асоциациите

Much has been written about associations, especially in psychological aesthetics of the late 19th and early 20th centuries. Translating what has already been published, one would be left with the impression that nothing more could be said. And in fact there is a problem directly related to associations, which is quite modern, and at the same time undeveloped: to study the associative flow - its "layers" and character - but with a view to certain changes in the structure of the artistic image. For even such major aestheticians as T. Lips and J. Folkelt think about associations at all, without taking into account that they - in their nature and type - depend too much on certain changes occurring in art. Such a dependence exists and some artists (more or less consciously) perceive it, striving to take advantage of it with a view to achieving a certain aesthetic effect. Below, of course, we will deal with this dependence between associations and the artistic image, but here we must guard against the possible assumption that every work is associative-potential, i.e., that it is capable of associating in the perceiving subject one or another ideas, feelings, etc. subjective states. On the contrary, such states may not arise at all. The reasons for this may be of a different nature: subjective, rooted in the low artistic culture of the perceiver, in his inability to "decipher" the conventional language with which the image is created, etc.; objective, inherent in the work of art itself.