Recieved: 04/08/2015
Accepted: 05/17/2015
Published: 12/31/2015
p.: 37-48
DOI: 10.11621/npj.2015.0404
Keywords: plastic sign; plastic image; mask; dance; theater; personal; cultural-historical psychology
Available online: 31.12.2015
Ailamazyan Aida M.. The role of the plastic image in developing personal identity: historical aspects. // National Psychological Journal 2015. 4. p.37-48. doi: 10.11621/npj.2015.0404
Copied to Clipboard
CopyThe paper raises the issue of signs and symbolic meaning in developing human personality. From the standpoint of cultural historical psychology personality as a kind of totality of subjectivity may be considered as a higher mental function that should be disclosed in terms of its historical genesis and the cultural resources that are to develop it. The role of the plastic image as a cultural means of allowing a person to conceptualize himself/herself and his/her place in the world as a kind of integrity and value is showed. The genesis of the plastic sign of literal physical transformation (tattoos, etc.) to more conventional forms when the plastic image takes on a symbolic value (mask, dance, actor’s part in the theater and others) is considered. Its history can reveal such representations of a person as personality and individuality. The emergence of the most rudimentary forms of cultural behaviour demonstrates an active, transforming the relation of person to him/herself. Bodily changes, cultural «mutilation» and other transformations of physical features are the first signs and symptoms of separation from the nature and development of identity and mechanism of identification with the family name and the image of the totem. The sculptural portrait and anthropomorphic images point to the allocation of the individual family, society and the awareness of a person as a citizen of the state, make their own decisions and to responsibility for oneself. Further theatrical culture shaped a view of a person as an actor who can carry a role without merging with it completely, taking a decision from different positions.
Ailamazyan, A.M. (2012) Novaya kul’tura tanca ХХ veka i problema personal’nosti [A new dance culture of the twentieth century and the problem of personality]. Tantseval’nye praktiki: semiotika, psikhologiya, kul’tura [Dance practice: semiotics, psychology, culture]. Moscow, Smysl, 20-67.
Alves, P.F. (2014). Vygotsky and Piaget: Scientific concepts. Psychology in Russia: State of the Art, 7(3), 24-34. doi: 10.11621/pir.2014.0303
Baglay, V.E. (2007) Etnicheskaya khoreografiya narodov mira [Ethnic choreography of the world]. Rostov-on-Don, Feniks.
Borozdina, T.N. (1919) Drevneegipetskiy tanets [Ancient Egyptian dance]. Moscow, Izdatel’stvo D.Ya. Makovsky & Son.
Fedorov, L.N. (1986) Afrikanskiy tanets [African dance]. Moscow, Nauka.
Florensky, P.A. (2010) Ikonostas [Iconostasis]. Moscow, Mir knig, Literatura.
Gromyko, A.A. (1984) Maski i skul’ptura Tropicheskoy Afriki [Masks and sculptures Tropical Africa]. Moscow, Iskusstvo.
Ivanov, Vyach.Vs. (2006) Maski: ot mifa k karnavalu. Istoriya maski ot III tysyacheletiya do nashey ery do ХХ veka [Masks: From Myth to the carnival. The history of masks from the 3d millennium BC to the twentieth century]. Moscow, GMII im. A.S. Pushkina.
Kallistov, D.P. (1970) Antichnyy teatr [Ancient Theatre]. Leningrad, Iskusstvo.
Keren’i, K. (2007) Dionis: Proobraz neissyakaemoy zhizni [Dionysus: The prototype of inexhaustible life]. Moscow, Ladomir.
Kharitonov, E.V. (1993) Pantomima v obuchenii kinoaktera. Avtoreferat [Pantomime actor in training. Thesis Abstract]. Slezy na tsvetakh [Tears on the flowers]. Book 2. Moscow, Zhurnal «Glagol», 60-78.
Khudekov, S.N. (2009) Vseobshchaya istoriya tantsa [General history of dance]. Moscow, Eksmo.
Kutkovaya Ecaterina S. (2014). Narrative in the study of identity. National psychological journal [Natsional’nyy psikhologicheskiy zhurnal], 4, 23-33.
Levy-Bruhl, L. (1930) Pervobytnoe myshlenie [Primitive Thinking]. Moscow, Ateist.
Levi-Strauss, C. (1994) Pervobytnoe myshlenie [Prehistoric thinking]. Moscow, Respublika.
Levi-Strauss, C. (2000) Put’ masok [Way of masks]. Moscow, Respublika.
Losev, A.F. (1992) Istoriya antichnoy estetiki. Itogi tysyacheletnego razvitiya [History of ancient aesthetics. The results of the millennial development]. Book 1. Moscow, Iskusstvo.
Luria, A.R. (2009) Psikhologicheskoe nasledie [Psychological heritage]. Moscow, Smysl.
Melnikova, O. T., Kutkovaya, E. S. (2014) Discursive approach to identity research. Moscow University Psychology Bulletin. Series 14. Psychology, 1, 59-71
Nazloyan, G.M. (1994) Zerkal’nyy dvoynik. Utrata i obretenie. Portretnyy metod psikhoterapii [Mirrored double. Loss and gain. Portrait method of psychotherapy]. Moscow, Drusa.
Ostrovsky, A.B. (2004) Paradigma mifologicheskogo myshleniya: ocherk vklada K. Levi-Strossa [The paradigm of mythological thinking: essay contribution of Levi-Strauss]. St. Petersburg, Kronos.
Stefanenko Tatiana G. (2014). The smile and the Russian high context traditional culture. National Psychological Journal [Natsional’nyy psikhologicheskiy zhurnal], 2, 13-18.19. Tarabukin, N.M. (1994) Ocherki po istorii kostyuma [Essays on the history of costume]. Moscow, GITIS.
Taruashvili, L.I. (2004) Iskusstvo Drevney Gretsii. Slovar’ [Art of Ancient Greece. Dictionary]. Moscow, Yazyki slavyznskoy kul’tury.
Voloshin M.A. (1988) Liki tvorchestva [Faces of creativity]. Leningrad, Nauka.
Vygotsky, L.S. Psikhologiya razvitiya cheloveka [Psychology of Human Development]. Moscow, Smysl, Eksmo, 2005.
Ailamazyan Aida M.. The role of the plastic image in developing personal identity: historical aspects. // National Psychological Journal 2015. 4. p.37-48. doi: 10.11621/npj.2015.0404
Copied to Clipboard
Copy