It was not only labor that made a man out of a monkey, but also the beauty of the surrounding world. Although the ability to see beauty was inherent not only to Homo sapiens, but also to the most ancient people. But only a highly developed person can experience truly aesthetic feelings.

When you can see beauty in life’s phenomena and try to live up to your idea of ​​beauty, you become better and develop as a person.

Aesthetic feelings and appearance

People (especially women) wear hair extensions, take care of their skin, and put on makeup. Why? Not just to attract a member of the opposite sex, as was the case before. And in order to feel comfortable in your body.

Hierarchy of human needs

Psychologist Maslow's pyramid shows that a person's physiological needs come first, and spiritual needs come last. But one who cannot realize himself in the spiritual sphere turns into a monkey.

This the main problem humanity. After all, people are forced to survive, and not read books. Hence the widespread, one might say, animalistic attitude towards each other, deception, fraud, and the desire to make money. Aesthetics cannot be formed on such a basis. Some “chosen ones” still manage to develop, earning their living every day. They are capable of experiencing real aesthetic feelings and developing in a creative or intellectual direction.

Aesthetic feelings (or is a complex of structures. The consciousness of an esthete includes work, taste, judgment, contemplation, perception, evaluation, ideal, values.

A person’s taste is his direct opinion about an object or phenomenon. If, for example, your boyfriend wears jeans with slits, which are now “in trend,” but you don’t like them, you prefer trousers without slits, then this is a subjective aesthetic feeling.

What is aesthetic judgment

The concepts of “aesthetic taste” and “judgment” can be confused. But in reality they are different. Judgment is, rather, an assessment of the morality of a particular phenomenon. That is, what you think about a person’s business, how beautiful or ugly it is.

Aesthetic contemplation is the ability to evaluate reality from the point of view of aesthetics, and not just logic. The ability to give a positive or negative assessment based not only on details, but also on the big picture. For example, when you see a picture of an artist depicting the life of cats (a humorous genre), you evaluate him from the point of view of his contribution to art, and not just criticize the color of the cat’s boots in the picture.

Aesthetic perception - what is it?

• Perception is an opinion about a work of art and its contribution to world beauty. When you look at a beautiful thing and experience positive emotions. For example, buying a set of cups and saucers because the set is 100 years old.
• Aesthetic assessment is what a certain person thinks about the beauty of nature, some phenomenon or thing. Or maybe about the beauty of another person.

• An aesthetic ideal is a generalized concept that characterizes what a person understands by the word “ideal.”
• Aesthetic values ​​very much characterize a person, as they express his attitude towards all spectrums of life. The attitude of an individual towards different spheres of life as a whole constitutes his personality.

Without a normal person cannot work if he does not work, he needs Labor not only to buy food, but also to realize life values, to buy resources that will bring joy to other people (for example, buying toys for a child) or to invest money in self-development ( watching movies, buying books).

But the ability to feel beauty also does not mean that a person is perfect. For example, Hitler was an artist and also saw beauty. At the same time he became famous as a tyrant.

What is responsible for the development of our aesthetic feelings?

Development of aesthetic sense of beauty of a person and his intellectual development directly related to each other. Without sufficient intelligence (or education), an individual will not be able to fully appreciate beauty. In order, for example, to evaluate a work of art, you need to know its value in the context of the era and study art history.

How to develop a sense of beauty in yourself?

Information sources will help: books, good films, as well as communication with other people. Conduct developmental trainings, value in people not only material well-being, but also spiritual values. Develop the ability to see beauty in small things.

Aesthetic feelings are a need to develop

Let's figure out what investing in yourself is. These are actions that allow you to form moral and aesthetic feelings in yourself. This is health and appearance care, new knowledge. Without these three components it is impossible to achieve success. All three qualities need to be developed in yourself. While you are young, you don’t think much about morality or aesthetics. That is why psychologists advise developing the aesthetic senses of preschoolers.

But it’s worth considering that if you don’t take care of them properly, many problems will appear in later life. Human life will become very limited.

For example, body health begins with psychological and mental health. All mental illnesses or pressures, one way or another, are reflected on the body, making themselves felt by ailments of varying degrees of severity. Fear, constant depression, depression, hopelessness are “transformed” into cervical osteochondrosis, lack of emotions, love, colors of life, spoil a person’s vision. The inferiority complex, one way or another, is reflected in the posture and spine.

The first place to start taking care of your health is gaining mental balance, developing such a factor as aesthetic feelings (this is reading all kinds of literature, contemplating beautiful things).

Then you need to pay attention to body care and appearance. If a person does not like himself outwardly, then his self-esteem suffers and he cannot achieve success in life. In a woman’s life, her appearance and psychological comfort are directly related. Therefore, you need to take care of creating your own style and skin care.

Walking in the fresh air does not cost money and at the same time has a good effect on a person, and is indirectly responsible for nurturing aesthetic feelings in children. Masks made from henna, basma and fermented milk products will help maintain the beauty of your hair.

To fully care for your skin (cleanse, moisturize, tone), you need to stock up on facial peeling, moisturizer and toner. Quite affordable companies have high-quality products.

Aesthetic feelings are knowledge

One wise man said that knowledge is a valuable cargo that does not interfere. You never know what information you will need today or tomorrow. Therefore, there is no such thing as unnecessary knowledge.

How to invest knowledge in yourself?

• Read every day. By giving preference not to the tabloid press, but to psychological books or educational literature, a person invests in himself.
• Chat with new people. You shouldn't hang out in a cafe all day long to make new acquaintances. Even on social networks there are people who can give advice on this or that matter and recommend good literature.
• To take risks. From time to time it is worth leaving your “comfort zone” and trying yourself in some new business. This is how a person develops.

Love and aesthetic feelings

The human psyche is multifaceted. But only a person who is capable of experiencing aesthetic feelings can love. The same quality - the ability to love - can manifest itself differently in different people. How much development a person has depends on his internal development, as well as on how much bright emotions feel for a person.

The first stage of falling in love is a habit

Emotions, one way or another, require an outlet, but how a lover will realize himself depends directly on his development. Traits such as hysteria, narcissism, selfishness indicate that a person has a strong instinct of fear and a weak sense of beauty. Or his basic needs are simply not met. The inability to realize oneself pushes a person into hysterics, selfishness, and self-defense.

An individual who is in the first stage of falling in love loves for the status that this or that person gives him. He loves for comfort, for the opportunity to protect himself. Or just for a beautiful thing. He is able to enjoy beautiful clothes and cars. But it is difficult for him to fall in love with a certain person. People around you are judged solely by their appearance or material status. Moral qualities and the personality of the interlocutor is of little interest to him.

The second stage of falling in love is sympathy

This is love, also based on basic needs. The feeling of love for one's neighbor is still poorly developed and cannot be fully realized. The manifestation of sympathy is limited to coquetry and flirtation. If the object of love does not reciprocate, it quickly passes, since attachment to him has not yet formed. It's like children's aesthetic senses.

The second stage of love has no creative basis. If a person in love failed on the personal front, did not get what he wanted, then he can become angry with the opposite sex, become a misogynist or a man-hater and devote his entire life to a cat or dog. This individual can easily pass by human grief, use someone, and he also has a desire to take revenge.

The third stage of development of love - physiology

A person in the third stage of falling in love is also attracted by physical characteristics (pleasant voice, appearance), but he experiences feelings for a person more deeply and fully than in the second stage. The formation of aesthetic feelings is based on understanding the object of passion. He not only wants reciprocity with his partner, but also respects his surroundings and tries to decorate his life as much as possible. At this stage, a person is already learning to understand psychology, reading thematic literature, and trying to understand the situation. The individual wants not only to take, but also to give.

An attachment to the object of love is formed, which is difficult to get rid of.

The fourth stage of development of love is true love

A person at such a stage of development can not only understand the mood of another and sympathize, but almost physically experiences the pain of his neighbor. Attachment and selfless love for a person are formed, acceptance of all his characteristics, including shortcomings. But this feeling should not be confused with painful dependence, which many lovers confuse with love.

Moving on to the presentation of the psychology of aesthetic feeling, I would like to first of all note that at present, interest in aesthetics is growing more and more, especially in comparison with the indifferent and even often hostile attitude that was so widespread just recently. In our time, on the contrary, aesthetic feelings and aesthetic needs often come almost to the fore, society shows increased interest in issues of art, entire worldviews arise, which are based on an aesthetic worldview, ideals are created on the basis of aesthetic criteria, and thus Thus, the sense of beauty is considered as the main, or at least one of the main springs, driving the development of mankind. In education, aesthetic elements are again strongly emphasized Lately. They point out that both at school and in life a child should not be surrounded by the routinely monotonous environment of a modern school with its corridors and empty square classrooms, but by works of art, an elegant, albeit simple environment, in general an environment that would develop in him from a young age joy of life and a sense of beauty. All this prompts me to dwell in more detail on the psychology of aesthetic feeling.

Like other higher feelings, the aesthetic feeling is complex: it includes whole line various elements. Let's start with the simplest ones.

If we analyze our aesthetic experiences, we will often encounter the fact that individual sensations, taken by themselves, give us pleasure. We like the bright or delicate colors in a painting, the soft sound of a French horn, the clear sound of a human voice. You left the room on a sunny summer day: the blue color of the sky, the bright green foliage of the trees, the chirping of birds, the aroma of the air filled with the smell of herbs, all these sensations - visual, auditory and olfactory - you like, they are components of the overall aesthetic experience . Why do we like to look at velvet and marble? Because the sight of them awakens in us the memory of the feeling we got when we ran our hands over soft velvet and smooth marble. Thus, although visual and auditory sensations play a predominant role in aesthetic experiences, nevertheless, other types of sensations are also of considerable importance here. Interesting in this regard is the statement made by the deaf-blind girl Helen Keller. Deprived of sight and hearing from birth and therefore not having the opportunity to learn to speak, she nevertheless learned to read and completed a secondary school course. educational institution, even graduated from university, and all this with the help of touch alone. E. Keller’s aesthetic sense is also based on tactile and partly olfactory sensations: she says that, feeling the figurine of the Venus de Milo, she experienced extreme pleasure. In normal people, who have all the senses, the olfactory and taste sensations have, of course, much less aesthetic significance. Gastronomy and perfumery cannot be called independent arts. But this does not prevent the tactile, olfactory and taste sensations from playing an important auxiliary role, entering into a complex aesthetic experience as additional elements.

A much more significant role is played in works of art by combinations of different sensations and the relationship between different kinds of sensations. Some kind of ornament in which ordinary colors - red, yellow, green and blue - and ordinary lines - straight, broken, curved - are intertwined and combined into a complex combination can produce a charming impression, much stronger than those colors and lines taken separately.

The pleasantness or unpleasantness of individual sensations and their simplest combinations depends to a large extent on purely physiological conditions. Let us take for example the aesthetic impression produced by various kinds of lines.

The audience is offered two lines drawn on the table - a broken line and a curve, similar in their general appearance. From the survey it appears that most people like the curve.

Generally speaking, we usually like curved lines and rounded shapes more than broken, angular ones. The reason, perhaps, is that our members move in a circle, thanks to the convex-concave structure of the joints. In order to make a broken movement, you need to use a certain force, unusual and therefore unpleasant. On the other hand, other associative elements may be mixed in here, which strengthen or, conversely, weaken this impression. For example, people like rounded forms of the human body more than bony ones, also because roundness is associated with the idea of ​​health. Sometimes associative factors are mixed, and then we begin to like straight lines (a wide, straight alley), sharp angles (a bell tower spire), etc.

Further, the physical and physiological conditions underlying the pleasantness of sound intervals and musical chords are known: those intervals in which the numbers of vibrations of tones relate to each other as prime numbers (1:2, 2:3, etc.) are pleasant to us, and vice versa.

A certain correctness or order (sometimes, however, very peculiar) in the combination of external impressions is also important. In visual perceptions we like symmetry: impressions are arranged in the correct order, such that we have identical groups to the right and left. This also includes the pleasure of rhythm, that is, from correctly, evenly alternating impressions, whatever their content: auditory - in musical works, tactile - in the rhythmic movements of dancing or running, visual - when you look at someone dancing or smoothly a moving person, etc. Zeising made a number of measurements on various works of art, on architectural monuments, sculptural works, etc., and he established that in the vast majority of cases, the beauty of a famous structure or the harmonious dimensions of a figure are determined by mathematical relationships of parts in these objects. A particularly important role here is played by the so-called golden division rule, according to which the whole must relate to the larger part as the larger part relates to the smaller. There is no doubt that many relationships between the elements that make up aesthetic experiences are subject to a certain mathematically formulated law, and it is very possible that over time it will be possible to find a more general law that unites all these separate types of aesthetic experiences into one common whole.

By comparing the above examples of aesthetic stimuli, we can derive one principle that plays a very important role in aesthetics: we like unity in diversity. Indeed, in symmetry, two different sides of an object are united by their identical relation to the midline; in rhythm, unification is achieved through evenly repeating intervals between individual impressions; in the rule of the golden division, dissimilar parts are also united due to a certain definite relationship to each other. This principle appears even more clearly in complex aesthetic experiences, which will be discussed further.

However, the feeling of beauty is not yet exhausted by pleasant sensations and their harmonious combinations. The best proof of this is that often the ugly is included in works of art. It is enough to remember the ugly masks that decorate our buildings (how good are the disgusting chimeras in the Cathedral of Notre Dame in Paris!), to remember the tragic with its suffering, which often gives rise to the creation of high works of art, to remember what Tolstoy says about fashionable pictures, undoubtedly beautiful, but which nobody will not be called works of art, etc. The reason is that in most aesthetic impressions, along with the objective factors that I just talked about and which determine pleasant sensations and combinations of these sensations, it is also necessary to note others - associative, or subjective factors, which we will now move on to consider.

Take, for example, the pleasant impression produced by the sight of an orange. Do you like it yellow, round shape, pleasant smell. But all this is also accompanied by an equally pleasant memory of its taste. Finally, an orange can make you think of the region where it grew, and when you imagine Italy with its blue sky, groves, sea, etc., then these ideas merge with the appearance of the orange before your eyes, into one common whole. When we see an ancient castle, its forms may not be picturesque or elegant, its smell - rot and destruction - may be downright unpleasant, and yet the general appearance of the castle can cause artistic pleasure, due to the fact that external impressions (sensations) and their combinations) are joined by memories of the past of this castle, heroic deeds and tragic incidents that it witnessed; all this together, shrouded in that haze of dreaminess that is characteristic of memories of the past, gives a complex aesthetic experience, closely related to the view of the castle that aroused all these poetic memories.

The question now is how great should be the role of this associative factor in aesthetic feelings, and are we not taking the wrong path here? In fact, if we follow this path further, we can come to the conclusion that aesthetic pleasures are caused not by the form of works of art, but by the meaning and content that is invested in them. In the end we will come to a utilitarian view of art, according to which the value of a work of art lies only in the benefit that it can bring to humanity, and, of course, this benefit can be viewed in a variety of ways, according to different kinds of worldviews. Thus, the utilitarianists of the sixties recognized the significance of works of art only insofar as they could contribute to the improvement of social relations. Tolstoy appreciates a work of art only when it evokes with particular strength and brightness a feeling of love for one’s neighbors and for God; the specifically aesthetic aspects of the work are relegated here to the background and, at best, are reduced to certain forms, thanks to which it is especially convenient to arouse certain feelings in people. According to Tolstoy, artistic talent comes down to the ability to arouse in others the same mood that the artist himself this moment experiences, or as he says, infects others with his own feelings and moods; Once this goal is achieved, then from the form side nothing more is required from the work of art.

However, one can hardly agree with this view. Analyzing works of art and the emotions they arouse, we can note aspects of them that are inherent in the aesthetic feeling in itself and cannot be reduced to other feelings and other secondary goals. Here, first of all, we have to note the very principle that I already pointed out when speaking about the elementary components of aesthetic feeling, namely unity in diversity, harmony of parts united into one common whole. This principle can be modified, or rather expanded, to include harmony between form and content or correspondence between ends and means. When a poem is too drawn out, when the artist uses too strong means where the effect could be achieved with simpler techniques, you say that the work is not artistic. When a work of art does not correspond to its intended purpose, for example, a person builds a country house, and meanwhile gives it such a size and massiveness that does not correspond to the needs of the country house, then here again you find anti-artistic the lack of correspondence between the main purpose of the object and the means that used to achieve this. When too bulky, thick, heavy columns support a light canopy or a thin, slender colonnade carries an unbearable load, then here too you get the impression of inartisticness. Thus, even in more complex works of art you encounter the law of unity and proportionality that was already encountered at more elementary levels.

The correspondence between the goal and the means makes us experience, when contemplating a work of art, the impression of expediency, and, however, this expediency is of a completely unique nature: any secondary goal is often completely absent, the work of art in itself is already an end. Therefore, it is often said that the aesthetic feeling is characterized by “expediency without consciousness of purpose.” This is how the aesthetic feeling differs, for example, from volitional actions, in which a person always strives for something, tries to achieve something. True, works of art can also serve general everyday purposes, because in our lives everything is so intertwined that individual aspects of our psyche are in close connection with other aspects, but aesthetic feelings cannot be completely reduced to other feelings, completely denying their independent significance.

Human feelings are diverse and depend on our interaction with existing reality. The huge number of emotions we experience is also explained by the fact that, although similar in nature, they differ from each other in the degree of intensity of experience and shades of expressive coloring. The variety of feelings leads to persistent attempts to systematize and classify them. It is also necessary to mention the frequently repeated attempts to group feelings in terms of emotional tone and intensity of experience, as well as by the nature of a person’s relationship to the object of feeling. It's about about light or stormy joy, indignation, hatred, grief, sadness, shame, admiration, sympathy, love, and so on.

This classification makes it possible to make some systematization of human feelings. But it is fundamentally incomplete. It contains a distraction from specific content, which is very great importance to describe feelings. For example, joy in connection with the victory of your favorite football team is very different from each other and joy from meeting an acquaintance or associated with listening to a piece of music. Some types of anxiety are also different in their emotional coloring: for the fate of the hero of a novel or film, when boating in a strong wind, caused by the opinions of people when we commit some act, and so on. The abstraction from the specific content of feelings, which takes place in such a classification, led to the creation of groups that take into account their substantive side.

Principles of classification of feelings

First of all, one should proceed from the principle of materialistic psychology. He says that the human psyche is a reflection of objective reality that exists independently of him. Therefore, the question can be posed as follows: how is the reality in which he lives, acts, and with which he is connected in various ways reflected in the sphere of an individual’s feelings?

We understand reality in the broadest sense. This is nature, human society, individual people, social institutions (state, family, and so on), the process and products of human labor, appearing in various forms, moral norms, and so on. The individual consciousness of a person reflects those features of social consciousness that are inherent in a given society, era with its range of views on the world, life, rules and norms of behavior and relationships between people.

Each person perceives reality in its specific manifestations, guided by the social consciousness of his time. We all live in these realities and act according to the needs, assessments, views on things and phenomena that have developed in us, ideas about morality and beauty, acquired in the process of our life in society. This reality is reflected in the individual consciousness of each individual person, including in the emotional sphere.

Based on this, feelings differ: firstly, according to the object of reality to which they are directed (real, imaginary, present, past, and so on, having certain properties and qualities from the point of view of social practice); secondly, in its essence and content. By content we should mean the direction of the feeling, the nature of the emotional attitude towards the object (whether the object of feeling is accepted or rejected, and so on) and the characteristics of the subjective state that arises. The connection of a person with reality, which appears in the process of his life and activity in complex, diverse combinations, makes to some extent conditional the classification of feelings that can be established.

However, certain types of feelings should be highlighted. And first of all, these are those that are reasonably called the highest feelings: moral, aesthetic, intellectual. They are associated with people’s perception and awareness of the diverse phenomena of social life and culture. A person’s emotional attitude, manifested in these experiences, can extend to both relatively simple and complex forms of relationships, social institutions and cultural creations. These types of emotions and feelings have a number of characteristic features.

Firstly, in their developed forms they can reach a high degree of generalization. Secondly, which is very important, they are always associated with a more or less clear awareness of social norms relating to one or another aspect of reality. These higher feelings, due to the fact that they to a certain extent reveal the attitude of a person as a whole to the world and to life, are sometimes called worldview feelings. In a specific experience of a person related to a complex phenomenon of reality, they can appear in a continuous complex and in various combinations, but for a more accurate clarification of their qualities it is worth considering them separately.

Aesthetic feelings

This type of feeling refers to those emotions and sensations a person experiences when looking at beauty or, conversely, at its absence - ugliness. The object of perception in this case can be works of art (music, sculpture, poetry and prose, painting, etc.), various natural phenomena, as well as the people themselves, their actions and actions.

Indeed, many things evoke aesthetic pleasure in a person: the beauty of living landscapes, reading books and poetry, listening to music. We enjoy the clothes we purchase, the interior we create, modern furniture, and even new kitchen utensils. The same applies to the actions performed by the people around us, because we evaluate them from the point of view of those generally accepted moral norms that exist in society.

It must be said that aesthetic types of feelings can be both contemplative and active. In the first case, this is caused by simple observation of objects that make up human reality; in the second case, such emotions are capable of imparting aesthetic features to our actions. Therefore, it is common for an individual to enjoy the process of singing or dancing. The role of aesthetic sensations is especially important for creative people who strive to convey their worldview through the works of art, literature, painting and much more they create.

If we talk more specifically about this type of human emotion, then in the variety of sensations it represents, it is worth highlighting several of the most important ones. These experiences are familiar to any person; without them it is impossible to imagine the full spiritual life of each individual and society as a whole. So, the most significant feelings of the described type are the following.

Aesthetic enjoyment

It is based on the feeling of pleasure that a person experiences at the moment he perceives colors, shapes, sounds and other features of objects or phenomena. It is thanks to this feeling that we can prefer some shades of colors to others, highlight certain individual notes, admire the elements we especially like architectural structures. This is the simplest form of aesthetic pleasure. As for its more complex manifestations, in this case we will no longer talk about individual parts, but about their combinations in the perception of a whole object or phenomenon.

For example, if you imagine the image of a purebred trotter, then a person may like everything about it - color, breed, swiftness of movements and even a proud neigh. Because all these inherent traits of a horse are in harmony with each other and create a holistic, complete image. If we talk about sounds, we get aesthetic pleasure from consonance, but dissonance causes opposite emotions. The same applies to movements, because you like their rhythm more than its absence.

Feeling of beauty

This feeling is typical for a person to experience at the moment when he perceives the visible and tangible beauty of nature and people. Such sensations and emotions are evoked in us by beautiful flowers, graceful animals, picturesque landscapes, and so on. We also experience a feeling of beauty when the noble deeds of a person make us think about the breadth of his soul and the correct attitudes in life.

It must be said that the beauty of phenomena and objects exists in itself and does not depend on whether our consciousness perceives it. It combines all the parts that make up the whole. For example, the appearance of a person is not just the outline of a figure. We perceive every facial feature, the color of eyes, skin and hair, the harmony and proportionality of the figure, the timbre of the voice, and so on.

And, what is especially important, beauty cannot consist only of purely external factors. The form must correspond to the content. After all, it often happens that asymmetry is noticeable in a person’s face and is far from the classical canons, but it is so harmoniously consistent with the soul and clearly expresses character that we perceive it as truly beautiful.

Sensory perception of the tragic

These emotions are associated with strong emotional experiences. For example, a particularly successful acting game in creating a certain human image is capable of evoking in us a whole chain of such tragic feelings as compassion, indignation, sympathy. These sensations ennoble people, make them think about high things, giving thoughts a special depth and subtlety of perception.

The power of affective states has a kind of cleansing effect on a person. Watching the development of a particularly dramatic plot in the theater, cinema or reading a book, in our growing sensations we are getting closer and closer to the denouement. And when it finally comes, the person is overcome by a storm of emotions and experiences, after which he finds calm and peace. But for this, the work itself must be truly beautiful and unusually impressive.

Feeling comic

These emotions can perhaps be called the most controversial of all types of aesthetic feelings. Indeed, we sometimes laugh at completely polar things, at things that, it would seem, should rather cause tears. But this is how man works - according to the great philosophers, he consists of continuous contradictions. We laugh at all sorts of incongruities: for example, a tall fat man driving a tiny car, a three-year-old baby wearing her mother's stilettos, and so on.

As for laughing through tears, this often happens to people who are prone to reflection. They are the ones who usually expect a lot from reality, tend to idealize the world around them and want to see high meaning where there is none. And when it turns out that promising forms hide emptiness underneath, we laugh, sometimes at ourselves. And this is a very good quality that develops in us a sense of common sense humor, because it allows us to think about the imperfections of the world and direct our efforts in order to somehow influence it. For example, illustrations familiar to everyone from magazines that ridicule certain human vices (smoking, alcoholism, adultery, laziness, greed, and so on) force you to fight them in your own real life.

Moral or ethical feelings

These types of feelings are characterized by the experiences that a person experiences in his relationships with other people, with society, as well as in the process of fulfilling certain duties imposed by society. Moral values ​​and concepts of personality make sense here - they are the ones who shape the image of morality and morality in each of us. After all, what is conscience, for example? This is a measure of responsibility for a particular act of a person before society.

Moral feelings include all those emotions that we experience in the process of communicating with people: trust, sincere affection, affection, friendship, love. We should not forget about the sense of duty, national pride, love of the Motherland, solidarity, and so on. The role of this type of feeling is very great, because it is important for a person to be able not only to disappear into the crowd, that is, to defend his own “I,” but also to consolidate in time with his own kind, acquiring a moral “we.”

Humanism

It is with the sense of humanity that our love for the Motherland, for people, patriotism and national identity are connected. In this case, a whole system of a person’s life attitudes is at work, all his moral norms and values ​​are involved. They are expressed in empathy aimed at communication, help, and mutual assistance. It is thanks to humanism that we respect the rights and freedoms of other people, and try not to damage their honor or offend their dignity.

Sense of honor and dignity

These species high feelings tends to determine a person’s attitude towards himself and how others perceive him. In simple words, honor is the recognition of your achievements by others. It is these feelings that cause in ourselves the desire to create a worthy reputation, a certain level of prestige, a good name among our peers.

Dignity is public recognition of the rights of a person to respect and independence from the social environment. But we ourselves must be aware of all this, evaluate our actions from the point of view of morality and morality, and reject what can humiliate or offend us. A person’s unbiased assessment of his actions and relationships towards other people are another definition of conscience. The higher our moral and moral self-awareness, the more responsible and conscientious we act.

Feelings of guilt and shame

These not entirely pleasant emotions also relate to the moral feelings that form the image of any normal person. They are a kind of guards who protect us from the harmful effects of our vices. Guilt is a more mature emotion - it is expressed more clearly than shame. Guilt occurs when a person does something that goes against his moral beliefs and principles. It is precisely such sensations that do not allow us to go beyond the boundaries of life in society.

As for shame, it is often confused with guilt. However, these are different sensations. Common manifestations of shame are discomfort, confusion, and regret experienced by a person if he does not meet the requirements of other people. In this case, he expects contempt or ridicule. This is how an inexperienced stripper feels, experiencing her debut performance on stage in a men's club. After all, she is afraid of deceiving the expectations of the crowd and is ashamed of her nakedness and defenselessness.

Intellectual feelings

And finally, it's time to talk about the third type of high human feelings- about intellectuals. Their basis is any cognitive activity that we carry out during study, work and creative research in science or art. It is the intellectual feelings that are responsible for the search for truth, that is, the only correct answer to many of the most important universal questions.

Exists unbreakable bond between cognitive processes and intellectual emotions. The first is impossible without the second. The mental activity of a person, which arises in the process of scientific work, will bring tangible results only if he is truly interested in the object of his study. And those of us who study or work simply out of a sense of necessity often fail and become disillusioned.

Feeling of surprise

This feeling occurs when a person gets acquainted with something new and unknown. We are surprised by extraordinary events that we could only guess about. A successful process of cognition is generally impossible without this emotion with its joyful connotation. Surprise, which is caused by one or another surprise, forces a person to pay close attention to an unknown object or phenomenon, thereby encouraging him to learn more and more new facets of the world.

Feeling of doubt

Almost any person experiences it if he encounters contradictions on the way to the truth. It is doubt that prompts us to look for new evidence of the correctness and correctness of views and theories, comprehensively test them, and only then release them into the world. Without these emotions it is difficult to imagine at least one scientific discovery, and indeed human life in all its manifestations.

Feeling of confusion or clarity of thought

These sensations manifest themselves in us as anxiety and dissatisfaction if the object of our knowledge is seen by us unclearly, if we cannot orient ourselves in its features and connections. Such feelings force a person to understand more deeply certain issues related to study or work. As soon as our thoughts turn from vague and uncertain to clear, so-called insight and self-satisfaction sets in, thoughts are ordered and acquire a logical sequence.

Feeling of bewilderment

Such sensations are associated with the inability to give a clear explanation of any fact, object or phenomenon. It happens that in our research and exploration we find ourselves in a situation where existing connections and definitions of something do not suit us. Then we are again forced to start all over again and look for mistakes in our actions. Confusion forces a person to return to choose the right direction.

Feelings of guesswork and confidence

The construction of scientific hypotheses and their proof are based on these sensations. At first, a person cannot yet accurately establish and trace connections between the objects under study, but he can guess their nature. In the process of further mental activity, logical conclusions appear, which are confirmed in practice. It is then that we feel confident that our actions are correct.

The feelings experienced by people, described above, and many others, being a personal “response” to the surrounding reality, are generated in their content, first of all, by the nature of the phenomenon to which they are directed. Then they are determined by the attitude that each of us has developed towards this side of reality in the process of long-term social practice. And, finally, they largely depend on the nature of individual human needs, developing and transforming in the process of social development.

AESTHETIC FEELING is a person’s direct emotional experience of his aesthetic attitude to reality, reinforced by aesthetic activity in all its forms, including art. creativity, and accompanying them as an active energetic basis. As soon as this experience is lost, a person’s connection to reality fades away or goes into the plane of reflective judgment. In Ch. e. The entire spiritual world of man, his social experience, is presented in filmed form. It always has a selective and evaluative character. Despite Ch. e. (like - don't like), positive emotion always prevails in him, even in relation to the terrible and ugly. The prevalence of a negative emotional tone extinguishes it. Ch. e. inherent subject-situational nature. It is always directed at the object and aesthetically reproduces it in the imagination as an image of the desired reality. In the depth and intensity of aesthetic experience and the creative work of the imagination, which “completes” the situation to the desired level, the law of double expression of Ch. e. described by Vygotsky finds its manifestation, when Ch. flows into the plane of imagination, and imagination induces it. Ch. e. can have varying degrees of awareness: it can be both unconscious and reflective, rising to a detailed judgment of taste (Judgment). Being the emotional plane of aesthetic attitude and developing synchronously with it, Ch. e. has its own dominant development. It begins with a preliminary emotion, an involuntary aesthetic reaction (“ah!”, “suddenly!”), which takes a person’s consciousness beyond the limits of everyday life and includes it in an aesthetic attitude. On its basis, a stable, positively colored feeling of joy and spiritual comfort is formed. Its culmination Ch. e. achieves in catharsis. Possessing innate prerequisites and being subjective, Ch. e. socially conditioned. It is a product of both intentional and unintentional aesthetic education. Hence the universality noted by Kant: what pleases me is an object of universal pleasure. Social determinism Ch. e. determines its historicity: for each historical era Ch. e. is characterized by its own historical type, which finds expression also in art (tearful, heroically ironic, reflective, etc.). Sustainability and Ch. e. is fixed in aesthetic needs, and, once formed, finds its way into various types of activity and a person’s relationship to reality. In this sense, Lunacharsky said that “an aesthetic feeling is a feeling of enjoying life.”

Aesthetics: Dictionary. - M.: Politizdat. Under general ed. A. A. Belyaeva. 1989 .

See what “AESTHETIC SENSE” is in other dictionaries:

feeling- restless (Avseenko); blessed (Dahl); cheerful (Ropshin); inspired (Pushkin); sublime (Kozlov, Pushkin); enthusiastic (L. Tolstoy); all-consuming (Orlov); bitter (Nemir. Danchenko); hot (Lermontov, Nadson); creepy (Andreev);… … Dictionary of epithets

AESTHETIC DEVELOPMENT- (from the Greek aisthesis, sensation, understanding) the development of the ability to experience various phenomena of reality as beautiful. E. r. takes place in the process of perceiving objects that can cause experiences, and during one’s own artistic... ... Great psychological encyclopedia

Aesthetic development- development of the ability to perceive the aesthetic aspects of what is happening and create them yourself (beautiful, ugly, solemn, majestic, harmonious, etc.) Children, notes K. Chukovsky, love music, singing, dancing, reciting, ... ... Encyclopedic Dictionary of Psychology and Pedagogy

feeling- noun, p., used max. often Morphology: (no) what? feelings, why? I feel (see) what? feeling of what? feeling, about what? about feeling; pl. What? feelings, (no) what? feelings, why? feelings, (see) what? feelings, what? feelings, about what? about feelings 1.… … Dictionary Dmitrieva

feeling- [u/st], a, s. 1) The ability of a living being to sense, perceive the surrounding world, external influences. Sense organs. Feeling pain. Vision, hearing, touch, smell, taste are the senses through which we perceive the world around us. 2) Condition,… … Popular dictionary of the Russian language

Aesthetic education- one of the areas of content for educating the younger generation. It consists in developing students’ aesthetic perception of the world around them and the ability to create beauty. It is based on emotions, feelings and natural,... ... Fundamentals of spiritual culture ( encyclopedic Dictionary teacher)

AESTHETIC EDUCATION- the process of formation and development of aesthetics. emotionally sensual and value consciousness of the individual and the activities corresponding to it. One of the universal aspects of individual culture, ensuring its growth in accordance with social and... ... Russian Pedagogical Encyclopedia

- (from the Greek aistheti kos feeling, sensual) the original category of aesthetics as a science, which gave it a name and determines the specifics of its subject in all its manifestations: E. feeling, E. attitude, E. taste, E. ideal, E. value, lawsuit as a form... ... Aesthetics: Vocabulary

feeling- A; Wed 1. The ability of a living being to perceive psychophysical sensations and respond to external stimuli. Sense organs (vision, hearing, smell, touch, taste). Hours of hunger. Ch. pain. Hours of chills. Experience an hour of fear. Parts of orientation in birds... encyclopedic Dictionary

feeling- A; Wed 1) The ability of a living being to perceive psychophysical sensations and respond to external stimuli. Sense organs (vision, hearing, smell, touch, taste) Feeling of hunger. Feeling of pain. Feeling of chills. Experience a feeling of fear... Dictionary of many expressions

Books

• Aesthetic feeling and a work of art, L.G.Yuldashev. An aesthetic feeling and a work of art...

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Aesthetic feelings.

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

Aesthetic feelings as unique human experiences arise during the perception of specific objects - works of art, beautiful objects, natural phenomena. They stimulate a person’s social activity, 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 that art brings him, 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 existence multicolored.

Aesthetic feelings are a complex mental formation. They are inherent only to man as a social being. Moreover, their social nature is determined not only by the fact that they arose historically, but also by the fact that in the ontogenesis of the individual they become human only through her participation in public life.

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

Subjective experiences of a person are part of his own individual life, the blood and flesh of her real being. In emotions there is no separation of objective content, reflecting the surrounding reality, from the internal states of the subject. In them, the world does not appear as something existing objectively, in itself, unrelated to the life of the subject. Feelings and emotions are a form of mental activity in which a person appropriates the objective world, makes it a part of himself, and gives it 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 between aesthetic feelings and the objects that evoke them is so deep that some psychologists and estheticians began to argue that aesthetic feelings are “feeling” into an object. That is, these feelings are not simply generated by the corresponding objects, but enter into the object, penetrate into it with special intimate love. And this penetration gives rise to 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 better social phenomena, events described by the artist than those seen with one’s 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 the 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 characteristics 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 take shape in our minds like a mosaic. This is a complex combination and interweaving of various, usually 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 hatred, sympathy and disgust, happiness and grief, sadness and joy - all these emotions in each individual aesthetic experience in a person are combined in a unique way, complementing, balancing, moderating and ennobling each other.

For example, laughter caused by works of art of a comedic nature is accompanied by a whole range 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, what is funny is always sad at the same time, often causing pain for both the author and the reader.

We experience similar diversity and complex interweaving of emotional reactions when perceiving tragedies. Fear and compassion, severe grief when realizing the death of people close to us and the collapse of ideals along with pleasure - this is far from a complete picture of the emotional reactions that are part of the tragic aesthetic feeling. This complex interaction experienced simultaneously and replacing each other, 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 included in their composition. 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, and 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 circumstances that threaten us, although it is called the same. Grief and joy, happiness and unhappiness, hope and despair, love and hatred, 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. He participates with all his soul, with all his essence, in the events described by the artist. In aesthetic feelings there is excitement for the fate of the heroes, which has a certain line of development: from the origin of the feeling to its maximum intensity and discharge. We rejoice at 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 between aesthetic and ethical aspects in our psyche.

A morally educated person is not one who only firmly knows the norms and rules of behavior, but one whose knowledge inextricably merges with feeling, turning into beliefs that constitute the essence of the human personality. It is thanks to aesthetic experiences that our knowledge about 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 related to the figurative and aesthetic content of a work of art, which take an active part in the formation of an individual’s ethical assessment of what causes aesthetic experiences.

When 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 objective-objective image formed in the mind of what is inherent in the artist’s work. What develops in consciousness as some objective-figurative content depends primarily on the emotional and aesthetic reaction to the relevant events. At the same time, the sensory material included in the image carries a corresponding emotional coloring, it is selected according to the “ethical standard” of the individual, it is tendentious in its composition and ethical “load”. Therefore, the same events depicted by the artist can be perceived specifically by different people 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, an aesthetic attitude. We will imitate only those heroes who are assessed 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 creativity, spiritual and emotional enrichment of the individual and aesthetic education. The main channel through which the means of aestheticization of human activity influence the mood and formation of personality are aesthetic feelings.

It is the shifts in a person’s psycho-emotional states that determine the achievement of the goal of aesthetic exploration of the world. As for industrial aesthetics, through 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, relieving the adverse effects of the microclimate of industrial premises, etc. Music in production 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 it evokes.

All these effects of the aestheticization of labor are explained by the fact that a person’s emotional life 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 characterizing the 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 arts. This reality, only imagined at the level of representation, evokes, from the point of view of the design of the entire work, “removed”, “imaginary”, neutralized negative emotions. Negative emotions in aesthetic experience most likely have 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 removed, imaginary, negative emotions left in the past, behind the context of aesthetic perception. At the same time, the dynamics of aesthetic emotional reactions over time unfolds from “imaginary” negative to full-fledged positive emotions.

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

The same thing happens in cases where aesthetic experiences and ethical-aesthetic solutions to possible life situations precede a person’s actual encounter with similar situations in his personal and public life. Aesthetic experiences that have left a mark on a person’s consciousness suggest the rules for solving real life problems; the logic of a person’s real actions is built on their model; on this path, vital, extra-aesthetic negative emotions fall into the “trap” of the holistic reaction of the person associated with aesthetic feelings. This occurs due to the fact that emotional experiences are grouped and associated with each other not according to the external causes 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, leading any holistic mental activity to a positive finish together with “imaginary” aesthetic negative emotions, brings out and 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, by purifying, art educates the individual and helps her solve the most complex ethical problems according to a given aesthetic model. The cathartic effect of art is a dual process of cleansing 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 socio-ethical education and play a large role in the self-regulation of the mental and physiological functions of the body. “Cleansing” us from “stagnant” negative emotions, they have an ethical and aesthetic influence on the formation of a person’s personality.