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Vygotsky’s Tragedy: Hamlet and the Psychology of Art
Auteur(s)
Stenner, Paul
Date de parution
2021-9-4
In
Review of General Psychology
Vol.
0
No
0
De la page
1
A la page
16
Revu par les pairs
1
Résumé
Lev S. Vygotsky is one of the major figures of psychology; however, his deep engagement with the arts is less known. This
is surprising, given the fact that the arts, and especially Shakespeare’s Hamlet, are present throughout his career. In this
article, we argue, first, that Hamlet was a major symbolic resource for Vygotsky in times of liminal transitions, and second,
that it is this very deep experience of having been transformed by means of Hamlet that grounds his psychology of art,
which aims precisely to show how Hamlet works as a “technique of emotions.” Our demonstration is organized into three
main movements. In Part 1, we retrace the historical and cultural context in which Vygotsky grew up as a young man. We
emphasize his experiences of liminality and transitions, due to transformations of the social world and his own life. In Part
2, we examine Vygotsky’s proposition itself through a close analysis of his Psychology of art. Finally, in Part 3, we further
explicate the relation between art and life at play in Vygotsky’s approach and relate this to Vygotsky’s broader psychology.
is surprising, given the fact that the arts, and especially Shakespeare’s Hamlet, are present throughout his career. In this
article, we argue, first, that Hamlet was a major symbolic resource for Vygotsky in times of liminal transitions, and second,
that it is this very deep experience of having been transformed by means of Hamlet that grounds his psychology of art,
which aims precisely to show how Hamlet works as a “technique of emotions.” Our demonstration is organized into three
main movements. In Part 1, we retrace the historical and cultural context in which Vygotsky grew up as a young man. We
emphasize his experiences of liminality and transitions, due to transformations of the social world and his own life. In Part
2, we examine Vygotsky’s proposition itself through a close analysis of his Psychology of art. Finally, in Part 3, we further
explicate the relation between art and life at play in Vygotsky’s approach and relate this to Vygotsky’s broader psychology.
Identifiants
Type de publication
journal article
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