What are aesthetic feelings? XII.2. Kinds of feelings. Definition of aesthetic feeling in psychology

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aesthetic feelings.

Feelings are a special kind of emotional experiences that have a clearly expressed objective character and are characterized by comparative stability.

Aesthetic feelings as a kind of human experience arise from the perception of specific objects - works of art, beautiful objects, natural phenomena. They stimulate the social activity of a person, have a regulatory influence on his behavior and influence the formation of socio-political, aesthetic, ethical and other ideals of the individual.

It is difficult to imagine a person without the joy brought to him by art, without the happiness of aesthetic experiences. Aesthetic feelings in everyday life help us perceive the surrounding reality as close to us, not alien, not hostile. Aesthetic feelings make being multicolored.

Aesthetic feelings are a complex mental formation. They are inherent only to man as a social being. At the same time, their social nature is determined not only by the fact that they arose historically, but also by the fact that in the ontogeny of the individual they become human only due to its participation in public life.

Aesthetic feelings, like the entire emotional and sensory sphere of the human psyche, are a kind of reflection of reality, in which object-subject relations differ significantly from the same relationships in the cognitive reflection of reality.

The subjective experiences of a person are part of her own individual life, the blood and flesh of her real being. In emotions, there is no separation of the objective content, reflecting the surrounding reality, from the internal states of the subject. In them, the world does not act as something that exists objectively, in itself, not related to the life of the subject. Feelings and emotions are the form of mental activity in which a person appropriates the objective world, makes it a part of himself, gives it a subjective significance. And the objective properties of reality in this case have no meaning for a person.

Through aesthetic feelings, we discover the beauty of the world and man. The connection of aesthetic feelings with the objects that evoke them is so deep that some psychologists and aestheticians began to assert that aesthetic feelings are "feeling into" the object. That is, these feelings are not simply generated by the corresponding objects, but enter the object, penetrate it with special intimate love. And this penetration generates the object's own essence, reveals it and makes a person a co-author of the object.

Under the influence of aesthetic feelings, significant changes occur in a person's personality. They leave an indelible mark on our memory, which often lasts a lifetime. This explains the long-lasting impact of authentic works of art. We sometimes remember social phenomena, events described by the artist better than those that we saw with our own eyes. Objective changes in his mental functions that do not depend on the will and desire of the subject, occurring in aesthetic feelings, contribute to the transformation of personality traits of the heroes of works of art, images and ideas of the artist into traits, beliefs, images and personality traits of the reader, listener, viewer. In this transformation of the content-personal features of the perceived image into personality traits, aesthetic feelings play the role of a “fixer”.

Aesthetic feelings have a positive, tonic and optimizing effect on all psychophysiological processes of a person. As a rule, they stimulate our creative social activity.

Aesthetic experiences are formed in our minds like a mosaic. This is a complex combination and interweaving of various, as a rule, oppositely directed, more elementary emotional reactions, images, ideas that naturally line up in our minds. Therefore, they cannot be characterized by any one simple emotion. Laughter and tears, love and hate, sympathy and disgust, happiness and sorrow, sadness and joy - all these emotions in each individual aesthetic experience in a person are combined in a peculiar way, complementing, balancing, moderating and ennobling each other.

So, for example, laughter caused by works of art of a comedic nature is accompanied by a whole gamut of emotions of very different directions and intensity. It is known that N.V. Gogol characterized his humor as laughter through tears invisible to the world. In A.P. Chekhov, the funny is always sad at the same time, often causing pain for both the author and the reader.

We experience a similar variety and complex interweaving of emotional reactions in the perception of tragedies. Fear and compassion, heavy grief at the realization of the death of people close to us and the collapse of ideals along with pleasure - this is a far from complete picture of the emotional reactions that make up the tragic aesthetic feeling. This complex interaction of simultaneously experienced and successive, mutually reinforcing and inhibiting emotions determines the incomparable charm of aesthetic feelings.

Another feature of aesthetic feelings is the change in the nature of the emotions that make up them. Aesthetic emotions differ significantly from their original “natural” prototypes. They are “humanized”, brought under the common denominator of the tonality of the entire aesthetic object, they participate in the implementation of the artist’s plan that unites them. Thus, the fear we experience when perceiving a tragic work is not the emotion that we experience in real life under threatening circumstances, although it is called the same. Grief and joy, happiness and unhappiness, hope and despair, love and hate, delight and disappointment as components of aesthetic feelings differ significantly from their prototypes in real life.

When perceiving works of art, a person does not passively experience certain emotions. With all his soul, with all his essence, he participates in the events described by the artist. In aesthetic feelings, there is excitement for the fate of the characters, which has a certain line of development: from the birth of a feeling to its maximum intensity and discharge. We rejoice in the triumph of justice, the victory of the heroes we sympathize with, we feel fear when their lives are in danger, we really cry when they die.

An essential feature of aesthetic feelings is the complex interaction in them of aesthetic and ethical moments in our psyche.

A morally educated person is not one who only firmly knows the norms and rules of behavior, but one whose knowledge is inextricably merged with feeling, turning into convictions that make up the essence of the human personality. It is thanks to aesthetic experiences that our knowledge of the norms of behavior, our ideas about what is good and what is bad in life, receive their emotional “reinforcement” and become beliefs, motivating forces.

Aesthetic feelings are directly connected with the figurative and aesthetic content of a work of art, which take an active part in the formation of an ethical assessment by a person of what causes aesthetic experiences.

Considering the relationship between aesthetic feelings and the socio-ethical functions of art, it should be borne in mind that the ground for ethical influence must be emotionally prepared.

Aesthetic feelings are not a secondary reaction to the objectively objective image that has formed in the mind of what is laid down by the artist in his work. What is formed in the mind as some kind of objective-figurative content depends primarily on the emotional-aesthetic reaction to the relevant events. At the same time, the sensory material that is part of the image carries the appropriate emotional coloring, it is selected according to the “ethical measure” of the personality, it is tendentious in its composition and ethical “load”. Therefore, the same events depicted by the artist can be perceived by specifically different people precisely from an ethical point of view. Depending on the emotional and aesthetic reaction, one person may condemn the actions of the hero, while another person may perceive them as a role model.

Ethical education with the help of aesthetic means is carried out not by verbal calls to imitate the actions of heroes, but by a positive reaction to them, by an aesthetic attitude. We will imitate only those heroes who are estimated by us as beautiful, sublime, heroic.

In modern society, technical aesthetics, production aesthetics and other types of aesthetic development of reality are rapidly developing. The main goal of this type of aesthetic activity is to promote the development of creativity, spiritual and emotional enrichment of the individual and aesthetic education. The main channel through which the means of aesthetization of human activity affect the mood and personality formation are aesthetic feelings.

It is the shifts in the psycho-emotional states of a person that determine the achievement of the goal of aesthetic exploration of the world. As for production aesthetics, through the aesthetic feelings generated by the skillful use of light and color, in a number of production processes, we can compensate for the negative factors of their impact on the human body. We are talking not only about reducing fatigue, but also about protecting the organs of vision, stopping the adverse effects of the microclimate of industrial premises, etc. Music at work not only rhythmizes the work process and makes it much more efficient, but also has an optimizing effect on the cardiovascular and respiratory systems, not to mention the positive emotions that it causes.

All these effects of the aestheticization of labor are explained by the fact that the emotional life of a person is connected with the activity of those formations of his brain that are most directly related to the regulation of his most important physiological and mental functions.

An analysis of aesthetic feelings would be incomplete without a characterization of such a property, with which Aristotle associated "catharsis" or "tragic purification".

In a work of art, the artist shows completed actions that achieve their goal. Objective reality, not subjected to aesthetic processing (the prototype of the reality depicted by the artist), is given to the reader, listener, viewer only in the imagination. He sees it thanks to the associations that arise in his mind under the influence of visual means of art. This reality, which is only imaginary at the level of presentation, evokes “removed”, “imaginary”, neutralized negative emotions from the point of view of the idea of ​​the whole work. Negative emotions in aesthetic experience are most likely in the nature of memories of real life events. Positive emotions caused by aesthetically processed reality are real at the level of sensation, that is, their irritability acts directly on our senses and has the character of a “tangible” reality.

In aesthetic feelings, real positive emotions collide with negative emotions removed, imagined, left in the past, behind the context of aesthetic perception. At the same time, the dynamics of aesthetic emotional reactions in time unfolds from “imaginary” negative to full-fledged positive emotions.

The unfolding of aesthetic feelings from “imaginary” negative emotions to positive ones, noted here, goes in parallel with the solution of real problems in the sphere of real time, real life. Most often, these are tasks that a person could not solve before the perception of the corresponding work of art and which she solves for herself, following the logic of events depicted by the artist. It is in this way that a person removes the causes of pathogenic affects, masters the “unconditioned stimulus” and eliminates the source of moral and ethical conflict.

The same thing happens in those cases when aesthetic experiences and ethical-aesthetic decisions of possible life situations precede a person's real encounter with similar situations in his personal and social life. Aesthetic experiences that have left a mark on a person’s mind suggest the rules for solving real life problems, the logic of a person’s real actions is built on their model, on this path life, non-aesthetic negative emotions fall into the “trap” of a holistic reaction of a person associated with aesthetic feelings. This happens due to the fact that emotional experiences are grouped, associated with each other not according to the external reasons that cause them, but according to their personal value sign (fear, compassion, joy, pain, grief, delight).

Because of this, the fear, despair and compassion that tragic works of art evoke in us are associated in single complexes with similar affects generated by real life. Therefore, the aesthetic feeling, bringing any integral mental activity to a positive finish, together with “imaginary” aesthetic negative emotions, brings out, cleanses the human soul from similar affects caused by real life.

These mechanisms underlie the “therapeutic and prophylactic (immunization)” function of aesthetic experiences. At the same time, while purifying, art educates the personality, helps it to solve the most complex ethical problems according to a given aesthetic model. The cathartic action of art is a dual process of purification from negative pathogenic affects and ethical education of the individual.

Thus, we see that aesthetic feelings arise in the process of aesthetic assimilation of reality. They contribute to the formation of certain personality traits, take an active part in its social and ethical education and play an important role in the self-regulation of the mental and physiological functions of the body. By “cleansing” us from “stagnant” negative emotions, they have an ethical and aesthetic impact on the formation of a person's personality.

How to describe in words the inner feelings that we experience when watching pictures of nature, people, works of art, listening to music, reading books? Aesthetic feelings are beyond description, but everyone, often without even realizing it, experiences them all his life.

After all, almost any object, action, behavior, the brain instantly analyzes, comparing them with the canons of beauty laid down in us from childhood, the norms of generally accepted morality, causing discomfort or approval.

What are aesthetic feelings

By definition, aesthetic feelings are feelings of a higher order that arise in a person under the influence of perception by the senses of surrounding objects and events as beautiful or ugly.

These feelings do not carry a selfish beginning. Aesthetics is not associated with obtaining any material benefit, aesthetic feelings will not help satisfy hunger or save life.

For example, when looking at a still life depicting food, we do not feel like eating it. We admire the realism of the objects depicted on the canvas, admire the talent of the artist, in general, we get pleasure that is not related to taste perception.

The foundation of aesthetic feelings is a special human need - to feel aesthetic experiences. Such a need was characteristic even of primitive people. When making household items, weapons, people tried to give them a special shape, decorate them with ornaments. From a practical point of view, these actions are meaningless, but from the point of view of aesthetics, they filled a person’s life with a special spiritual, spiritual meaning.

Aesthetic pleasure can be caused not only by grandiose works of art or majestic natural phenomena, but also by quite ordinary objects, such as furniture, wallpaper, dishes. Positive or negative emotions are caused by the actions of people when they correspond or do not correspond to generally accepted norms of behavior.

The history of the development of aesthetic feelings

Since prehistoric times, it has been human nature to differentiate between the beautiful and the ugly. But the feeling of beauty is not an innate quality, it develops as a result of education based on generally accepted rules. Therefore, in different countries, in different historical eras, there are their own ideas about beauty, rules of conduct, and art.

Art, the main object of aesthetic feelings, is a reflection of natural phenomena and everything that surrounds a person. This is something that is common to all eras and cultures.

The development of art begins in the times of the primitive communal system, from the first rock paintings and images on household utensils. It is still a simple primitive imitation of what a person saw around him.

With the evolution of man and the development of society, the evolution of aesthetic feelings also takes place. Now the artist draws his inspiration, as he did a hundred thousand years ago, from the world around him, but the strength of his talent lies in the fact that, passing through himself ordinary themes, he transforms them into the most unpredictable forms.

Types of aesthetic feelings

Aesthetic feelings have the widest range, but the following can be especially distinguished:

1. Aesthetic pleasure.
2. Sense of beauty.
3. Feeling majestic.
4. Artistic feeling.
5. Feeling tragic.
6. Feeling comical.

The pleasure that a person experiences, perceiving sounds, colors, shapes, movements, is an aesthetic pleasure. Harmony in the combination of color solutions, musical sounds, proportions of objects evokes positive emotions, disharmony, disproportion, on the contrary, makes a repulsive impression.

The feeling of beauty arises in a person when he perceives the beauty of nature and man. In this case, not only the harmony of phenomena is perceived, but also the inner content. A person can be considered beautiful if his character, behavior, intellectual abilities cause admiration even with not the most correct facial features.

If the phenomena perceived by a person greatly exceed the usual limits, a feeling of majesty arises. They can relate to various areas, whether it is the grandiose phenomena of nature or human genius.

Aesthetic feelings that arise when contemplating works of art - paintings, sculpture, architecture - are called feelings of artistic perception.

A very complex feeling is the feeling of the tragic, which arises under the influence of literary works. It is a combination of compassion, indignation, admiration, and also makes a person pay attention to the correctness of his life.

The feeling of the comical is always accompanied by merry laughter, and arises from the perception of phenomena that cause contradictions. It is the opposite of feeling tragic. And although it makes fun of various shortcomings, it rarely makes a person think about them and try to fix them.

Thus, the historically established human need for aesthetic feelings pushed various types of arts to develop, forcing both the person himself and his life to improve.

Video on the topic of the article

A special form of experience is represented by higher feelings, which contain all the richness of truly human relationships.

Depending on the subject area to which they refer, feelings are divided into moral, aesthetic, intellectual.

1. Moral, or moral feelings.

These are the feelings experienced by people when they perceive the phenomena of reality and compare these phenomena with the norms developed by society. The manifestation of these feelings suggests that a person has learned the moral norms and rules of behavior in the society in which he lives. Moral norms are formed and changed in the process of the historical development of society, depending on its traditions, customs, religion, dominant ideology, etc. The actions and deeds of people that correspond to the views on morality in a given society are considered moral, ethical; actions that do not correspond to these views are considered immoral, immoral.

For example, moral feelings include a sense of duty, humanity, benevolence, love, friendship, patriotism, sympathy, etc. Greed, selfishness, cruelty, etc. can be attributed to immoral feelings.

It should be noted that in different societies these feelings may have some differences in content.

2. Moral and political feelings.

This group of feelings is manifested in emotional attitudes towards various public institutions and organizations, as well as towards the state as a whole. One of the most important features of moral and political feelings is their effective character. They can act as motivating forces of heroic deeds and deeds. Therefore, one of the tasks of any state system has always been and remains the formation of such moral and political feelings as patriotism, love for the Motherland, etc.

3. Intelligent feelings .

Intellectual feelings are called experiences that arise in the process of human cognitive activity. The most typical situation that generates intellectual feelings is a problem situation. Success or failure, ease or difficulty of mental activity evoke a whole range of experiences in a person. Intellectual feelings not only accompany the cognitive activity of a person, but also stimulate, enhance it, affect the speed and productivity of thinking, the content and accuracy of the knowledge gained. The existence of intellectual feelings - surprise, curiosity, curiosity, a feeling of joy about the discovery made, a feeling of doubt about the correctness of the decision, a feeling of confidence in the correctness of the proof - is a clear evidence of the relationship between intellectual and emotional processes. At the same time, feelings act as a kind of regulator of mental activity.

4. Aesthetic feelings.

This is the emotional attitude of a person to the beautiful in nature, in people's lives and in art. Observing the objects and phenomena of reality around us, a person can experience a special feeling of admiration for their beauty. A person experiences especially deep feelings when perceiving works of fiction, musical, visual, dramatic and other types of art. This is due to the fact that both moral and intellectual feelings are specifically intertwined in them. Aesthetic attitude is manifested through different feelings - delight, joy, contempt, disgust, longing, suffering, etc.

It should be noted that the considered division of feelings is rather conditional. Usually, the feelings experienced by a person are so complex and multifaceted that it is difficult to attribute them to any one category.

Many authors refer to the highest manifestation of feelings passion - another type of complex, qualitatively peculiar and found only in humans emotional states. Passion is a fusion of emotions, motives, feelings, concentrated around a certain type of activity or subject. S. L. Rubinshtein wrote that “passion is always expressed in concentration, concentration of thoughts and forces, their focus on a single goal ... Passion means impulse, passion, orientation of all aspirations and forces of the individual in a single direction, focusing them on a single goal” .

Friendship

Elective attachments find their most vivid embodiment in the phenomenon of friendship. J.-J. Rousseau wrote that "the first feeling to which a carefully brought up young man is susceptible is not love, but friendship." K.K. Platonov considers friendship as a complex moral feeling, the structure of which includes: the need to communicate with the subject of friendship, reinforced by a habit that causes an emotion of satisfaction in communication; memories of joint activities with him and its results; joint empathy, former, existing and possible; emotional memory; call of Duty; fear of loss; a prestigious (usually idealized) assessment of him. According to Platonov, the feeling of friendship for an object of the opposite sex is included in the feeling of sexual love, but may not be associated with it.

It should be emphasized that as one of the types of attraction, friendship has specificity. If sympathy and love can be one-sided, then friendship cannot be. She assumes interpersonal attraction, that is, the manifestation of friendly feelings on both sides. Only in this case can friendship fulfill the functions of satisfying emotional needs, mutual knowledge, social interaction and dialogue of individuals, which takes on the character personal (intimate and trusting) relationships. In addition, friendship, compared with sympathy, attraction, love, has a more conscious, pragmatic character.

M. Argyle notes that friendship in the hierarchy of human values ​​occupies a higher place than work and leisure, but inferior to marriage or family life. True, in different age groups, this ratio may vary. It is most important for young people, from adolescence to marriage. Friendship becomes highly significant again in old age, when people retire or lose loved ones. Between these ages, friendship is less important than work and family.

reasons for friendship. M. Argyle notes three reasons why friendly relations are established:

1) the need for financial assistance and information, although friends provide it to a lesser extent than family or colleagues;

2) the need for social support in the form of advice, sympathy, confidential communication (for some married women, friends are more important in this respect than husbands);

3) joint activities, common games, common interests.

I.S. Kohn cites as such reasons: needs the subject, prompting him to choose one or another partner; partner properties, stimulating interest or sympathy for him; features of the interaction process, conducive to the emergence and development of paired relationships; objective conditions such interaction (for example, belonging to a common social circle, group solidarity).

According to Argyle, women have closer friendships than men, are more self-disclosing, and have more intimate conversations. Men are more inclined to joint activities and joint games with friends.

Criteria for choosing friends. In many works, the question is discussed - on what grounds (by similarity or difference) friends are chosen. I.S. Kohn believes that before resolving this issue, it is necessary to clarify a number of circumstances.

First, what class of similarities are we talking about (sex, age, temperament, etc.). Second, the degree of perceived similarity (full or limited). Thirdly, the meaning and meaning of this similarity for the personality itself. Fourth, the volume, the breadth of the range of similarities. The similarity of friends may be limited to one particular characteristic, or it may manifest itself in many. The definition of similarity or dissimilarity also largely depends on how a person imagines himself and his friends and what they really are.

Numerous socio-psychological studies show that the orientation towards similarity in social attitudes clearly prevails over the orientation towards complementarity. The vast majority of people prefer to be friends with people of their age, gender, social status, education, etc. It is also desirable to have similar basic values ​​and interests. True, when it is not about social attitudes and demographic characteristics, the results obtained are not so unambiguous.

Often people who are completely different in mental makeup are friends. An open and impulsive person can choose a closed and reserved person as a friend. The relationship between such friends gives each of them the maximum opportunity for self-expression with a minimum of rivalry; at the same time, together they make a couple with a greater variety of personality traits than either individually. However, friends are rarely the exact opposite of each other. Friendship couples that have existed for a long time are usually characterized by the presence of common values, attitudes, hopes and opinions both about each other and about other people.

Rules for the behavior of friends. M. Argyle and M. Henderson established general rules of conduct, which are considered the most important for the continuation of friendly relations and non-compliance with which leads to their break, and divided them into four groups.

Exchange:

- share news about your successes;

Show emotional support;

Volunteer to help in case of need;

Try to make your friend feel good in your company;

Return debts and rendered services.*

Intimacy:

Confidence in another and trust in him.

Relationship with third parties:

- protect a friend in his absence;

Be tolerant of the rest of his friends*;

Do not criticize a friend in public**;

Keep trusted secrets**;

Do not be jealous or criticize other personal relationships of the other.**

Coordination:

- do not be intrusive, do not teach *;

Respect the friend's inner peace and autonomy.**

The most important are the six rules that are not marked with asterisks, as they meet all four criteria. Rules marked with one asterisk meet three criteria, but do not distinguish close friends from less intimate ones. They are important for normal levels of friendship, but can be violated in especially close relationships: close friends are not considered favors, forgive intolerance towards mutual acquaintances, and even some importunity. Rules marked with two asterisks meet two criteria. They are considered important and their violation can lead to the termination of friendship, but the assessment of the depth of friendships does not depend on them. They are not specific to friendships, but are present in other personal relationships as well.

Children's friendship. Canadian psychologists B. Baigelow and D. La Gaipa, studying children from 6 to 14 years old, found that friendship, in terms of normative expectations, goes through three stages of development:

1) situational relations in connection with common activities, territorial proximity, mutual assessment;

2) the contractual nature of relations - strict observance of the rules of friendship and high demands on the character of a friend;

3) "internal-psychological" stage - personal traits acquire paramount importance: fidelity, sincerity, the ability to intimacy.

In young children, friendship is unstable, situational. For example, L. N. Galiguzova found that young children often cannot recognize among three peers the one with whom they had met alone 15 times before and played for a long time. Children's friendship can end because of a trifle, as they do not know how to put up with the private shortcomings of their friends.

The first love not only does not weaken the need for a friend, but often strengthens it because of the need to share your experiences with him. But as soon as mutual love appears with its psychological and physical intimacy, it ceases to be discussed with friends until some difficulties arise in love relationships.

Love

Currently, D. Lee has developed a more detailed typology of love:

1) eros - passionate love-hobby, striving for complete physical possession;

2) ludus - hedonistic love is a game that does not differ in depth of feeling and relatively easily admits the possibility of betrayal;

3) storge - calm, warm and reliable love-friendship;

4) pragma - arises from a combination of ludus and storge - rational, easily controllable; calculated love;

5) mania - appears as a combination of eros and ludus, irrational love-obsession, which is characterized by insecurity and dependence on the object of attraction;

6) agape - selfless love-self-giving, the synthesis of eros and storge.

For women, storgical, pragmatic and manic manifestations of love are more characteristic, and erotic and especially human love is more characteristic of young men.

Love for a particular person, according to E. Fromm, must be realized through love for people (humanity). Otherwise, as he believes, love becomes superficial and random, remains something small.

Love is an intimate affection with great power, so great that the loss of the object of this affection seems irreplaceable to a person, and his existence after this loss is meaningless.

There are several types of love.

Thus, one speaks of active and passive forms of love; in the first case they love, and in the second they allow themselves to be loved.

They divide short-term love - falling in love and long-term - passionate love. E. Fromm, K. Izard and others talk about the love of parents for their children (parental, maternal and paternal love), children for their parents (sons, daughters), between brothers and sisters (sibling love), between a man and a woman (romantic love). love), to all people (Christian love), love to God. They also talk about mutual and unrequited love.

Love manifests itself in constant concern for the object of love, in sensitivity to its needs and in readiness to satisfy them, as well as in the aggravation of the experience of this feeling (sentimentality) - in tenderness and affection. It is difficult to say what emotional experiences accompany a person when they show tenderness and affection. This is something obscure, almost ephemeral, practically not amenable to conscious analysis. These experiences are akin to a positive emotional tone of impressions, which is also quite difficult to verbalize, except for the fact that a person experiences something pleasant, close to light and quiet joy.

Sexual love. E. Fromm gives the following abstract definition of this love: this is a relationship between people, when one person considers another as close, related to himself, identifies himself with him, feels the need for rapprochement, unification; identifies with him his own interests and aspirations and, which is very important, voluntarily spiritually and physically gives himself to another and seeks to mutually possess him.

R. Sternberg developed a three-component theory of love.

The first component of love - intimacy, feeling of closeness, manifested in love relationships. Lovers feel connected to each other. Proximity has several manifestations: joy about the fact that a loved one is nearby; the desire to make the life of a loved one better; the desire to help in difficult times and the hope that a loved one also has such a desire; exchange of thoughts and feelings; having common interests.

Traditional ways of courtship can interfere with intimacy if they are purely ritualistic and lack sincere exchange of feelings. Intimacy can be destroyed by negative feelings (irritation, anger) that arise during quarrels over trifles, as well as the fear of being rejected.

The second component of love - passion. It leads to physical attraction and sexual behavior in relationships. Although sexual relations are important here, they are not the only kind of needs. There is a need for self-respect, a need to get support in difficult times.

The relationship between intimacy and passion is ambiguous: sometimes intimacy causes passion, in other cases passion precedes intimacy. It also happens that passion is not accompanied by intimacy, and intimacy is not accompanied by passion. It is important not to confuse attraction to the opposite sex with sexual desire.

The third element of love - decision-obligation (responsibility). It has short term and long term aspects. The short-term aspect is reflected in the decision that a particular person loves another, the long-term aspect is reflected in the obligation to preserve this love (“oath of love to the grave”).

And this component is not uniquely correlated with the previous two. To demonstrate possible combinations, R. Sternberg developed a taxonomy of love relationships.

These kinds of love are extreme cases. Most real love relationships fall in between these categories because the different components of love are continuous, not discrete.

Table 12.2 Systematics of types of love by R. Sternberg

Kind of love	Intimacy		Decision-commitment
Sympathy
Passionate love
Invented love
romantic love
Love-camaraderie
Blind love
perfect love

Note: + the component is present, - the component is absent.

The love of parents for children.

E. Fromm (1998) points out the differences between maternal and paternal love.

Mother's love unconditional - a mother loves her child for what he is. Her love is not subject to the control of the child, since it cannot be earned from the mother. A mother's love is either there or it isn't.

paternal love conditioned - the father loves because the child lives up to his expectations. Father's love is controlled - it can be earned, but it can also be lost.

At the same time, Fromm notes that we are not talking about a specific parent - mother or father, but about maternal or paternal principles, which are represented to a certain extent by both parents.

An important characteristic of parental love, especially of a mother, is emotional availability. This is not just the physical presence or physical proximity of the parent, it is his willingness to give the child his warmth, his tenderness, and subsequently understanding, support, approval.

Parents' concern for their children is determined by the sensitivity of parents to the needs of the child and their willingness to satisfy them. The range of manifestation of this sensitivity is extremely large - from importunity to complete indifference.

Jealousy

Jealousy is a suspicious attitude of a person towards the object of adoration, associated with painful doubts about his loyalty or knowledge of his infidelity.

Jealousy involves three sides in its orbit (triadic relationships): the first is the jealous one, the second is the one who is jealous, and the third is the one (those) who are jealous, perceived by the jealous as a rival, claiming, like him, for the love of parents , the favor of the boss, etc. .

P. Titelman defines the differences between envy and jealousy as follows: a feeling of envy arises when an individual does not have what he passionately wants; a feeling of jealousy arises when, due to the presence of a rival, an individual is afraid of losing what he has and what is significant to him.

If envy in most cases is considered a human flaw, then jealousy, which has objective reasons, is a socially approved feeling and is encouraged by society.

E. Hatfield and G. Walster consider the cause of jealousy to be a sense of hurt pride and awareness of a violation of property rights.

Jealousy for the object of sexual love. A special position is occupied by jealousy, manifested in the relationship between the sexes. It is associated with a feeling of love and the reason for it is the fact that someone loves not us, but another. In this case, the lover's own dignity becomes wounded, offended. This jealousy is experienced especially acutely. One has only to imagine that his lover is not meeting with him, but with someone else, as he begins to experience unbearable mental pain. At such moments, a person is permeated with the thought that he has forever lost something very valuable, that he was abandoned, betrayed, that no one needs him, and his love turned out to be meaningless. The emerging consciousness of one's loneliness and inner emptiness is accompanied by disappointment, sadness, resentment, shame, annoyance, anger. In such a state, a person is not able to behave rationally.

Jealousy is associated with a person's earlier confidence in the love of a loved one and with his idea that only he has the right to possess him. The result of this is an encroachment on the personal freedom of a loved one, despotism, suspicion. Frequent affective outbursts of jealousy, which can lead to tragic consequences. Jealousy turns love into hate. Then a person seeks in any way to cause suffering, insult and humiliate the person he loves. Such hatred often remains repressed and manifests itself in the form of mockery of the beloved.

AN Volkova classifies reactions of jealousy on several grounds: according to the criterion of the norm - normal or pathological; according to the content criterion - affective, cognitive, behavioral; by type of experience - active and passive; intensity - moderate and deep, heavy.

Normal, non-pathological reactions are distinguished by the adequacy of the situation, understandable to many people, accountable to the subject, often controlled by him. Pathological jealousy has the opposite characteristics.

Cognitive reactions are expressed in the desire to analyze the fact of betrayal, look for its cause, look for the culprit (I am a partner - a rival), build a forecast of the situation, trace the background, that is, create a picture of the event. Cognitive reactions are more pronounced in individuals of an asthenic warehouse, intellectuals.

Affective reactions are expressed in the emotional experience of betrayal. The most characteristic emotions are despair, anger, hatred and contempt for yourself and your partner, love and hope. Depending on the type of personality, affective reactions occur against the background of melancholic depression or angry agitation. The predominance of affective reactions is observed in people of an artistic, hysterical, emotionally labile warehouse.

Behavioral reactions appear in the form of a fight or a refusal. The struggle is expressed in attempts to restore relations (explanations), to keep a partner (requests, persuasion, threats, pressure, blackmail), to eliminate an opponent, to make it difficult to meet with him, to draw attention to oneself (causing pity, sympathy, sometimes coquetry). In case of refusal to restore relations, the connection with the partner breaks off or acquires a distant, official character.

With active reactions characteristic of sthenic and extroverted personalities, a person seeks the necessary information, openly expresses his feelings, seeks to return a partner, competes with an opponent. With passive reactions, asthenic and introverted personalities do not make persistent attempts to influence relationships, jealousy flows inside a person.

Sharp and deep reactions of jealousy are the result of complete surprise of betrayal against the backdrop of a prosperous marriage. Cheating hurts a trusting and devoted person more. Jealousy becomes protracted if the situation is not resolved, the partner behaves inconsistently, without making a definite decision.

Volkova notes that the following contribute to the strengthening of the reaction of jealousy:

1) inert mental processes that make it difficult to understand, react and act in a given situation;

2) an idealistic attitude, in which a person does not allow any compromises in love life;

3) pronounced possessive attitude towards things and persons;

4) overestimated or underestimated self-esteem; with an overestimated self-esteem, a despotic variant of experiencing jealousy is observed, with an underestimated one, a person acutely experiences his own inferiority;

5) loneliness, poverty of interpersonal relationships, in which there is no one to replace a partner;

6) sensitivity of a person to betrayals of various kinds in other partnerships;

7) strong dependence on a partner in achieving any vital goals (material security, career, etc.).

There are several types of jealousy: tyrannical, from infringement, converted, instilled (Linchevsky, 1978).

Tyrannical jealousy occurs in stubborn, domineering, complacent, petty, emotionally cold and aloof subjects. Such people make very high demands on others, which can be difficult or impossible to fulfill and do not arouse sympathy in the sexual partner, but also lead to cooling in relationships. When such a despotic subject tries to find an explanation for this cooling, he sees the reason for it not in himself, but in a partner, "who has an extraneous interest, a tendency to infidelity."

Jealousy from infringement of self-esteem It manifests itself in people with an anxious and suspicious character, with low self-esteem, insecure, easily falling into melancholy and despair, prone to exaggerate troubles and dangers. Self-doubt, a sense of his own inferiority makes him see an opponent in everyone he meets. And if it seems to him that the partner did not show him due attention, he immediately has doubts, suspicions about the fidelity of a loved one.

Converted Jealousy represents the result of one's own tendencies towards infidelity, its projection onto the partner. The line of reasoning of a jealous person is this: since he has thoughts of adultery, why can't others, including his partner, have them? Usually, converted jealousy occurs in place of extinguished love, since lingering love is rarely combined with dreams of other sexual partners. This type of jealousy is the most everyday, prosaic.

Instilled jealousy is the result of suggestion from the outside that "all men (women) are the same", hints about the spouse's infidelity.

There are the following ways to overcome jealousy:

1) distraction to something significant for a person (study, work, caring for children, hobbies);

2) the development of a new view of things, the formation of the morality of forgiveness, conscious control over the reactions of jealousy;

3) learning lessons, finding your own mistakes, building new relationships with a partner, possibly of a different type;

4) depreciation of a partner and a situation of betrayal - their comparison in a number of other values, life attitudes;

5) in case of disintegration of the partnership - the search for a new partner, a change in lifestyle, the formation of other interpersonal relationships.

Sibling rivalry.

In childhood, everyone has experienced emotional experiences associated with jealousy. At first, the child loves his mother and father passively, and soon he begins to understand that he cannot always get a reciprocal feeling from them: after all, even the most tender mother and the most caring father leave the child for each other from time to time. This reassures the child that every time. when he wants someone to love him, he runs the risk of being abandoned.

The first reactions of jealousy are already observed in nine-month-old children. They are primitive and stereotyped. The child screams, cries, twitches when he sees how the mother approaches another child, takes him in her arms. Less often, a child is jealous of an adult, for example, when a mother pretends to hug her father. The child may be jealous of the doll, he throws it if he saw her parents stroking her. At ten months old, seeing how the mother puts her head on the shoulder of the father, she tries to stick herself between them.

At the age of one year and nine months, the girl does not want her doll to have a dress sewn. At the age of two and a half years, hostile actions due to jealousy are already restrained, instead of them feelings, resentment, pouting appear.

Then, at the age of two and a half to five years, jealousy appears when the child already has active love for his parents, which turns out to be “unrequited” by them; mother or father did not reciprocate, did not react to his feelings with the desired trepidation. The child feels rejected, isolated, "exposed outside the door of a house where others enjoy love and happiness." This experience lays the foundation for all subsequent neurotic disorders and other psychopathologies in this person.

Boys have a positive Oedipus complex (named after the mythical character of King Oedipus, who in ignorance married his mother and killed his father). It manifests itself in sexual attraction to the mother and in jealousy of the father, whom the boy begins to consider as a rival in the fight for the mother, despite the tender feelings he has for him. A negative Oedipus complex is also possible, when a boy develops love for his father and hatred for his mother. Sometimes both forms are combined and there is an ambivalent attitude towards parents.

Girls have Elektra complex (named after the mythical princess who, in revenge for the murder of her beloved father, participated in the murder of her mother, who was responsible for his death). Girls become sexually attracted to their father and jealous of their mother, who is seen as a rival. As with boys, this complex can be positive, negative (love for mother and hate for father) and mixed.

In children, jealousy also arises in relation to their brothers and sisters. For the first-born, the appearance of a second child in the family is a serious test. After all, the eldest child is deprived of the monopoly right to the attention and admiration of the parents. The same sex of children and a small difference in age (two to three years) increase the likelihood of jealousy and rivalry for the attention of the mother. However, how much this jealousy will develop depends on the sensitivity of the parents, their ability to show the elder that he is still desired and necessary for them.

It can be assumed that the feeling of jealousy has phylogenetic roots. One of the circus trainers said that when a young leopard begins to perform the tricks of an old one, the latter becomes jealous.

Hostility

Feeling of hostility is a hostile attitude towards someone with whom a person is in conflict. A. Bass understands hostility as a state of narrow direction, always having a certain object. I am more impressed by the understanding of hostility by K. Izard, who defines it as a complex affective-cognitive trait, or personality orientation, which corresponds to my understanding of feeling as an emotional attitude. The feeling of hostility arises from the negative experience of communication and interaction with any person in a conflict situation. It occurs more easily in touchy and vengeful people. The feeling of hostility manifests itself in an “aggressive mood”, “aggressive state” (N.D. Levitov), ​​i.e. in the emotions of anger (anger), disgust and contempt with their inherent feelings and expression, which can lead to aggressive behavior.

However, A. Bass notes that hostility and aggressive behavior are combined, although often, but by no means always. People can be in hostile relations, but not show any aggression, if only because its negative consequences for the “aggressor” are known in advance. There is also aggression without hostility, when, for example, a person is robbed without experiencing any hostile feelings towards him.

K. Izard also emphasizes that aggressive verbal and physical actions are not included in hostility, and this is true. Hostile (aggressive) behavior may stem from a feeling of hostility, be motivated by it, but it is not this feeling itself. Hostility is not yet aggression (although it is difficult to imagine that in relation to the object of hostility a person would not show indirect verbal aggression, that is, he did not complain about him to anyone, did not say any taunt about him. Obviously, these authors are talking about the manifestation straight physical and verbal aggression).

K. Izard even believes that hostility is a complex motivational state, but here, in my opinion, he makes a mistake. The feeling of hostility can participate in the motivation of hostile behavior (aggression or, conversely, avoidance of contact) as one of the motivators, but it is not able to replace the entire motivational process and motive.

A strongly expressed feeling of hostility is designated as hatred. One can hate not only individuals, but humanity as a whole, although strong disappointment applies only to a specific person.

Anger- this is frustration, the result of frequent suppression of resentment and anger, a form of chronic hostility of everyone and everything, bitterness. This is a chronic state of irritation and extreme, reaching cruelty, anger. (hate: see also section 12.8). Anger develops gradually and often has its origins in infancy. So, “embittered children” are often children from orphanages. Children become embittered as a result of the cruel treatment of them by parents and adults. They treat others with the same indifference, callousness, heartlessness, and sometimes cruelty, with which they were once treated. Their bitterness is designed to hide unbearable insults and disappointments.

Xenophobia. Hatred directed against certain groups of the population, for example, against such minorities as foreigners or emigrants, is designated as xenophobia, in which, as P. Kutter writes, “there is no trace of passion, but only undisguised hatred and a thirst for destruction ...”. In some women and men, as a result of unsuccessful love, hatred of all persons of the opposite sex may arise.

Hatred also appears in malice i.e., in an irritably captious attitude towards someone, and also in slander especially if the hatred is hidden.

At the same time, the feeling of hatred can be beneficial for a person. However, for the moral assessment of this feeling, it is important to know what or whom the hatred is directed at.

Cynicism. A specific manifestation of contempt is cynicism, that is, a person's stable contemptuous attitude towards the culture of society, towards its spiritual, and especially moral, values. The term "cynicism" owes its origin to the ancient Greek philosophical school of the Cynics, who held their disputes on an Athenian hill called Kynosarges. In Latin, the word "cynics" began to sound like "cynics". Cynics preached contempt for social culture, the complete independence of man from society, a return to the "natural" state. Cynicism is manifested both in words and in deeds: desecration of what constitutes the culture of mankind, mockery of moral principles, ridicule of ideals, trampling on human dignity. Thus, cynicism is not only an emotional but also a moral feeling.

In psychology, it is customary to distinguish the following types of feelings:

1. lower feelings
2. higher feelings
3. moral feelings
4. aesthetic feelings
5. Intellectual Feelings
6. social feelings

Definition 1

A feeling is a personal emotional attitude of a person experienced in a variety of forms to the objects and phenomena surrounding him.

In psychology, the following main types are distinguished:

lower feelings

Associated with the satisfaction of basic human physiological needs. For example, a feeling of satiety or thirst, security or peace.

higher feelings

They reveal the inner world of a person. They are associated with the satisfaction of human social needs. They form the basis of all types of human activity, facilitating or hindering social activities.

The higher senses are divided into moral, aesthetic, intellectual and social feelings.

Moral

They show the attitude of a person to people, to the Fatherland, to his family, to himself. These feelings include love, humanism, respect for the motherland, responsiveness, loyalty, dignity. The diversity of moral feelings reflects the brightness of human relationships. These feelings govern human behavior.

aesthetic feelings

They represent the experience of feeling something beautiful. These feelings are most clearly manifested when contemplating works of art or natural manifestations. They have their development in accordance with the understanding of art. So, for example, music forms musical feelings in a person. These include the following feelings: humor, sarcasm, sensitivity, creative inspiration, a sense of exaltation.

Intellectual Feelings

They are based on the knowledge of people, the desire to satisfy curiosity, the search for truth and the solution of specific mental problems. These include interest, curiosity, a sense of mystery, doubt, bewilderment.

social feelings

They provide emotional interaction of a person with the world around him. This includes such common feelings as: justice, honor, duty, responsibility, patriotism, solidarity, as well as shyness, confusion, boredom, greed.

Let's consider some of them in more detail:

Passion- this is a powerful, exciting feeling that prevails over other aspirations of a person. It leads to fixing the attention of a person, all his forces on the object of passion.

Hatred- this is a firm proactive negative feeling aimed at an event that objects to a person's needs, his views and values. This feeling can cause not only a critical assessment of its object, but also destructive activity directed towards it. Before the formation of hatred, there is usually a strong discontent or a regular accumulation of negative emotions. The object of hatred then may be the true or apparent cause of events.

Humor associated with a person's ability to notice contradictions or inconsistencies in the world around. For example, to notice and exaggerate the opposite of positive or negative sides in a person. Humor implies a friendly feeling (a combination of funny and good). Behind the laughable imperfections, something positive, pleasant is implied.

Irony compares the positive with the negative, the ideal opposes fantasy and reality, or correlates the noble with the ridiculous. A person feels his superiority over an object that evokes an ironic feeling in him. And malicious irony can turn into ridicule or bullying.

Cynicism, this is a feeling that refutes life values, as well as disregard for the foundations of public morality, rules of conduct. Behind cynicism hides the inability to make efforts on the part of a person.

Sarcasm displays caustic mockery, malicious irony, or derisive remarks. Behind sarcasm lies an inability to take action.

ESSAY

discipline: "General psychology"

on the topic: "Methods for the development of aesthetic feelings in schoolchildren"

Completed:

2nd year student, 756 gr.

Kalinina Anna Sergeevna

Checked:

Sidorova A. A.

St. Petersburg, 2016

Introduction ................................................ ................................................. .............. 3

1. Definition of aesthetic feeling in psychology .............................................. 4

2. Features of the development of aesthetic feelings in childhood .............................. 6

3. Formation of aesthetic feelings............................................... .................... eight

3.1. Formation of aesthetic feelings in the lessons of literature .............................. 10

Conclusion................................................. ................................................. ......... 12

Sources of Literature .................................................. ......................................... thirteen

Introduction

Today, the school is faced with the most difficult task - to educate a cultural, creative person who knows how to find his place in a complex, constantly changing reality. The system of aesthetic education is called upon to teach to see the beauty around oneself, in the surrounding reality.

To form a personality and aesthetic culture, - many writers, teachers, psychologists, cultural figures note - is especially important at the most favorable for this younger school age. The feeling of the beauty of nature, surrounding people, things creates special emotional and mental states in the child, arouses a direct interest in life, sharpens curiosity, develops thinking, memory, will and other mental processes.

In recent years, attention has increased to the problems of the theory and practice of aesthetic education as the most important means of shaping attitudes towards reality, a means of moral and mental education, i.e. as a means of forming a comprehensively developed, spiritually rich personality.

According to the Soviet teacher and painter Boris Mikhailovich Nemensky, “the system of aesthetic education should be, first of all, unified, uniting all subjects, all extracurricular activities, the entire social life of the student, where each subject, each type of activity has its own clear task in the formation of aesthetic culture and personality of the student.

Definition of aesthetic feeling in psychology

Feelings are a type of emotional states. The main difference between emotions and feelings is that emotions, as a rule, have an orienting reaction, i.e. carry primary information about the lack or excess of something, so they are often indefinite and insufficiently conscious. Feelings, on the contrary, are more objective and concrete.

Feelings are even longer than emotions, mental states that have a clearly expressed objective character. They reflect a stable attitude towards any specific objects.

Higher feelings, which contain all the richness of truly human relationships, constitute a special form of experience.

Among such higher feelings, aesthetic feelings are distinguished.

In the process of social development, a person has acquired the ability to perceive the phenomena of the surrounding reality, guided not only by moral norms, but also by the concepts of beauty. This circumstance becomes the basis for the emergence of aesthetic feelings. Aesthetic experiences are very diverse and complex. They go through gradations, starting from a slight excitement about what they perceive and ending with a deep excitement about what they see.

Aesthetic feelings do not appear as some kind of isolated experience, but they are woven into a holistic aesthetic impression that can arise both from an encounter with a work of art and from the perception of a picture of nature. Therefore, the level, character, content of our aesthetic impressions determine the quality and features of the emerging aesthetic feelings. In other words, the complication of aesthetic feelings, the appearance of new moments in them depends primarily on the nature of the perceived object, the richness of its sides, the depth of the content imprinted in it, on the level and depth of a person’s aesthetic knowledge.

Aesthetic feelings are called feelings associated with the experience of pleasure or displeasure, caused by the beauty or ugliness of perceived objects, whether they are natural phenomena, works of art or people, as well as their actions and actions. This is an understanding of beauty, harmony, sublime, tragic and comic. These feelings are realized through emotions, which in their intensity range from slight excitement to deep excitement, from emotions of pleasure to aesthetic delight.