RE: [xmca] Vygotsky, Luria and Eisenshtein (links)

The Memory of Tiresias



Oh, Thanks, Mike, I immediately have searched and found something in Portuguese, seems to be very interesting. I will read your suggestion. I think this subject “synesthesia” as a possible connection between psychology and movie. But other concepts are important like the “generalized image” that you quote, but I don’t search well yet – and I don´t know the relationships between this “generalized image” and “synesthesia”, for instance. In addition I’m thinking about the problems of “inner speech” and “subtext”… There is a book from Mikhail Iampolski about “Intertextuality and Film”, with a chapter only dedicated to Eisenstein, called “The Invisible Text as a Universal Equivalent: Sergei Eisenstein” (Chapter Seven), and he discusses the influences of Tynianov’s work about Pushkin over Eisenstein’s reflections about “substitution” and “subtext”. Well, nothing related to Vygotsky and Luria? But “subtext” was important in Vygotsky´s chapter 7 (Though and word), even in relation to Stanislavsky’s theater. The “hidden” aspects of meaning/sense formation seems to be the point, here, in art or in everyday life. What do you think?

“Like Tynianov, Eisenstein was intrigued by the theme of substitution, of a subtext that might be hidden, but from an angle quite remote from Tynianov's own preoccupations. Eisenstein's interest lay not so much in the situation of intertextuality itself (in the widest sense of the term, as when a text acquires its full meaning through some reference to an extratextual reality) as in the existence of some mysterious, hidden equivalent that permits the juxtaposition of these various extratextual realities.” (Iampolski, 1998, p. 222)

IAMPOLSKI, Mikhail (1998) The Memory of Tiresias: Intertextuality and Film. Berkeley · Los Angeles: Oxford University of California Press.

Synesthesia, inner speach, subtext, substitution, intertextuality, movie, play, drama, action... inter-semiotic process.

Achilles.

> Date: Sun, 9 Nov 2008 09:02:23 -0800
> From: lchcmike@gmail.com
> To: xmca@weber.ucsd.edu
> Subject: Re: [xmca] Vygotsky, Luria and Eisenshtein (links)
>
> I would like to think that Ramachandran's work is not unrelated to Luria's,
> Achilles. He is, among other things, quite expert on art. You can find a lot
> on google. This springs up early:
>
> http://www.neurologyreviews.com/jul02/nr_jul02_mindseye.html
>
> On Sun, Nov 9, 2008 at 8:51 AM, Achilles Delari Junior <
> achilles_delari@hotmail.com> wrote:
>
> >
> > I don't know about Ramachandran, Mike. I have understood only that
> > synesthesia was a property
> > of Shereshevsky memory, and what Eisenstein have conceptualized that
> > process as one of the
> > properties of normal people's understanding movie language. But, maybe not
> > the main property or
> > aspect, I don't know. This coming back of "this idea" in the US implied
> > some misunderstanding?
> > Achilles.
> >
> > > Date: Sun, 9 Nov 2008 08:07:34 -0800
> > > From: lchcmike@gmail.com
> > > To: xmca@weber.ucsd.edu
> > > Subject: Re: [xmca] Vygotsky, Luria and Eisenshtein (links)
> > >
> > > This idea of synethesia has made a big come back with the work of
> > > Ramachandran and other neuroscientists here in the US, Achilles. Not sure
> > > what the best references are.
> > > mike
> > >
> > > On Sat, Nov 8, 2008 at 4:39 PM, Achilles Delari Junior <
> > > achilles_delari@hotmail.com> wrote:
> > >
> > > >
> > > > Well, only to add a file to folder…
> > > >
> > > > Eisenshtein at Luria's "The mind of a mnemonist"
> > > > key-word: synesthesia...
> > > >
> > > >
> > > > 1) Shereshevski talking about Eisenstein's voice(s):
> > > >
> > > > "You know there are people who seem to have many
> > > > voices, whose voices seem to be an entire composition,
> > > > a bouquet. The late S. M. Eisenstein had just such a
> > > > voice: listening to him, it was as though a flame with
> > > > fibers protruding from it was advancing right toward
> > > > me. I got so interested in his voice, I couldn't follow
> > > > what he was saying..." (p.24)
> > > >
> > > > 2) Luria quoting Eisenstein I
> > > >
> > > > "There is another aspect to interpreting words
> > > > synesthetically (determining meaning, that is,
> > > > through both sound and sense). Whereas certain
> > > > words seem not to fit the meaning they conventionally
> > > > have, and therefore leave one nonplussed, the
> > > > sound qualities of other words take on particular
> > > > expressive force. S.'s experience of words was
> > > > actually a measure of their expressiveness. No wonder,
> > > > then, that S. M. Eisenstein, the producer, to
> > > > whom the dynamics of expression were of such
> > > > crucial importance in his own work, was so intrigued
> > > > with S." (90-91)
> > > >
> > > > 3) Luria quoting Eisenstein II
> > > >
> > > > "Poets, as we know, are extremely sensitive to the
> > > > expressive quality of sounds, And I remember, too,
> > > > that S. M. Eisenstein, in testing students to select
> > > > those he would train as film directors, asked them
> > > > to describe their impressions of the variations on the
> > > > name Mariya (Mariya, Mary, Marusya). He
> > > > found this an infallible way to single out those who
> > > > were keenly sensitive to the expressive force of
> > > > words.
> > > > This ability was developed to such a degree in
> > > > S. that he never failed to detect the expressive qualities
> > > > of sounds. It was only natural, then, that words
> > > > which others accept as synonyms would have different
> > > > meanings for him." (92-93)
> > > >
> > > > LURIA A. R. (1968) The mind of a mnemonist - A Little Book about a Vast
> > > > Memory. Trans. from the Russian by Lynn Solotaroff. With a Foreword by
> > > > Jerome S. Bruner. New York / London: Basic Books, Inc., Publishers
> > > >
> > > > These are all direct quotations to Eisenstein at this book...
> > > >
> > > > Achilles…
> > > >
> > > >
> > > > > From: achilles_delari@hotmail.com
> > > > > To: xmca@weber.ucsd.edu
> > > > > Subject: RE: [xmca] Vygotsky, Luria and Eisenshtein (links)
> > > > > Date: Wed, 5 Nov 2008 15:02:02 +0000
> > > > >
> > > > >
> > > > > Well,
> > > > >
> > > > > Excuse me, only more a single little addition:
> > > > >
> > > > > These "various kinds of cinematic shooting for scientific purposes"
> > > > > organized by Luria at the Institute of Cinematography, at the end of
> > > > > the 1920's (mentioned by Khomskaia) are very interesting historical
> > > > > sources too (if they survived in time, by any way) - related to
> > > > > Eisenstein's aesthetical influences on making film or not. I guess
> > > > > that to have any notice about that "cinematic shooting" could be
> > > > > great too.
> > > > >
> > > > > Thank you.
> > > > >
> > > > > Achilles.
> > > > >
> > > > >
> > > > >
> > > > > > From: achilles_delari@hotmail.com
> > > > > > To: xmca@weber.ucsd.edu
> > > > > > Subject: RE: [xmca] Vygotsky, Luria and Eisenshtein (links to
> > chain)
> > > > > > Date: Mon, 3 Nov 2008 03:04:02 +0000
> > > > > >
> > > > > >
> > > > > > It's great, Mike. A friend of Bella suggested a book of Ivanov
> > "Ocherki
> > > > po istorii semiotiki v SSSR". There is a version on-line, seems to be
> > > > reliable:
> > > > > > http://philologos.narod.ru/semiotics/ivanov_semio.htm
> > > > > >
> > > > > > In chapter 2 "Analysis of deep structures of semiotic systems of
> > art",
> > > > the names of Eisenshtein and Vygotsky (much more the first than the
> > second)
> > > > are quoted several times. But I couldn't translate yet (well, actually
> > will
> > > > not be a great translation...).
> > > > > >
> > > > > > Vygotsky's works quoted by Ivanov along the book are:
> > > > > >
> > > > > > 1 Выготский 1956: Л. С. Выготский. Мышление и речь. Избранные
> > > > психологические исследования. М., 1956.
> > > > > > 2 Выготский 1960: Л. С. Выготский. Развитие высших психических
> > функций.
> > > > Из неопубликованных трудов. М., 1960.
> > > > > > 3 Выготский 1968: Л. С. Выготский. Психология искусства. Изд. 2.
> > М.,
> > > > 1968.
> > > > > > (I think there are no quotes to Eisenstein by Vygotsky in these
> > books,
> > > > that I remember... The relationship must be conceptual, subtextual, but
> > I
> > > > can search for direct quotations too, later)
> > > > > >
> > > > > > The number of Eisenshtein's works quoted along Ivanov´s book is
> > bigger
> > > > than Vygotsky's:
> > > > > >
> > > > > > 1 Эйзенштейн 1945: S. Eisenstein. Film form. Film sense. Ed. 2. NY,
> > > > 1957.
> > > > > > 2 Эйзенштейн 1966: С. М. Эйзенштейн. [Письмо Ю. Н. Тынянову]. – В
> > кн.:
> > > > «Юрий Тынянов. Писатель и ученый». М., 1966.
> > > > > > 3 Эйзенштейн 1962: С. М. Эйзенштейн. Зараза моих теоретических
> > > > положений. «Вопросы теории и истории киноискусства». М., 1962.
> > > > > > 4 Эйзенштейн 1964 а, б, в: С. М. Эйзенштейн. Избранные
> > произведения, т.
> > > > 1, 2, 3. М., 1964.
> > > > > > 5 Эйзенштейн 1966: С. М. Эйзенштейн. Избранные произведения, т. 4.
> > М.,
> > > > 1966.
> > > > > > 6 Эйзенштейн 1968: С. М. Эйзенштейн. Избранные произведения, т. 5.
> > М.,
> > > > 1968.
> > > > > > 7 Эйзенштейн 1969: Сб. «Броненосец Потемкин». М., 1969.
> > > > > > 8 Эйзенштейн 1973: С. М. Эйзенштейн. «Капитал». – «Искусство кино»,
> > > > 1973, № 1.
> > > > > >
> > > > > > (4, 5 and 6 are selected works, I can't know the actual titles of
> > the
> > > > texts quoted - I search for possible works in what Eisenstein quotes
> > > > directly Vygotsky, I guess this occurs at Film form and/or Film sense,
> > I
> > > > don´t remember).
> > > > > >
> > > > > > I will try to read Ivanov's contribution, as soon as I can - in
> > order
> > > > to find some more connections, "inner speach" seems to be an important
> > > > common point.
> > > > > >
> > > > > > Achilles.
> > > > > >
> > > > > >
> > > > > >
> > > > > >
> > > > > > > Date: Sun, 2 Nov 2008 17:52:09 -0800
> > > > > > > From: lchcmike@gmail.com
> > > > > > > To: xmca@weber.ucsd.edu
> > > > > > > Subject: Re: [xmca] Vygotsky, Luria and Eisenshtein (links to
> > chain)
> > > > > > >
> > > > > > > There are new leads in those passages from Khomskaya, which I had
> > > > forgotten
> > > > > > > about, Achilles. I will try to follow up with friends in Moscow.
> > > > > > > mike
> > > > > > >
> > > > > > > On Sun, Nov 2, 2008 at 5:30 PM, Achilles Delari Junior <
> > > > > > > achilles_delari@hotmail.com> wrote:
> > > > > > >
> > > > > > > >
> > > > > > > > (off topic)
> > > > > > > >
> > > > > > > > Note to my last post...
> > > > > > > >
> > > > > > > > 1) "M.I. Knebel", must be "M.O. Knebel" too - Maria Ossipovna
> > > > (Iossifovna)
> > > > > > > > Knebel' (1898-1985)...
> > > > > > > >
> > > > > > > > 2) Luria and Knebel's text must be:
> > > > > > > >
> > > > > > > > * Кнебель М. И., Лурия А. Р. Пути и средства декодирования
> > смысла.—
> > > > Вопросы
> > > > > > > > психологии, 1971, № 4, с. 76—83.
> > > > > > > >
> > > > > > > > * Knebel' M. I., Luria A. R. Puty i sredstva dekodirovaniya
> > smysla
> > > > -
> > > > > > > > Voprosy psikhologii, 1971, N. 4, c. 76-83.
> > > > > > > >
> > > > > > > > * Knebel' M. I., Luria A. R. Ways and Means of decoding of
> > sense. -
> > > > Voprosy
> > > > > > > > psikhologii, 1971, N. 4, c. 76-83.
> > > > > > > >
> > > > > > > > I remove my questions about this dyad and this very interesting
> > > > text, and
> > > > > > > > ask you only about Luria & Eisenstein's letters availability -
> > > > thank you.
> > > > > > > >
> > > > > > > > Achilles
> > > > > > > >
> > > > > > > > > From: achilles_delari@hotmail.com
> > > > > > > > > To: xmca@weber.ucsd.edu
> > > > > > > > > Subject: RE: [xmca] Vygotsky, Luria and Eisenshtein (links to
> > > > chain)
> > > > > > > > > Date: Sat, 1 Nov 2008 03:39:11 +0000
> > > > > > > > >
> > > > > > > > >
> > > > > > > > > Ok, thank you, Mike… I clearly understand your sugestion and
> > > > agree.
> > > > > > > > >
> > > > > > > > > I collected two references to Eisenstein at Luria's biography
> > by
> > > > Evgenia
> > > > > > > > Homskaya… A book well known of you, but to me is a good
> > surprise
> > > > (I'm far
> > > > > > > > away from actual university tasks since 2000). After quote, I
> > will
> > > > ask
> > > > > > > > little questions in order to know where can I search better.
> > > > > > > > >
> > > > > > > > > Evgenia D. Homskaya: Alexander Romanovich Luria: A Scientific
> > > > Biography.
> > > > > > > > Plenum Series in Russian Neuropsychology. New
> > > > > > > > York/Boston/Dordrecht/London/Moscow: Kluwer Academic/Plenum
> > > > Publishers,
> > > > > > > > 2001.
> > > > > > > > >
> > > > > > > > > "An important event in Luria's private life also occurred
> > during
> > > > those
> > > > > > > > years in Kazan. He met his wife, Vera Nikolayevna Blagovidova,
> > also
> > > > a
> > > > > > > > student at the University of Kazan. Later, in Moscow, she
> > became an
> > > > actress
> > > > > > > > at the studio of the famous theatrical director, A. Y. Tairov.
> > They
> > > > got
> > > > > > > > married at the beginning of 1923 but their union lasted only
> > ultil
> > > > 1929. In
> > > > > > > > this relatively short period, however, Luria developed most of
> > his
> > > > artistic
> > > > > > > > interests in theater, painting, poetry, and so on. It was then
> > that
> > > > he
> > > > > > > > became acquainted with the master of the world's cinema, Sergei
> > M.
> > > > > > > > EISENSTEIN."
> > > > > > > > >
> > > > > > > > > (Chapter 1. Childhood and Youth – p. 13)
> > > > > > > > >
> > > > > > > > > "During the 1940s Luria kept in close touch with the famous
> > film
> > > > director
> > > > > > > > S. M. EISENSTEIN, who made such masterpieces of world cinema as
> > > > Potemkim and
> > > > > > > > Ivan The Terrible. Since becoming acquainted in the 1920s,
> > Luria
> > > > and
> > > > > > > > Eisenstein shareda a common interest in the psychology of art,
> > and
> > > > > > > > psychological aspects of artistic expressiveness. Eisenstein
> > was
> > > > interested
> > > > > > > > very much in the phenomenon of the mnemonist Shereshevsky,
> > studied
> > > > by Luria.
> > > > > > > > In 1929, through Luria's recommendation, EISENSTEIN was
> > introduced
> > > > to Kurt
> > > > > > > > Lewin, with whom he discussed the problem of artistic
> > > > expressiveness. At the
> > > > > > > > end of the 1920's, Luria organized at the Istitute of
> > > > Cinematography to
> > > > > > > > execute various kinds of cinematic shooting for scientific
> > > > purposes. In the
> > > > > > > > 1930s, Luria and EISENSTEIN continued to exchange letters.
> > Their
> > > > > > > > correspondence continued during the Kharkov period and during
> > the
> > > > war. After
> > > > > > > > the war, and until EISENSTEIN's sudden death in 1948, they
> > often
> > > > met, shared
> > > > > > > > books, and talked. Under Luria's influence, EISENSTEIN wrote
> > the
> > > > articles
> > > > > > > > "Psychology of art" and "Lectures on the Psychology of Art"
> > (see
> > > > Eisenstein,
> > > > > > > > 1987, 1988-1996, 1998).
> > > > > > > > >
> > > > > > > > > The psychology of art was also a particular theme for Luria
> > and
> > > > Vygotsky
> > > > > > > > (see Vygotsky's book, the Psychology of Art, Moscow, 1982). In
> > > > Luria's
> > > > > > > > background, this theme is not very well known, although its
> > > > expressions were
> > > > > > > > very numeros and diverse. For example, his article written with
> > the
> > > > > > > > well-known film director, M. I. Knebel, "Ways and Means of
> > Semantic
> > > > Coding"
> > > > > > > > (1971R), discussed verbal and nonverbal aspects of speech
> > (mime,
> > > > gestures)
> > > > > > > > and was important for both the psychology of speech and the
> > > > psychology of
> > > > > > > > art."
> > > > > > > > >
> > > > > > > > > (Chapter 4, The Forties: World War II and the Rehabilitation
> > > > > > > > Hospital-Neuropsychology in the Making - p. 39)
> > > > > > > > >
> > > > > > > > > ******
> > > > > > > > >
> > > > > > > > > Well. I only ask you for these wonderful letters and for
> > Luria's
> > > > article
> > > > > > > > with M. I. Knebel – if it could give us some cues about what
> > Luria
> > > > think
> > > > > > > > about movies and about Eisenshtein's influence in his thinking
> > > > about this as
> > > > > > > > well… In other hand, the articles of Eisenstein about
> > "Psychology
> > > > of Art"
> > > > > > > > seems to be the same quoted by Christie & Taylor (1993)
> > published
> > > > in Leyda
> > > > > > > > (ed.) "The Psychology of Composition" – this book is already
> > > > available. Do
> > > > > > > > you think that can exist more than two papers requested to
> > > > Eisenstein for
> > > > > > > > Luria? My copy here don´t have the actual references, and I
> > don´t
> > > > have the
> > > > > > > > book itself yet... And my option was to aquire Leyda edited
> > > > Eisenstein's, by
> > > > > > > > the moment.
> > > > > > > > >
> > > > > > > > > All the titles I have are the following:
> > > > > > > > >
> > > > > > > > > * Eisenstein, "Psychology of Art", in Psycholgia
> > > > > > > > > Processov Chudojestvennogo Tvorchestva (Moscow,
> > 1980), p.
> > > > 195
> > > > > > > > > (quoted by JULIA VASSILIEVA in her paper "Eisenstein and his
> > > > Method:
> > > > > > > > recent publications in Russia")
> > > > > > > > > and
> > > > > > > > > * "The psychology of composition" (211)
> > > > > > > > > * "The psychology of art" (211)
> > > > > > > > > * "The psychology of compositon" (same title... but another
> > text
> > > > - at
> > > > > > > > 249)
> > > > > > > > > (at the contents of Eisenstein, S.M. "The Eisenstein´s
> > > > Collection".
> > > > > > > > Edited by Richard Taylor. Sagull Books, 2006)
> > > > > > > > >
> > > > > > > > >
> > > > > > > > > I'm seeing that I can not give meaninful contributions. I
> > have
> > > > made a
> > > > > > > > question, and now I only have some other questions to make
> > again.
> > > > I'll wait
> > > > > > > > for other XMCA contributions, by Mike and all the people when
> > will
> > > > be
> > > > > > > > possible. And I will continue search data where it are
> > availlable
> > > > to me here
> > > > > > > > and now. This was not my main goal today (I was thinking things
> > > > about
> > > > > > > > psychology and mental health), but sometimes an action becomes
> > an
> > > > activity,
> > > > > > > > no?
> > > > > > > > > Thank you very much, and my best wishes,
> > > > > > > > > Achilles.
> > > > > > > > >
> > > > > > > > >
> > > > > > > > >
> > > > > > > > >
> > > > > > > > > > Date: Fri, 31 Oct 2008 17:43:02 -0700
> > > > > > > > > > From: lchcmike@gmail.com
> > > > > > > > > > To: xmca@weber.ucsd.edu
> > > > > > > > > > Subject: Re: [xmca] Vygotsky, Luria and Eisenshtein (links
> > to
> > > > chain)
> > > > > > > > > >
> > > > > > > > > > It would be great to get the info on Eisenshtein and
> > LSV/ARL.
> > > > The
> > > > > > > > > > entire Stanislavsy and beyond discussion is quite broad.
> > Yrjo
> > > > has
> > > > > > > > > > written on this topic.
> > > > > > > > > > mike
> > > > > > > > > >
> > > > > > > > > > On 10/31/08, Mike Cole <lchcmike@gmail.com> wrote:
> > > > > > > > > > > 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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> > > > > > > >
> > > >
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Received on Sun Nov 9 09:59:37 2008