By ΠΡΠ³ΠΎΡΡΠΊΠΈΠΉ ΠΠ΅Π² Π‘Π΅ΠΌΠ΅Π½ΠΎΠ²ΠΈΡ
ΠΠ΅Π² Π‘Π΅ΠΌΠ΅Π½ΠΎΠ²ΠΈΡ ΠΡΠ³ΠΎΡΡΠΊΠΈΠΉ
Π ΡΠ²ΠΎΠ΅ΠΉ ΡΠ°Π±ΠΎΡΠ΅, Π½Π°ΠΏΠΈΡΠ°Π½Π½ΠΎΠΉ Π² Π½Π°ΡΠ°Π»Π΅ 1920-Ρ Π³ΠΎΠ΄ΠΎΠ², ΠΠ΅Π² ΠΡΠ³ΠΎΡΡΠΊΠΈΠΉ ΠΏΡΠ΅Π΄ΡΡΠ°Π²ΠΈΠ» ΠΈΡΠΊΡΡΡΡΠ²ΠΎ ΠΊΠ°ΠΊ ΡΠΈΡΡΠ΅ΠΌΡ ΡΠΎΠ·Π½Π°ΡΠ΅Π»ΡΠ½ΠΎ ΠΈΡΠΏΠΎΠ»ΡΠ·ΡΠ΅ΠΌΡΡ Ρ ΡΠ΄ΠΎΠΆΠ½ΠΈΠΊΠΎΠΌ ΡΠ°Π·Π΄ΡΠ°ΠΆΠΈΡΠ΅Π»Π΅ΠΉ. Π¦Π΅Π»Ρ ΡΡΠΎΠΉ ΡΠΈΡΡΠ΅ΠΌΡ β Π²ΡΠ·Π²Π°ΡΡ Ρ Π°ΡΠ΄ΠΈΡΠΎΡΠΈΠΈ ΠΎΠΏΡΠ΅Π΄Π΅Π»Π΅Π½Π½ΡΡ ΡΡΡΠ΅ΡΠΈΡΠ΅ΡΠΊΡΡ ΡΠ΅Π°ΠΊΡΠΈΡ. ΠΠΎΠ΄ΠΎΠ±Π½ΠΎ Π΄Π΅ΡΠ΅ΠΊΡΠΈΠ²Ρ, Π°Π½Π°Π»ΠΈΠ·ΠΈΡΡΡΡΠ΅ΠΌΡ ΡΠ»ΠΈΠΊΠΈ, ΠΏΡΠΈΡ ΠΎΠ»ΠΎΠ³ ΠΌΠΎΠΆΠ΅Ρ ΡΠ΅ΠΊΠΎΠ½ΡΡΡΡΠΈΡΠΎΠ²Π°ΡΡ Π·Π°ΠΏΠ»Π°Π½ΠΈΡΠΎΠ²Π°Π½Π½ΡΡ ΡΠ΅Π°ΠΊΡΠΈΡ Π·ΡΠΈΡΠ΅Π»Ρ, ΠΈΠ·ΡΡΠ°Ρ ΡΡΡΡΠΊΡΡΡΡ ΠΏΡΠΎΠΈΠ·Π²Π΅Π΄Π΅Π½ΠΈΡ. ΠΡΠ³ΠΎΡΡΠΊΠΈΠΉ ΡΡΠ²Π΅ΡΠΆΠ΄Π°Π΅Ρ, ΡΡΠΎ ΠΈΡΡΠΈΠ½Π½ΡΠΉ ΡΠΌΡΡΠ» ΠΈΡΠΊΡΡΡΡΠ²Π° Π·Π°ΠΊΠ»ΡΡΠ°Π΅ΡΡΡ Π² Π΅Π³ΠΎ ΡΠΏΠΎΡΠΎΠ±Π½ΠΎΡΡΠΈ Β«ΠΏΠ΅ΡΠ΅ΠΏΠ»Π°Π²Π»ΡΡΡΒ» ΠΊΠ°ΠΊ ΡΠΎΠ·Π΄Π°ΡΠ΅Π»Ρ, ΡΠ°ΠΊ ΠΈ Π²ΠΎΡΠΏΡΠΈΠ½ΠΈΠΌΠ°ΡΡΠ΅Π³ΠΎ, ΡΡΠΎ ΡΠ°ΠΌΠΎ ΠΏΠΎ ΡΠ΅Π±Π΅ ΡΠ²Π»ΡΠ΅ΡΡΡ ΡΠ²ΠΎΡΡΠ΅ΡΠΊΠΈΠΌ Π°ΠΊΡΠΎΠΌ.
Lev Semyonovich Vygotsky
Written in the early 1920s, Lev Vygotsky's work posits art as a system of stimuli intentionally employed by artists to evoke a specific aesthetic response in the audience. Vygotsky suggests that a psychologist can reconstruct the intended audience reaction by analyzing the structure of these stimuli, much like a detective pieces together a crime. He argues that true art fundamentally transforms both its creator and its perceiver, viewing this transformative process as an inherently creative act and the core purpose of art.