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Consciousness and unconsciousness in a work of art
Abstract
In research it is claimed that the deep esthetic image or a talented work of art are always interfaced to a semantic polysemy, and their creation to art intuition, inspiration, imagination. In the course of art creativity the scientific intuition works at base of discrete, discursive information and art generates the result having continual informative power. In article the essence conscious, unconscious, direct influence of involuntary feelings independent of will of the person on a work of art is considered. The Model conscious and unconscious in a work of art is developed.
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This paper articulates a concept of culture as practical, socially organized human activity. Culture is not simply shared conceptual understandings, as many cultural psychologists believe. The manner in which cultural activity organizes psychological functions is explored in detail. The reciprocal influence of psychological functions on culture is also described.
James Hillman’s vision of psychology is explored and commented on. Hillman’s deconstruction of psychological theory and his critique of humanistic psychology are considered against the background of several of his foundational ideas: the deepening of the soul, personification and the “world soul,” image, and myth as the language of the psyche, the function of narrative, honoring psychopathology, psychological polytheism, and the deconstruction of the ego. Several of Hillman’s more controversial ideas are critiqued, and the relationship of Hillman’s ideas to Hegel’s philosophy is explored. It is concluded that Hillman’s vision of psychology is far more humanistic than he himself acknowledges.