordance with the Federal State educational standards secondary vocational education, the content of academic disciplines and professional modules provides for the formation of not only professional competencies- knowledge, skills, but also general competencies - the social significance of the chosen profession, teamwork, effective communication with colleagues and patients, careful attitude to historical heritage and cultural values; respect for social, cultural and religious differences, maintaining healthy lifestyle life, the development of spirituality as an integral part of the professional image of a medical worker.
Without a formed system of spiritual values, a person will not be able to work in medicine, since a medical worker is not only a specialist with professional medical skills, but also a person with certain character traits. The ethical basis of the professional activity of a medical worker is humanity and mercy. Therefore, our main task as teachers of the medical college is to educate a specialist who is not indifferent, kind, sensitive, responsive, caring, attentive and capable of compassion.
Spiritual and moral education in general is the purposeful formation of moral consciousness, the development of moral feelings and the development of skills and habits of moral behavior.
In secondary special educational establishments young men and women come mature enough, often morally well-formed people. The beliefs and qualities already inherent in them were formed under the influence of the family, preschool and extracurricular institutions, and secondary schools. FROM early childhood today's youth is under the powerful influence of the media, the world of art.
SVE institutions train not only specialists in a certain field of activity, but also form the civic qualities of students.A citizen is a moral person who is able to rise to the interests of the whole society, who knows how not only to use his civil rights, but also to obey the laws of society.
The teaching staff of our college seeks to educate not only specialists for a specific professional activity, who must be competitive, competent, creative thinkers, fluent in their profession, modern information and communication technologies, but also spiritual and moral, responsible, respectable citizens.
The moral component of spiritual education is formed mainly through the impact on consciousness and affects the external behavior of a person, his attitude to the world of nature and the world of people and is the result of education, while reflecting the value orientations of the individual.
The formation and development of spiritual and moral potential is realized in several ways:
Through introducing students to the arts: painting, music, theater, as well as to various types of creative activity.
Through the development of the figurative-emotional sphere of young people in everyday life. At the same time, the harmony of a person with the external environment is achieved through the development of needs, the intellectual, sensual-volitional and motivational spheres, through the stimulation of the accelerated development of socially significant personality traits, communicative properties and through the creation of intrapersonal, interpersonal psychological comfort.
Through assessment and self-assessment of the level of development of knowledge, skills and abilities that a student receives when mastering academic disciplines.
Art plays a huge role in the spiritual and moral education of students. Even Aristotle wrote that art is able to influence the human soul, and since it has such a property, then the formation of value relations by means of art should be included among the subjects of youth education. Art is a powerful means of spiritual elevation of a person, develops his aesthetic culture, teaches him to understand beauty and build life according to the “laws of beauty”. However, the influence of art on the upbringing of a person to a decisive extent depends on his artistic and aesthetic development. Allocate the following types arts:
The class teacher can play a huge role in providing the necessary aesthetic training for students, helping them to perceive art as a means of understanding the surrounding reality. The moral and aesthetic experience of mankind, materialized in an artistic and figurative form, is the essence of art itself. The task of the class teacher is to organize a meeting of students with masterpieces of world art in such a way that it evokes empathy in them, a vivid emotional response to those problems of life that an artist, musician or actor reveals to them. Not a story about art, but art itself should affect the feelings and thoughts of the student. Theater can play an important role here.
visittheater solves such pedagogical tasks as: teaching spiritual and moral traditions, teaching the norms of behavior in a team and in public places. Students develop a moral attitude to the world around them; spiritual and moral stability and emotional and volitional qualities of a person; a respectful attitude to the history of their country and the cultural heritage of their people is brought up; spiritual and moral qualities are improved, tolerance towards other nationalities and religions is assimilated.
A special role in spiritual and moral education belongs tomusic .
To show students the beauty of music, the variety of musical works and images, to introduce them to musical creativity, to develop a sense of spiritual and moral is an important task for a teacher. The content of the singing repertoire is aimed at developing a positive attitude towards the outside world through the comprehension of the emotional and moral meaning of a classical piece of music, the formation of a personal appreciation of music. Expansion of life and musical horizons of students, the formation of a positive attitude towards the art of music.
classicart , was formed according to the principles of displaying the best features of the world around us. Based on the images of the beautiful, it educates the viewer, reader and listener in the spirit of humanism, patriotism and other high principles. Classical art does not contain aggression, but, on the contrary, calms a person’s thoughts, encouraging him to feel and convey love, to do good deeds.
In each image there is a thought, the feelings of the author, which he puts into it; accordingly, these thoughts and feelings are transmitted to the viewer who contemplates this work. If it carries love and kindness in itself, a person is filled with these emotions and radiates them, passing them on to people around him. The same thing happens with negative, aggressive thoughts. Therefore, in our life it is so important to have good, kind thoughts, to feel love for the world around us. Our challenge now more than ever is to teach this to future generations.
Art in the modern world is not just a subject of entertainment, but a powerful means of education and self-improvement of the individual. “Just as gymnastics straightens the body, so art straightens the soul of a person ...”, said V.A. Sukhomlinsky, therefore, art is one of effective means spiritual and moral education and artistic and aesthetic education of youth.
In order to get to know other types of art, such as architecture, arts and crafts, choreography, cinema, etc., we are planning to visit the Kazan Kremlin, the Museum of Natural History of Tatarstan, the Opera and Ballet Theater named after. M. Jalil, as well as the National Museum of the Republic of Tatarstan and the Exhibition Hall of the Union of Artists of the Republic of Tatarstan, cinemas.
It is very important that the student realizes his belonging to the national traditions of the national culture, so that he feels himself, not without pride, a citizen of his country, a compatriot of the great creators of Russian culture. At the same time, the main professional tasks of becoming a medical worker, what kind of person he should be, what moral qualities he should have are also solved.An encounter with a phenomenon of art does not immediately make a person spiritually rich or aesthetically developed, but the experience of aesthetic experience is remembered for a long time, and a person always wants to feel again the familiar emotions experienced from meeting with the beautiful. Art may not fulfill its educational role if a person does not receive his own artistic development and education, if he does not learn to see, feel and understand beauty in art and life. The life experience of man at various stages of his development is somewhat limited. The task of the teacher is to instill in the student the ability to enjoy art, develop aesthetic needs, interests, bring them to the level of aesthetic taste, and then the ideal.
Relevance of the research topic.
This work is devoted to the study of the influence of art on the inner world of the individual. The dissertation examines the humanizing role of art in the formation of man. The theoretical interpretation of this problem is built on the basis of both philosophical literature and research in psychology and art history.
Art has been the subject of philosophical research since ancient times, there are many different theories of art, but it cannot be said that its essence, specificity, social significance are fully understood, that there are no debatable issues in its understanding. This phenomenon of human life is too complex and multifaceted for it to be possible at a certain moment to create its complete and final theory. Therefore, the study of the problems of art theory remains relevant.
The problem of the social role of art, its influence on a person, on the formation of personality is now acquiring special practical significance. One of the features of the crisis we are experiencing is the spread of inhumane art in society that promotes violence, sexual promiscuity and other social vices. Questions arise: Isn't such art dangerous for society? Does it have a specific social purpose? To answer these and other similar questions, it is necessary to deeply understand the specific nature of art, the way in which it affects a person. There are still problems in this regard that require further study.
The relevance of the study is also in the fact that the author touches on the problem of pre-subject relations of philosophy as a general methodology with other sciences: Philosophy-Art History, Philosophy-Psychology.
The degree of scientific development of the problem.
Since antiquity, art and its influence on humans have been of interest to researchers. To date, considerable experience has been accumulated in the study of art problems. But the question of the specifics of art remains relevant. Aesthetic, educational, cognitive, playful, symbolic and other concepts of art do not provide a comprehensive understanding of its essence. We also do not find a systematic approach to the question of the functions of art in the light of its sensual-figurative specificity based on the synthesis of modern concepts in the field of philosophy, psychology and art history.
Each historical era focused on one or another sign of art.
As you know, even Plato, Aristotle posed the main problems related to the essence of art and its educational aspect. The Renaissance, which developed under the banner of humanism, revealed the cognitive and moral-humanizing meaning of art. A significant step in the philosophical understanding of art was made in modern times in the works of I. Kant and G. Hegel. The Hegelian understanding of art was based both on taking into account the cognitive significance of art and on identifying its sensory specificity. Kant approached art through the category of beauty, which for him carries a deep moral meaning.
In the philosophical thought of the 19th century, in particular in Russian, the aesthetic concept of art is affirmed. As an alternative theory, the theory of L.N. Tolstoy, who saw the essence of art primarily in its sensual nature, acts in this regard.
Soviet and Russian scientific literature is characterized by a difference in approaches to the question of the specifics of art. The most common are three theories of art: cognitive (A.T. Kalinkin, N.P. Skurtu and others) / aesthetic (A.I. Burov, L.N. Stolovich and others) and educational (V.I. Tolstykh and etc.). However, all these concepts require critical consideration and significant refinement.
In this paper, an attempt is made to overcome the shortcomings of these concepts to some extent.
In the literature, insufficient attention is paid to the "emotional" theory of art, which was most clearly developed by L.S. Vygotsky. It is she who allows us to approach the definition of the true essence of art. This understanding is the basis of the proposed work. However, from our point of view, the theory of L.S. Vygotsky requires development in a certain direction. It gives a deep understanding of the specifics of the artistic, but does not specify the question of the relationship between the artistic and the aesthetic. Without solving this problem, it is impossible to give a systematic understanding of art, and therefore to fully reveal its educational role. The idea of L.S. Vygotsky about the social significance of art, its humanizing function, needs to be developed in detail, which will make it possible to reveal the social and pedagogical significance of art.
The dissertation student uses research in the field of psychology in developing the problem, without which it is impossible to reveal the emotional nature of art. Therefore, we turn to works on the structure of personality (A.G. Kovalev, A.N. Luk) and works on the problems of the emotional sphere of a person (S.Kh. Rappoport, P.V. Simonov, S.L. Rubinshtein) .
