BULLOUGH’S ESSAY, “Psychical Distance as a. Factor in given some attention to psychical distance; N1nd Essays Edward Bullough (Stanford, California. , , et passim. 6 Edward Bullough, ‘Psychical Distance’ as a Factor in Art and an Aesthetic Principle,”. The British Journal of Psychology, V (June. The concept of “physical distance” developed by Edward Bullough in his well- known article1has come to be generally accepted as an aesthetic principle.
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Historically it looks almost as if Art had attempted to meet the deficiency of distance on the part of the subject and had overshot the mark in this endeavour. Paragraph numbering below has been added to facilitate class discussion. In this sense Witasek, oeprating with Meinong’s theory of Annahemhas described the emotions involved in witnessing a drama as Scheingefuhlea term which has so frequently been misunderstood in discussions of his theories. Gene Blocker – – British Journal of Aesthetics 17 3: Wilkinson, introduction to Aestheticsby Edward Bullough London: This difference, so well known as to be almost trivial, is generally explained by reference to the knowledge that the characters and situations are ‘unreal,’ imaginary.
Psychical Distance and the Aesthetic Appreciation of Wilderness. Election,” Cambridge University Reporter 63, psyxhical. On the contrary, it describes a personal relation, often highly emotionally coloured, but of a peculiar character.
The sudden view of things from their reverse, unusually unnoticed, side, comes upon us as a revelation, and such revelations are precisely those of Bullougj. Suppose a man, who believes that he has cause to be jealous about his wife, witnesses a performance of ‘Othello. Tad Bratkowski – unknown.
It is, for this very reason, also an aesthetic principle. In a similar manner temporal remoteness produces Distance, and objects removed from us in point of time are ipso facto distanced to an extent which was impossible for their contemporaries. A short illustration will explain what is meant by ‘Psychical Distance.
Naoko Korita, Edward Bullough’s Concept of ‘Psychical Distance’ – PhilPapers
Sign in Create an account. It is on account of the same difficulty that the expert and the professional critic makes a bad audience, since their expertness and critical professionalism are practical activities, involving their concrete personality and constantly endangering their Distance. Find it diwtance Scholar. Van Camp They may be freely reproduced, so long as this complete citation is included with any such reproductions.
Edward Bullough’s Concept of ‘Psychical Distance’
In the First World WarBullough was recruited as a civilian in the summer of to the Admiralty ‘s cryptoanalysis section, Room George Dickie – – Philosophy and Phenomenological Research 22 2: Setup an account with your affiliations in order to access resources via your University’s proxy server Configure custom proxy use this if your affiliation does not provide a proxy. Allusions to social institutions of any degree of personal importance – in particular, allusions implying any doubt as to their validity – the questioning of some generally recognised ethical sanctions, references to topical subjects occupying public attention at the moment, and such like, are all dangerously near the average limit and may at any time fall below it, arousing, instead of aesthetic appreciation, concrete hostility or mere amusement.
Usually, though not always, it amounts to the same thing to say that the Distance lies between our own self and such objects as are the sources or vehicles of such affections. In this most general sense, Distance is a factor in all Art.
Less obvious, more metaphorical, is the meaning of temporal distance. This paper will attempt to make his concept of ‘Psychical Distance’ clearer.
The individual tends, as I just stated, to under-distance rather than to lose Distance by over-distancing. That distance, by changing our relation to the characters, renders them seemingly fictitious, not that the fictitiousness of the characters alters our feelings toward them.
What is therefore, both in appreciation and production, most desirable is the utmost decrease of Distance without its disappearance. Ppsychical same misconception has arisen over many ‘problem plays’ and ‘problem novels’ in which the public have persisted in seeing nothing but a supposed bullpugh of the moment, whereas the author may have been – and often has demonstrably been – able to distance the subject-matter sufficiently to rise above its practical problematic import and to regard it simply as a dramatically and humanly interesting situation.
Indeed, without some degree of predisposition on our part, eddward must necessarily remain incomprehensible, and to that extent unappreciated.
The relation between self and object remains a personal one it is not like the impersonal relation in scientific observation, for example and Bullough thinks that a “concordance” between them is necessary for aesthetic appreciation. After a short illness  resulting from an internal operation,  Bullough died in a nursing home in Bath on 17 September They appeal to everybody and therefore to none.
Its peculiarity lies in that the personal character of the relation has been, so to speak, filtered. A New Look at Aesthetic Distance.
Kates edwar – Tulane Studies in Philosophy