Boris Asaf'ev and the Soviet Musicology - E-thesis

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fact that the antithesis between myself and the object disappears, or rather does not yet exist. 217 How this empathy works Lipps explains with various examples. 218 Shortly, aesthetic empathy concerns one’s inner imitation of an object. According to Lipps “my inner activity” in this imitation is exclusively bound up in a two-fold sense with the observed object: the activity I feel, I experience as derived entirely from the contemplation of the perceived movement. [t]he object of my activity is not my own activity which I behold. I feel active in the movement or in the moving figure, and through projecting myself into it I feel myself striving and performing this same movement. There is no other way; because under the assumed conditions there cannot be any other movement but observed one as the object of my consciousness. In a word, I am now with my feeling of activity entirely and wholly in the moving figure. Even spatially [--] I am transported into it [--] my consciousness is concerned, entirely and wholly identical with it. 219 Yet Lipps states that the sensations of one’s bodily state are entirely absent in aesthetic contemplation. In [a]esthetic imitation I become progressively less aware of muscular tensions or the sense-feelings in general the more surrender in the contemplation to the [a]esthetic object. All such preoccupations disappear entirely from my consciousness. I am completely and wholly carried away from this sphere of my experience. [--] The sensefeelings, or whatever kind they may be, do not in any way enter into [a]esthetic contemplation and into [a]esthetic enjoyment. It absolutely belongs to the nature of [a]esthetic contemplation to eliminate them. [--] To the [a]esthetic object belongs absolutely nothing but what lies immediately in the object of contemplation. 220 217 Archiv für die gesamte Psychologie, Vol. I (1903; Schertel M. & Reader M., Trans.) in Reader M. 1979, p. 372. 218 See for example ibid, p. 373 or Lipps, Theodor Grundlegung der Ästhetik. Germany: Hamburg and Leipzig: Verlag von Leopold Voss, 1903, p. 96. 219 Archiv für die gesamte Psychologie, Vol. I (1903; Schertel M. & Reader M., Trans.) in Reader M. 1979, pp. 374–375. 220 Ibid., pp. 376–378. 59
As Orlova has noted Lipps has a clear influence on Asaf’ev’s book Symphonic Etudes 221 . Lipps’s theory was discussed at the time in N. V. Samsonov’s book Istorija estetičeskih yčenij (The History of Aesthetic Study) which included a special chapter on Lipps’ theory of včyvstvovanie. Orlova writes that the substance of Lipps’ theory consists of the denial of an objective existence of beauty in things and in the events of reality. “It sets out a statement that the beauty is brought to them only by human thoughts and emotions. However, Asaf’ev doesn’t interpret his [Lipps’s] theory very straightforwardly, but makes his own free interpretation of it. An example of that can be found in the article about Kaškin which is written on the same year with Symphonic Etudes. There Asaf’ev clarifies the term včyvstvovanie [empathy] with the following words: “It is ‘a construction of alien life’ on the basis of empathy”. According to Orlova, one of the interpretations of Lipps’ theory in Symphonic Etudes lies in an interpretation of the concepts of the opera Tales about the Invisible Town Called Kiteže by Rimskij-Korsakov (besides his name is mentioned in the process of analyze) 222 . Orlova writes: Stating a question about possibilities of different approaches to the suite of Kiteže [--] Asaf’ev comes to a following conclusion: ‘all of these are given ad libitum to a listener.’ Further, through engaging the understanding of včyvstvovanie [empathy], it [the chapter] draws a question about differences in the different stylistic trends in operatic work of Rimskij-Korsakov. 223 However, Lipps’ theories were propagandized in the West by Vernon Li 224 and by a German art scholar Wilhelm Worringer (1881–1965) 225 . Asaf’ev’s interpretation of Lipps’ theory follows the latter. Worringer’s doctoral thesis Abstraktion und Einfühlung (Abstraction and Empathy) was published in Munich in 1908. It gave theoretical 221 “It has to be remembered that his theory had positive valuations among Russia symbolists, an impact which is distinguished aloud also in Asaf’ev’s book. Andrej Belyj writes in one of his commentaries of his article in a book Symbolism: Lipps has advanced his theory of včyvstvovanie [empathy]. At this point of the Lipps’ aesthetics – it is one of the most interesting aesthetics of the present.” (Orlova in Asaf’ev: Simf.E 1970, p. 7.) 222 See Asaf’ev: Simf.E 1970, p. 103. 223 Orlova in Asaf’ev: Simf.E 1970, p. 8. 224 Violetta Peiget, an English writer and an art theoretic. 225 Orlova in Asaf’ev: Simf.E 1970, p. 8. 60
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ORIS aSAF’EV AND THE sOVIET mUSIC
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5.2 The Second Literary Period: Int
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the aesthetical and musico-theoreti
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Haas has noted: he used “shaky an
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“leftist” 11 mark on his works
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6. CONCLUSIONS 110 My Chapter of co
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112 Chapter Five concludes that alt
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List of some of the Notable Works o
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116 ASM (Associcija Sovremennoj Muz
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Berg, Alban (1885-1935) Austrian co
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Javorskij, Boleslav (1877-1942) gra
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Ostwald, Wilhelm (1853-1932) German
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Trotskij, Lev Davydovič (born Bron
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Asaf’ev, Boris V. Russkaja živop
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Tull, James R. B. V. Asaf’ev’s
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Harrison, Charles & Wood, Paul. Art
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Reader, Melvin, ed. A Modern Book o
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Boris Asaf'ev and the Soviet Musicology - E-thesis

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