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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.

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.

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 ».

Foreground -- I / The Creative Act as the Point of Phenomenological Access to the Human Condition -- II / The Structure of the Present Work -- III / Man-The-Creator and His Triple Telos -- The First Panel of the Triptych the Eros and Logos of Life within the Creative Inwardness -- The Outlines of an Inquiry -- I / The Emergence of the Problem of Creation: The Poet-Creator Versus the Philosopher -- II / Creative Reality -- III / The Factors in the New Alliance Between Man and the World -- The Theoretical Results of Our Analyses and the Perspectives they Open the Creative Context -- Concluding by Way of Transition to the Central Panel of the Triptych -- The Central Panel of the Triptych (Panel Two) the Origin of Sense The Creative Orchestration of the Modalities of Beingness within the Human Condition -- One the Creative Context as Circumscribed by the Creative Process — its Roots "Below" and its Tentacles "Above" the Life-World: Uncovering the Primogenital Status of the Great Philosophical Issues -- I / Art and Nature: Creative Versus Constitutive Perception -- II / The Below and the Above of Creative Inwardness: The Human Life-World in its Essential New Perspective -- III / The Creative Process And The "Copernican Revolution" In Conceiving The Unity Of Beingness: The Creative Process As The Gathered Center and Operational Thread of Continuity among All Modalities of Being in the Constructive Unfolding of Man's Self-Interpretation-in-Existence -- Two the Trajectory of the Creative Ciphering of the Original Life Significance: The Resources and Architectonics of the Creative Process -- I / The Incipient Phase of the Creative Process -- II / The Creative Trajectory Between the Two Phases of the Life-World -- III / The Passage from the Creative Vision to the Idea of the Creative Work -- IV / Operational Architectonics of the Surging Creative Function in the Initial Creative Constructivism -- V / The Architectonic Logic in the Existential Passage from the Virtual to the Real — The Will -- VI / The Intergenerative Existential Interplay in the Transition Phase of Creativity -- Coda / Conclusive Insights into the Question of "Reality" as the Outcome of Our Foregoing Investigations -- Three the Creative Orchestration of Human Functioning: Constructive Faculties and Driving Forces -- I / The Surging of the Creative Orchestration within Man's Self-Interpretation-In-Existence: Passivity Versus Activity; The Spontaneous Differentiation of Constructive Faculties and Forces -- II / Imaginatio Creatrix: The "Creative" versus the "Constitutive" Function of Man, and the "Possible Worlds" -- Four the Human Person as the All-Embracing Functional Complex and the Transmutation Center of the Logos of Life -- I / The Notion of the "Human Person" at the Crossroads of the Understanding of Man within the Life-World Process -- II / The Moral Sense of Life as Constitutive of the Human Person -- III / The Poetic Sense: The Aesthetic Enjoyment which Carries the Lived Fullness of Conscious Acts -- IV / The Intelligible Sense in the Architectonic Work of the Intellect -- Notes -- Index of Names -- Index of Subjects -- Table of Contents to Book 2 (The Third Panel of the Triptych).

This article reports the results of a longitudinal experiment exploring environmental cognitive sets (ways of perceiving or thinking about one's surroundings) that were designed especially to promote awareness of environmental problems and possibilities but also to induce aesthetic experience, environmental understanding, and a playful and creative orientation toward environmental experience. The results of our project indicate that (1) imagining improvements in an environment (the "IMG" set) led subjects to notice and remember more human-induced environmental problems than did normal viewing; (2) although IMG tended to be rated as more interesting and enjoyable than normal viewing for filmed scenes, subjects who were instructed repeatedly to use IMG seemed to tire of its imposed use over an extended period of time; (3) nevertheless, a much higher proportion of these subjects than of subjects with less experimental exposure to IMG reported using this set on their own after the conclusion of the experiment; (4) our specially devised instructions "for being more creative" in imagining environmental changes were very effective in helping college students imagine changes of higher (blind-rated) quality; (5) our research procedures at this stage of development had no discernible systematic effects on overall environmental concern, ability to devise new cognitive sets, or feelings of perceptual control; (6) subjects who freely chose several cognitive sets to use at visited locations showed a highly significant tendency to find at least one experimental set for each location that was more interesting and enjoyable than normal viewing (even though normal viewing at these locations was itself rated as both interesting and enjoyable and as significantly easier than the experimental cognitive sets).

"Back to Man Himself": The Philosophical Inspiration of Zurab Kakabadze -- I Historical Origins Revisited -- The Phenomenological Ontology of the Göttingen Circle -- II Man Constituting His Life-World: The Origin of Sense, Meaning, Objectivity, Transcendental Consciousness and Actual Existence -- The Formation of Sense and Creative Experience -- The Interrogation of Perceptive Faith -- The Concept of Attitude in Edmund Husserl's Philosophy -- Delineation and Analysis of Objectivities in Edmund Husserl's Phenomenology -- Meaning as the Reality of the World -- III Constitutive Consciousness, Transcendendentalism, and the Problem of "Actual Existence" -- Controversy about Actual Existence: Anna-Teresa Tymieniecka's Contribution to the Study of Roman Ingarden's Philosophy -- An Attempt to Reconcile Intersubjectivity with Transcendental Idealism in Edmund Husserl's Works -- The Ingarden-Husserl Controversy: The Methodological Status of Consciousness in Phenomenology and the Limits of the Human Condition -- Husserl's Transcendental Paradox and an Attempt at Overcoming It -- On Some Presuppositions of Husserl's "Presuppositionless" Philosophy -- IV Human Existence in its Moral Significance: The Origins of Morality, Values, Foundations -- Man's Existence in the Realm of Values -- The Ontology of Values: From Neo-Kantianism to Phenomenology -- Ontological Bases of Morality: Moral Realism and Phenomenological Praxeology -- Meaning in the Social World: A-T. Tymieniecka's Theory of the Moral Sense -- On Responsibility -- V The Aesthetic Significance of Life: Ontology, Aesthetic Perception, Hermeneutics, and the Life of the Work of Art Reflecting the Deepest Concerns of a Culture -- "What Is Our Life?" Cultural History and Aesthetic Experience in Literary Reception -- The Aesthetic Core of the Work of Art: The Boundaries of Its Phenomenological Description -- Victor Iancu's Phenomenology of Art -- The Ontology of Objects in Ingarden's Aesthetics -- De Interpretatione: New Creative and Existential Dimensions of Hermeneutics in Post-Modernism -- The Reception in Polish Literature of Roman Ingarden's Theory of Painting -- Common Humanity and the Present-Day Romanian Novel (Reflection and Refraction) -- VI Thought and Language -- Literary Semantics and the Concepts of Meaning and Sense -- The Limit and Reaching Beyond a Philosophico-Philological Investigation -- No Thinking Without Words -- On Roman Ingarden's Semiotic Views: A Contribution to the History of Polish Semiotics -- VII Prospects for an Adequate Phenomenological Anthropology: The Search for a "Method", the Natural World, Man's Self-Understanding -- Phenomenology and Self-Understanding in the Modern World: The Crisis of Modernity and the Possibility of a New and Critical Anthropology -- Un philosophe du monde naturel: Jan Pato?ka (1907–1977) -- The Creative Explosion of the Life-World in Schizophrenic Psychosis: Its Import for Psychotherapy -- Phenomenology as the Method of Contemporary Philosophical Anthropology -- VIII Man's Historical Existence and the Life of the Spirit: Teleology, the Other, Freedom -- The Teleological Structure of Historical Being (The Analysis of the Problem Made in Husserl's Work, Crisis in European Science and Transcendental Phenomenology) -- Husserl and Heidegger: Phenomenology and Ontology -- On the Paths of Cartesian Freedom: Sartre and Levinas -- Bibliographies -- Bibliography of Phenomenology in Poland -- Bibliography of Phenomenology in Yugoslavia -- Supplementary Bibliography of Phenomenology in Yugoslavia -- Index of Names.