Re: [xmca] Vygotsky, Luria and Eisenshtein (links to chain)

On 10/31/08, Achilles Delari Junior <achilles_delari@hotmail.com> wrote:
>
> To add more two or three links to a chain-complex
>
> 1) About Luria and Eisenshtein: "Eisenstein planned two courses on the
> psychology of art at Luria's request, in 1940 and 1947 (both in Leyda (ed.)
> "The Psychology of Composition")." (Christie & Taylor, 1993, p. 225 -
> Endnote 87); I ask for an used edition at amazon, seems to be fine.
> "Psychology of Composition" sounds like an interesting title and subject to
> me, composing evoques spinozian concept of "joy".
>
> 2) About Eisenshtein and Stanislavsky similarity: there is a very
> interesting note by Nikolai Veresov commenting Vygotsky's "genetic law of
> cultural development" explaining something about what they means by
> "Category":
>
> "Category is the philosophical concept. How can one imagine that the
> function exists as a category? Sounds strange, but according to STANISLAVSKY
> (famous theatre director Vygotsky used to know) AND Sergey EISENSHTEIN
> (filmmaker and a friend of Vygotsky) "category" in the drama means
> "collision", "event", dramatic unit, and the unit of analysis of drama: it
> might be a dialogue (mostly) or emotional explosion and so on. Vygotsky is
> speaking about development as a process of events, collisions and their
> reflections in both planes." (N. VERESOV) (Caps mine)
>
> Available at http://webpages.charter.net/schmolze1/vygotsky/vygotsky.html
> I don´t know the actual source yet - If there is a book or paper by Verosov
> about these matters. I will check.
>
> 3) About Eisenshtein and Stanislavsky differences: Eisenshtein seemed to be
> closer to Meyerhold than to Stanislavsky, the pome of Eris was maybe
> differences of emphasis in verbal or non-verbal components of the actor's
> play... but this stands only like um more question, not a secure
> information. Seems that there was, at that time, some kind of fight against
> "verbalization" in theatre, in which Meyerhold was activily envolved, but
> the actual role of Eisenshtein in that dispute is nothing clear to me.
> Eisenstein movies seems to operate with some kind of "pictograms", but
> nothing to affirm about absolutily dispense "words", even like "inner
> speach" - must be something about this in his own writings, quoting
> Vygotsky, I guess that I remember something like this in a work of a
> filmmaker friend of mine, some talks with her. But it was a long time ago,
> too. I remain in my thinking by complex, you know.
>
> What do you think about these links? There are something useful?
>
> Thank you.
> Achilles.
>
>
>> From: achilles_delari@hotmail.com
>> To: xmca@weber.ucsd.edu
>> Subject: RE: [xmca] Vygotsky, Luria and Eisenshtein (a question)
>> Date: Fri, 31 Oct 2008 01:02:11 +0000
>>
>>
>> Oh, it's great, Mike...
>>
>> Borges wrote a tale named "Funes..." recreating something of
>> Shereshevsky... you know. So
>> seems that there is very artistic features in real human psychic
>> experience. About "generalized
>> image" I will see... Is this concept at "Iazik i soznanie"? We have a
>> Portuguese version. I have
>> read many years ago. I don't remember if I knew this concept , even in
>> another book. It
>> occurs to me, right now, to search immediately something about what system
>> of acting was
>> used by Eisenstein's actors, if we can find any relation with
>> Stanislavsky's system of creative
>> actor's work... studied by Vygotsky discussed in the text from 1932
>> (publish in Collected Woks,
>> vol. 6 - prologue by Dot Robbins), and so important in 1934 (thought and
>> word) with the
>> notion of "subtext"... If you tell us about psychological studies about
>> audience, and the feelings
>> and understanding of audience, the way that film is constructed and actor
>> plays their roles
>> must be interesting to study too. After all, all we must to act... (as
>> "akt", and as "postuk").
>> I had think about the other way of mutual influences in dialog
>> psychology-movie too: what we
>> can learn from movie semiotics? And/or what about Eisenstein can teach
>> something to historical-
>> cultural approach? For instance, the notion of "non-indifferent nature"...
>> I'm thinking by complex,
>> like ever I do. But now, it's the only way I can think. And these are all
>> links that I can put in the
>> chain until now. And we even need a thesis and the young guy/girl with it
>> in mind - I hope this
>> person can will arise soon in this context...
>>
>> I will see something about Eisenshtein and Stanislavsky, right now.
>> What do you think? It can be useful?
>>
>> Thank very much, for all your contributions since before, since many years
>> ago.
>>
>> Achilles.
>>
>>
>>
>>
>>
>> > Date: Thu, 30 Oct 2008 16:10:46 -0700
>> > From: lchcmike@gmail.com
>> > To: xmca@weber.ucsd.edu
>> > Subject: Re: [xmca] Vygotsky, Luria and Eisenshtein (a question)
>> >
>> > Excellent question. Lets see what we can find out.
>> > There are references in Eisenshtein's published work about his
>> > activities
>> > with
>> > Shereshevsky, the mnemonist. And there is, I believe, a close relation
>> > between the idea of "generalized image" in Luria and Eisenshtein's
>> > notion of
>> > montage.
>> >
>> > All we need is a bright young person with a thesis in mind and a ghost
>> > of
>> > chance
>> > of getting it done in this context.
>> > mike
>> >
>> > On Thu, Oct 30, 2008 at 3:35 PM, Achilles Delari Junior <
>> > achilles_delari@hotmail.com> wrote:
>> >
>> > >
>> > > Greetings for all.
>> > >
>> > > One more extemporaneous question.
>> > >
>> > > If I'm not misremembering, in "Making mind", Mike Cole exposes some
>> > > very
>> > > interesting data about Luria and Vygotsky's works with the audience of
>> > > Eisenshtein's movies, didn't he expose? Puzirey, I remember well, has
>> > > said
>> > > something about Eisenshtein's reading of "Psychology of Art", in the
>> > > files
>> > > of Eisenshtein's personal library was founded an exemplar of the book,
>> > > in
>> > > which at several places are underlined the words "contend and form"...
>> > > a
>> > > basis for his own work has filmmaker. But, what more we can know about
>> > > those
>> > > works with audience? Everything was loosed with War? Is there no
>> > > follower or
>> > > co-worker that have dedicate even a single book or paper about these
>> > > researchs? I Have thinking about these questions since 1991-1994 when
>> > > I had
>> > > read the fragments that I quote here, and only now I can ask for you.
>> > > It's
>> > > not my main subject now, but I'm concerning with it in a personal way,
>> > > and
>> > > why not to ask for? Somebody can give me some help?
>> > >
>> > > Thank you very much for your attention and help.
>> > > Achilles.
>> > >
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Received on Fri Oct 31 17:42:44 2008