Позитивные изменения. Том 3, № 2 (2023). Positive changes. Volume 3, Issue 2 (2023). Редакция журнала «Позитивные изменения»
Н. Ю. & Митина, О. В. (2016). Психосемантический анализ восприятия политических лидеров (на материале выборки студентов из Южной Кореи). Вестник Московского университета. Серия 14. Психология, (2), 64–87.
22. Петренко, В. Ф., Кучеренко, В. В. & Вяльба, А. П. (2006). Психосемантика измененных состояний сознания (на материале гипнотерапии алкоголизма). Психологический журнал, 27(5), 16.
23. Петренко, В. Ф., Супрун, А. П. & Кодирова, Ш. А. (2020). Психосемантический анализ художественного фильма Акиры Куросавы «Расёмон». Психология. Журнал Высшей школы экономики, 17(4), 737–756.
24. Собкин, В. С. & Маркина, О. С. (2007). «Я» в пространстве киноперсонажей фильма «Чучело» особенности мотивационной атрибуции. Вестник практической психологии образования, 4(3), 49–58.
25. Стрелкова, Н. В. (2009). О роли кино и применении метода синемалогии в процессе личностной и профессиональной инкультурации студента. «Медиаобразование и медиакомпетентность»: Всероссийская научная школа для молодежи, 185.
26. Теплова, Е. Г., Литягина, Е. В. & Серебрякова, М. Е. (2016). Психосемантика восприятия визуальных образов в рекламе. Психология»/Е. Г. Теплова.
27. Чебакова, Ю. В. (2010). Психосемантический анализ гендерной идентичности. Экспериментальная психология в России: традиции и перспективы.
28. Яновский, М. И. (2010). Проблема изучения кинематографа в психологии. Психологический журнал, 31(5), 79–88.
29. Яньшин, П. В. (2006). Психосемантика цвета.
Decoding Harmony Through Algebra. Viktor Petrenko and Psychosemantics in Cinematography
Natalia Gladkikh, Anna Movchan
DOI 10.55140/2782–5817–2023–3–2–4–15
In March 2023, Viktor Fedorovich Petrenko, a renowned Russian psychologist, celebrated his 75th birthday. Holding a doctoral degree in Psychological Sciences and being a Corresponding Member of the Russian Academy of Sciences, Petrenko’s name may not be familiar to everyone, particularly those outside the realm of psychology. Nevertheless, it is highly probable that his groundbreaking methods, which he spent over five decades of his life creating, researching, and applying, have influenced your scientific or practical endeavors. The sheer indispensability of psychosemantics, a field at the core of Professor Petrenko’s work, cannot be overstated when contemplating the landscape of modern science and research practices. Regarded as a trailblazer in this field, he was among the first in the country to apply factor analysis techniques to processing psychological data, paving the way for the evolution of this discipline.
Natalia Gladkikh
Leading Expert, Institute of Socio-Economic Design, National Research University Higher School of Economics
Anna Movchan
Junior Researcher, Federal Resource Center, Moscow State University of Psychology and Education
Drawing attention to his impact, it is worth noting that Viktor Petrenko’s works have garnered over 12,000 citations, according to eLIBRARY.RU statistics. The magnitude of his influence becomes apparent when considering that a Hirsch index surpassing 30 is typically associated with Nobel laureates; however, Professor Petrenko’s index stands at an impressive 37. Yet, beyond these numerical achievements lies a vibrant tapestry of intellectual contributions, far from a mere collection of dry academic texts. Instead, it encompasses a living, breathing “algebra” – the psychosemantic methodologies that meticulously unravel intricate systems of individual meanings, illuminate the factors driving effectiveness, unravel the roots of loyalty, and decode the complex interplay of images and their associated connotations. Grounded in the principles of multivariate statistics, psychosemantics empowers us to delve into the true perceptions and emotions of individuals. From examining responses to artistic works and political figures to dissecting the impact of cultural differences, gender stereotypes, and even the subtleties of advertising campaigns, psychosemantics offers answers to seemingly unanswerable questions with remarkable precision.
In this article, our aim is to provide a general overview of psychosemantics, shedding light on its origins, the circumstances that led to its creation, its diverse applications, and the vast realm of possibilities it unlocks, particularly in the domain of art and cinema. In addition to scrutinizing various publications, we have incorporated insights from a recent interview with Viktor Fedorovich Petrenko, conducted this May.
As renowned American psychologist Michael Cole highlighted in the preface to Petrenko’s article, “Meaning as an Element of Consciousness” published in the English-language journal Psychology in Russia and Eastern Europe, “Petrenko draws upon the American technological toolkit to address traditional issues in psychology, influenced by the works of L. S. Vygotsky” (Cole, 1993). Methodologically, psychosemantics finds its roots in the pioneering works of a remarkable cohort of psychologists from the 1920s, including L. S. Vygotsky, A. N. Leontiev, and A. R. Luria. Viktor Fedorovich Petrenko, one of the early graduates from the Psychology Department of Moscow State University and a student of A. N. Leontiev, emerged as a frontrunner in the realm of experimental psychosemantics while still a student. During that time, the Department of Psychology at Moscow State University undertook a comprehensive exploration encompassing not only the study of consciousness but also the domains of child psychology and neuropsychology. However, it was within the department of “General Psychology,” helmed by A. N. Leontiev, that the profound investigation into the psychology of consciousness and perception found its most distinguished representation.
In the quest for methodologies capable of delving into the intricate nature of consciousness, V. F. Petrenko ventured into the realm of structural linguistics, drawing inspiration from the works of I. A. Melchuk, A. K. Jolkovsky and Yu. D. Apresyan,