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Marx's analysis of alienated labor still explains much about how the capitalist labor process shapes the thoughts and feelings of direct producers. But Marx's analysis fares less well in explaining how the work people actually do with their hands and minds leads to specific psychological consequences. This weakness stems from an inadequate social psychology. The purpose of this article is to provide Marx with this needed social psychology by drawing on the work of G.H. Mead. Specifically, Mead's philosophy of the act and his concept of aesthetic experience will be used to show how alienated labor leads to a reified mode of consciousness and a dislike of work itself. This synthesis of Marx and Mead makes good theoretical sense when we consider, first, the remarkable similarity of their respective philosophical anthropologies.

A brief comment is made about the relation of sport and art before looking at the nature of sport and the aesthetic perception of it. Three aspects of sport- the skilful, the dramatic and the good contest — are then phenomenologically analysed as exemplifying both some central features of sport as well as their possibility for yielding different dimensions of aesthetic experience.

Literary art that is identifiably feminist approaches reality from a feminist perspective and endorses female experience. A feminist perspective demystifies patriarchal assumptions about the nature of human beings, their relation to nature, and the relation of physical and moral qualities to each other. To endorse female experience, the artist must defy or stretch traditional literary conventions, which often means offending or alienating readers. Traditional literary conventions are rooted in philosophical assumptions several thousand years old and still widely current. A third principle of feminist art—which not all feminists subscribe to—is accessibility. When feminist art is difficult, the reason usually lies not in purposeful obfuscation, but in the poverty of our language of feeling, and the difficulty of rendering feeling.

Shierry Weber ("Aesthetic Experience and Self-Reflection as Emancipatory Processes: Two Complementary Aspects of Critical Theory" in O'Neill, John [Ed], On Critical Theory, New York, 1976) suggests that two concepts have been in tension throughout critical theory's development: aesthetic experience as prefiguring redemption, & rational self-reflection as a tool in the struggle for redemption. While Jurgen Habermas has clearly been committed to the second tendency, he has shown concern with aesthetic issues in recently published works. A reading of these works, however, leaves their success in incorporating an aesthetic rationality into the project of critical theory undemonstrated. W. H. Stoddard.

Many social work practitioners consider social work an art form. The author considers the nature of this art form and describes how practitioners use style, relationship, and metaphor to create an aesthetic experience for both clients and practitioners in the therapeutic process.

This article resolves the conflict between biological and cultural explanations of aesthetic behavior that is evident in the landscape aesthetics literature. In resolving that conflict, the article combines biological, cultural, and personal bases for aesthetics in a comprehensive paradigm for research in landscape aesthetics. This paradigm is based on Vygotsky's developmental approach to understanding the human mind and human behavior. Vygotsky's method leads to the identification of three fundamental processes of development: phylogenesis (biological evolution), sociogenesis (cultural history), and ontogenesis (individual development). These correspond to three modes of existence-the Umwelt, the Mitwelt, and the Eigenwe/t-Adentified phenomenologically by the existential analysts. These in turn correspond to three modes of aesthetic experience: biological, cultural, and personal. The interrelations of the three modes of aesthetic experience are discussed, with particular emphasis on the biological and cultural modes. It is concluded that each mode has distinct qualities that justify its separate inclusion within the paradigm. Finally, the three modes are characterized as sets of aesthetic constraints and opportunities, labeled laws, rules, and strategies, respectively. Important research directions in landscape aesthetics involve identification and explanation of these constraints and opportunities. The tripartite paradigm promises to be useful in helping to pose important research questions as well as in avoiding conceptual errors in the design of experiments in landscape aesthetics.

Examined are the aesthetic theories found in the work of Fredric Jameson (eg, see The Political Unconscious: Narrative as a Socially Symbolic Act, Ithaca: Cornell U Press, 1981) & Jurgen Habermas ("Modernity versus Postmodernity" [see SA 30:4/82M4714]). Both authors offer aesthetic theories that retreat from the dialectic in Theodor W. Adorno's interpretation of modern artworks (in Ashton, E. B. [Tr], Negative Dialects, New York: Seabury Press, 1979), which posits that modernist works of art are both autonomous & social. Jameson's analysis of the symbolic structure of aesthetic artifacts is found wanting, as is his reduction of aesthetic experience to ideology. Habermas defends an enlightened project of modernity against the threats of postmodernity, & denies the legitimacy of autonomous art for any rationally organized society. It is concluded that the two aesthetic theories are symptoms of the postmodern condition rather than diagnoses of the problems of art in postmodernity. W. Howard

I Introduction and Foundational Issues -- 1 An Introduction to Existential-Phenomenological Thought in Psychology -- 2 Psychology and the Attitude of Science -- 3 Phenomenological Research Methods -- II Classical Topics in Psychology -- 4 Brain, Body, and World: Body Image and the Psychology of the Body -- 5 Approaches to Perception in Phenomenological Psychology: The Alienation and Recovery of Perception in Modern Culture -- 6 Learning and Memory from the Perspective of Phenomenological Psychology -- III Development, Emotion, and Social Psychology -- 7 A Phenomenological Approach to Child Development -- 8 An Empirical-Phenomenological Investigation of Being Anxious: An Example of the Phenomenological Approach to Emotion -- 9 The Social Psychology of Person Perception and the Experience of Valued Relationships -- IV The Clinical Area -- 10 Personality and Assessment -- 11 Demystifying Psychopathology: Understanding Disturbed Persons -- 12 Psychotherapy and Human Experience -- V Explorations of Central Life Issues -- 13 Transformation of the Passions: Psychoanalytic and Phenomenological Perspectives -- 14 The Psychology of Forgiving Another: A Dialogai Research Approach -- 15 Aesthetic Consciousness -- VI Transpersonal Psychology -- 16 The Emergence of Transpersonal Psychology -- 17 Basic Postulates for a Transpersonal Psychotherapy -- 18 Transpersonal Psychology: Promise and Prospects -- 19 The Imagery in Movement Method: A Process Tool Bridging Psychotherapeutic and Transpersonal Inquiry -- 20 States of Consciousness and Transpersonal Psychology -- Name Index.

Lord I'm Coming Home focuses on a small, white, rural fishing community on the southern reaches of the Great Dismal Swamp in North Carolina. By means of a new kind of anthropological fieldwork, John Forrest seeks to document the entire aesthetic experience of a group of people, showing the aesthetic to be an "everyday experience and not some rarefied and pure behavior reserved for an artistic elite." The opening chapter of the book is a vivid fictional narrative of a typical day in "Tidewater," presented from the perspective of one fisherman. In the following two chapters the author sets forth the philosophical and anthropological foundations of his book, paying particular attention to problems of defining "aesthetic," to methodological concerns, and to the natural landscape of his field site. Reviewing his own experience as both participant and observer, he then describes in scrupulous detail the aesthetic forms in four areas of Tidewater life: home, work, church, and leisure. People use these forms, Forrest shows, to establish personal and group identities, facilitate certain kinds of interactions while inhibiting others, and cue appropriate behavior. His concluding chapter deals with the different life cycles of men and women, insider-outsider relations, secular and sacred domains, the image and metaphor of "home," and the essential role that aesthetics plays in these spheres. The first ethnography to evoke the full aesthetic life of a community, Lord I'm Coming Home will be important reading not only for anthropologists but also for scholars and students in the fields of American studies, art, folklore, and sociology.

Anthropologists, in studying other cultures, are often tempted to offer their own explanations of strange customs when they feel that the people involved have not given a good enough reason for these customs. The question how the anthropologist can justify interpretations of customs which go beyond those offered by the people themselves runs through this book. The book focuses on the various interpretations that have been offered by anthropologists of ritual and symbolism. It offers a critical discussion of theories in this field in general, identifying their strengths and weaknesses when applied to the particular case of puberty rituals in a West Sepik village in Papua New Guinea. It then goes on to suggest an alternative approach, which draws on aesthetic as well as anthropological theory, and pays particular attention to the emotional and aesthetic experiences of people as they perform the rites

Larisa Volpert, The ludic aspects of Pushkin 's creative activity and the French literature.
The ludic aspects of Pushkin's creative activity are linked both to the specificity at the time of Russian literary life and the originality of the process of thought of the poet who assimilated the French literary traditions. These aspects constitute an important preliminary stage in the formation of Pushkin's creative genius. The various forms of assimilation of French literary psychological traditions (epistolary « puns », « masks » and literary ludic « roles », attitudes modelled on romantic structures, resort to literary pseudonyms, etc.) have contributed to the narrative objectivisation of the writer and helped him to master the plurality of « views », to orchestrate styles and enrich the psychological and aesthetic experience essential to the making of an « omniscient author ».