Unlike studies which confine psychologism to the second half of the nineteenth century, and to an explicit claim of psychology as a 'Grundwissenschaft' during that period, this work attempts to trace psychologism's emergence in Greek antiquity, in hedonistic tendencies of the Renaissance, and in British Empiricism. Thus, psychologism figures as a generic concept, embracing a variety of both positivistic and idealistic arguments concerning the localization of normative sciences, particularly aesthetics and literary theory, in psychological space. This study also considers the implicit psychologism of even those psychoaesthetic theories which claimed to be against the exclusive status of psychology. In their actual treatment of aesthetic and literary facts, such theories inadvertently did indeed resort to psychologistic arguments. The position from which I have chosen to look at psychologistically committed aesthetics and literary theory is essentially phenomenological. The author seeks to present psychologism as a central tendency of psychoaesthetics as well as to assert critically psychologism's basic assumptions.

This vanguard collection of original and in-depth essays explores the intricate interplay of the aesthetic and psychological domains during the late nineteenth and early twentieth centuries and considers the reasons why a common Modernist project took shape when and in the circumstances that it did. These changes occurred precisely when the distinctively modern disciplines of psychology, psychiatry, and psychoanalysis established their "scientific” foundations and achieved the forms in which we largely know them today. This volume examines the dense web of connections joining the aesthetic and psychological realms in the modern era, charting historically the emergence of the ongoing modern discussion surrounding such issues as identity-formation, sexuality, and the unconscious. The contributors form a distinguished and diversified group of scholars, who write about a wide range of cultural fields, including philosophy, the novel and poetry, drama, dance, film and photography, as well as medicine, psychology, and the occult sciences.

Robert Brain traces the origins of artistic modernism to specific technologies of perception developed in late-nineteenth-century laboratories. Brain argues that the thriving fin-de-siècle field of “physiological aesthetics,” which sought physiological explanations for the capacity to appreciate beauty and art, changed the way poets, artists, and musicians worked and brought a dramatic transformation to the idea of art itself.

This book explores the relationship between cultural psychology and aesthetics, by integrating the historical, theoretical and phenomenological perspectives. It offers a comprehensive discussion of the history of aesthetics and psychology from an international perspective, with contributions by leading researchers from Serbia, Austria, Portugal, Norway, Denmark, and Brazil. The first section of the book aims at summarizing the debate of where the song comes from. It discusses undeveloped topics, methodological hints, and epistemological questions in the different areas of contemporary psychological sciences. The second section of the book presents concrete examples of case-studies and methodological issues (the new melodies in psychological research) to stimulate further explorations. The book aims to bring art back into psychology, to provide an understanding for the art of psychology. An Old Melody in a New Song will be of interest to advanced students and researchers in the fields of educational and developmental psychology, cultural psychology, history of ideas, aesthetics, and art-based research.

This volume offers a historical overview of some of the most significant attempts to come to grips with sympathy in Western thought from Plato to experimental economics. The contributors are leading scholars in philosophy, classics, history, economics, comparative literature, and political science.

This is the first English version of a text out of print for more than 40 years, summarising the positions and key concepts of an influential stream of linguistic thought. Using quotations as entries, J. Vachek (1909-1997), a leading advocate of the Prague School, employed more than 160 sources, papers and monographs, by well over 30 representatives of the school (Mathesius, Trnka, Skalička, Daneš, Dokulil, Mukařovský, Jakobson, Trubetzkoy, Isachenko, and others). The dictionary both captures the pioneering efforts and achievements of the school from its foundation in 1926, and provides a framework for assessing the current state of affairs, attesting to its originality and serving as a preventive to treading paths already explored. The headword concepts are provided with French, German and Czech equivalents and Vachek's original preface is supplemented by a foreword which traces the development of the school up to the present date and puts it into perspective.

Over thirty years in the making, the most comprehensive work in English on Ukraine is now complete: its history, people, geography, economy, and cultural heritage, both in Ukraine and in the diaspora.

This Ingardenia volume is the second in the Analecta Husserliana series that is entirely devoted to the phenomenology of Roman Ingarden. The first was volume IV (1976). Twenty years after Ingarden's death, this volume demonstrates that the Polish phenomenologist's contribution to philosophy and literary scholarship has received world-wide attention. His ideas have proven especially fruitful for the definition of the structure of the literary work of art and the subsequent recognition of its characteristic features. Of all the early phenomenologists who were students of Husserl, it is Ingarden whose work has faithfully pursued the original tenet that language "holds" the essence of the life-world "in readiness" (bereit halten). To investigate this premise with the rigor of a science, as Husserl had envisioned for phenomenology, was Ingarden's life work. That Ingarden did not quite reach his ambitious goal does not diminish his unquestionable achievement. The understanding of the nature of the literary work of art has increased enormously because of his analyses and aesthetics. The Polish phenomenologist investigated above all the work of art as a structure of necessary components which define and determine its nature. That the artistic ingredient was shortchanged under those conditions should not be surprising, particu larly since Ingarden usually kept a purist's philosophical distance from the concrete detail of the material under consideration. He was not concerned with individual works of art but with the principle that was shared by all of them as the defining feature of their being.

This is the second volume of papers on sign-based linguistics to emerge from Columbia School linguistics conferences. One set of articles offers semantic analyses of grammatical features of specific languages: English full-verb inversion; Serbo-Croatian deictic pronouns; English auxiliary "do"; Italian pronouns "egli" and "lui"; the Celtic-influenced use of "on" (e.g., he played a trick "on" me ); a monosemic analysis of the English verb "break." A second set deals with general theoretical issues: a solution to the problem that noun class markers (e.g. Swahili) pose for sign-based linguistics; the appropriateness of statistical tests of significance in text-based analysis; the word or the morpheme as the locus of paradigmatic inflectional change; the radical consequences of Saussure s anti-nomenclaturism for syntactic analysis; the future of minimalist linguistics in a maximalist world. A third set explains phonotactic patterning in terms of ease of articulation: aspirated and unaspirated stop consonants in Urdu; initial consonant clusters in more than two dozen languages. An introduction highlights the theoretical and analytical points of each article and their relation to the Columbia School framework. The collection is relevant to cognitive semanticists and functionalists as well as those working in the sign-based Jakobsonian and Guillaumist frameworks.