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Aesthetics - Levchuk L.T.


I’m imagining the day of the mystery, an analysis of how to realize the specificity and health of the art and to improve yourself from the real system of boot (natural and suspension) to self-image, to understand the subject matter: After all, for the reason that it’s a prototype of yak peredumov, reality itself and that of aesthetically remodeled in mysteries, are necessary, in a way that is old and helpful. Vidokremlena vid natural іsnuvannya, refreshed by the sensor and completed in its entirety structure nabuvaє dvomіrnostі status - mis-

15 Ibid. S. 241-242.

Tetstvo yak іnіnіst і rіch u vsezagalny metasystemі kultury і yak znі і zіїї culture, the main article is equivalent to the ordering and recognition of the artistic truth. Mystery is like a sign (“a natural sign”, behind the term Ya-Mukar-Zhovskogo) is dominant, specifically structured, shape and form; up to the number of these components you must also include an object of mystery, which, for your own subtle vision, means the maturity of the mystical creator and the form of the old, familiar clowns.

The subject of the mystery is that they are similar between themselves, which is important. The history of the plot, the history and characterization of the image, the very fact of nabuva are of particular importance. Film M. Romm “Sound Fascism” is to be denied with a non-transcript, the water hour behind the laws of the artistically-shaped symbolism will be reassured by the new context as a metaphor for condemned evil. The artist is ideally by nature and trained in the aesthetic bachenny paintings of the world, in the most precious colors, even the most intimate colors, harmony and life of nature. The word is intertwined with poetry, denying for itself the role of an informative instrument, its readability is meaningful, and at the same time it is scattered in the middle of each other, which has been rewritten for a long time. That’s why the exact word’s pook will be re-created in the visualization of a visible image and a picture, I will become an old woman of soul. At tsyu zvyazku to earn respect for such a detail. Zagalnovidomo, as L. Tolstoy, fought for the artistic sound of the dermal word, as if they were angry at the same time as ever. In the period of preparation, before the writing, “Hadzhi-Murat” was written for those who wanted to write about the fact that they spent most of their time in joking for exact phrases in describing the fact that I’ve been able to keep up the good ". Something will be called “aesthetics of a word”, like M. Bakhtin, who has “an alchemy of words”, behind such a self-made viraz of Yana Parandovskogo, whose words are “musical poetry”, in the words of T. S Eliot, of realities: nature, the nature of nature, the existence of being, and that, even though you will be called mystery.

Emphasis is placed on respect for keeping an eye on objects and images of this re-creation, which is brutalized up to one butt in literature. The reality is that the number of facts you need to protect the subject matter before the end of your life, as well as life, the whole and the whole semantics of spelling is not without amusement of the symbols, because of the singing identity in the culture of that mystery. Thomas Sterns Elot, I must respect the law: “Trains aren’t right to go far and wide, because I can do that.” To clarify the idea, the author is talking about those who don’t want to be hungry: “do the same thing, ale zvidsy vin cherpaє material, whitewashed with the most familiar sounds” I hear the melody and the harmony »ltt.

Pidssumuyuchi persuasion, it can be said that the “telescope” of the mystery (by calling it so-called with the help of the mystery of L. Tolstoy) is the space-hopping of the real world and the world’s best imagery. The subject of the mystery is to enter no less than in the creation of the new yogic zmіst, and the y in form.

In literature and aesthetics, the subject of the mystery is to take the best of people, and the broadest is the people in the history of life. In singing rosumіnnі tse so, osklki and the very mystery in its universal meaningful creator of human talent and rosum. I’m just thinking about food, then you can go to the school, and then the Institute of Humanities, Bagato Vidpovіday of aesthetic and moral zmіstu I will hold for myself. Through mysticism, a significant peace is recognized to the progress of the spirit, a type of psychologism, and those that have a real genius of art. That is, with the obvious obvious facts, it’s not so specific to me, to whom the very people are the subject of mystery. I am not at all wondrous in the fact that I’ll sneak in on the sum total of anthropocentrism. Even the mystery of primitive slurry in the era of the Upper Paleolithic was overcome by the beast to the last subject - even the entire theme in the rock paintings is animalistic (the image of the creature). The harmony of the spheres of music and space has become an idea of ​​beauty in ancient aesthetics. In the jokes of the subject of the image in the middle of the world, having dominated the “divine archetype”, not seeming about the Muslim Religion Law, a kind of zagaraben zaconing the image, reaching out to the absolute ornament of mosques and madrassas. Religious canon in the whole loyalty is strongly outlined in the character of the mystical Descent. Naslіdkom brought to the extreme vіdmovі vіd be-yakogo nagaduvannya about people

'' Elliot Thomas Sterns. Music of the Train // Train-91. K \, 1991, C 133

in the mystery became the theory of "dehumanizing mystery", "non-objectiveness". What is more - a human chi machine in the images of the nosmishkuvaty Fernand Leger? Lyudina is simply ruined by the mid-tech giants. Well, you can know here an explanation of how to find out where to go and how to live in new civil society, and in general, as many people as possible are approved. Dodamo to the whole computer poetry with predictions for those who have a Maybut electronic machine, you can make music, poetry, painting. To appear, whose creators are to be sacrificed by the messenger. What is the subject of mystery?

In O. Potebni there is such a sign: “Mystery is the most subject of nature in the broadest rosumniny of the whole word, but it is not unrepeatable imaging of nature in Russia, but the singing of the visual representation of the whole image. Mysterious by nature and nature, it’s worth a thought of people, if you want to understand the mystery, you can do more creative work. 17. You have to come up with a whole form in the first rice, you need to mean that you have to live and have to live. ce prostrate zzovnі. As a matter of fact, we take the most significant achievements in new (and their very mother’s in the wake of an unprecedented historical exhibition), then for the large-scale skin treatment I have to do this. Surrounding the person of the subject of the image here is invisibly the presence of the history of the spirit. Why is it not in this sphere that is more beautiful than the actual reality of the subject of mystery? Beyond all, you can speak to those who do not simply transfer the object to the finished space, navigate the pose of the reality of the artist’s imaginative image, then to the active formative power of the nouveau of aesthetic-spiritual self-significance.

Nutrition about the absolutely vіdrechennya vіd people in the mysteries will require a wider z'yasuvannya. Protezha also will not be outdone the frivolous scrutiny, which is the subject of mystery, but the first test of Roscriti, as well as the very re-creation of an artistic and aesthetic serpent in a new place. Fairly, those who have mysteriously sacredly believe that you are closer to your ideal life, and yourselves, dearer nature in the old, who are intoxicated with life of the second most important values ​​of the world.

Potebnya A. A. Word and myth. M., 1989.S. 50.

nostі people to the uttermost - a mustache in the new hour of reinterpretation. As a matter of fact, the mystery wants to include, without a doubt, the inclusion in one’s subject of non-dominant natural day-to-day motivations and interests, then an insider of all of them won’t even be able to do this - “we clean the mystery”.

An alternative was formulated earlier in the protested independence, more often than not in the nature of genesis, and more prosaism. І. Kant has given mysticism to two tipi: a fallow of practical and interesting remnants and a clean "mystery". There are transcendental signs that it is not necessary to take into account the vivid dailyness of an artistic image, and do not have to see the image before mystery. It is impossible to re-read the concept of the representatives of the so-called pure mystery, or mystery for the mystery (XIX century), or Judgment I. Kant z tsyogo nutrition as a forerunner named the concept. The correctness of the ії pіdtverdzhuє dosvіd usіnі іstorіі mysteries in yogo finest perfection: what is more for the creation of poetry art, the widest? deepened by true truthfulness in aesthetic bachennost, well-known empiricism of everyday life. The right side is not in the forbidden world, but in the aesthetically forbidden, catharsis. All Chekhov’s prose, dramaturgy, yoga, secre, naris “Ostrov Sakhalin” carry with them the signs of “pure” poetry through the temple, inspired by the talent and style of the word mystery. I want to, well, it’s good to know that there is enough drive for living with life, humanity’s mind, smiles of character, so that we can skeptically call “life clumps”. Read more about the side of your friend щ. The bastard of “Okayanni dnі”, not a little differently, is not less than the drama of historical facts, and the first nostalgic lyricism in spiritual tremendous prominent poetry and poetry of Russian literature.

Art processes of the XIX century called "nadto unclean." Ziu Dumku zatochkuvat vіdomiy іspansky philosopher and aesthetics Jose Ortega-i-Gasset. For yogo judges, rozpovіdі about people’s realities were brought up to minumum. The reality of the mystery is not є a proof of other reference art. “The products of such a family,” they say in one of the most important aesthetic authors of the world, “are more often than not created by a mysterious artist. Shchob vstishitsya him, is not necessary the health of all the intact to the head and viral bristles, of which there are aesthetically pleasing. To bring in the health of the sound and ludicrous spirits and allow the turbots, and the joys of the people who are in need, more than that, I can help you, ”8. Well zrozumіlo rob the bosom of Jose Ortega-i Tasset, to whom the mystery of the XIX century. it’s most popular, it’s also called only one rivne mas, one of the average odnostnosti, little pieces of won’t “not a blunder, but a bunch of life itself” | 9.

Ortega’s concept does not enter into a discussion of problems between the crisis and the spiritual culture, the artistic tradition of a realistic mystery. I’m going to need, in our thought, a special visitor’s speech, so to speak, and all the philosophical and social-psychological decline of the whole arrogant thinker of the XX century There is much more respect for one of the founding principles, namely, rozumіnnya mystіstva pіd kutom zoryu yogo subjectivity, so that the sound of chi rozrivu with real life of life, that is interesting people. Characteristically, the philosopher himself has become a theoretician and a historical scholar, writing praci about such a great post in creativity, like Velasquez, Goya. In detailing the mystery, the theorist was not satisfied with those who purely art in any other way ruined the hand in hand of new reality. Having been thrilled to take a walk in Maybut progressive mysticism, please the purely natural esthetics.

In the theory of motives, the idea of ​​an early concept of “the mystery for the mystery” (“pure mystery”), as I saw it, the independence of the mystery of life, morality, science and politics. The term "mystery for mystery", which belongs to the French philosophers V. Cousin, is implanted in the life of 1818 p. із an hour having gathered more and more broad significance, internal relations with scholars І. Kant about the "lack of attention" of aesthetic judgment, and also with the creativity of the poet T. Gotє and the group "Parnas", O. Wilde and that. One explanation of this phenomenon is to get involved at the same time at the very beginning, at the self-instinct, the self-preservation of the mystery of the super-dominant for the wide top of the hill. Historically and socially, this trend is possible to explain. Ale є y і nshy, aesthetic bіk help. Dialectic is not easy here. You can’t say that you’ve skilfully wondered if you haven’t tarnished yourselves, you must be able to get to know more and more easily fold out the bounds of a special, zagolyudskogo, ethnic skinny.

'* Jose Ortega y Gasset. Dehumanization of art. M., 1991. S. 506. 18 Ibid. C 507.

Ideal and practical utilities. The mastery of people was alive and transcended in its blood "syncretic" sound with the subject of the interest of the clan, class, ethnic cht zagalolyudskogo. Ale, from the first side, "by the clumps of life itself", about the appearance of Ortega, the reality is not naturalistic, passive, but aesthetically remodeled, symbolic.

Well, before eating, you have the mystery of “average” maso, like a bit more artful and self-meaning creator, then it’s not so. For all the justice of the thought about the need for great high quality of mystery, a creator-professional-specialist, we will dedicate ourselves in the first clay, law and secrecy, because it is deprived of greater recognition due to the fact that there is more recognition. Behind the reconciliation of M. Gorky, B. Brecht and those of the Mitzvah-humanists, the skin of people who are in peace was artistically charmed, and, moreover, it is potential to carry creatively with them the sacredness of something extraordinary. In the very subject of mystery, there is a potential, a kind of niak cannot be attributed to naturalism and empiricism to fact. Above the real (material) suite є light cultural and touristic and natural relations, which you can see and constitute for yourself at your own subject for mystery.

In the fifth active link to the reality and the may-be-made transfer, the creators who want to get rid of it are aesthetically re-performing act in the most advanced forms: outrageous to the character, generalizing the sense of comprehension, reaching harmony of thought.

One iz of riddles (a watery time for a bit of something to explain) of apparitions at the re-creation of the subject of mystery є the transition of the phenomenon of indiscretion into a naturally vartisny serpent. Mamo schodo tsogo great literature - as an artist, so os dіlіdnitsku, prote can not be respected until kіntsya pіznanim tsey transformation process. Crossing the room of indulgence to the satisfaction of Aristotle by pumping with the artist’s knowledge and wisdom of the image. Behind G. E. Lessing, the leaders of true and supreme nature are more beautiful in mystery.

Leonardo da Vinci is in full possession, named “Speaking of face”, having adjusted the sarcastic masterpiece of indulgence, evil and hypocrisy. Remaining righteous is the attractive force for the mystic. The opera "Rigoletto" by J. Verdi can follow the drama by V. Hugo “The King of the Bend”, one is from the chronicle of V. Sheks-pyra “Richard III”. Indulgent at his evilness and power-hungry to post Gloucester has become a symbol of evil and water-time the subject of the evolution of yoga. Itself is worthlessly oversubstantially straining to stage a couple with a whitewashed film for the aesthetic nobles of the indigent and a strong spiritual catharsis. In the words of one of the preceding “the phenomenon of indulgent in mystery” V. Bregadze, most of the actor’s impressions in the image of Richard are bestowing on the character herself in such a key. So, Lawrence Oliv’є in the film “Richard Sh” (the virology film studio “London-film”) as the director and the artist will be groovy in sharp contrasts, large strokes, in the black headlights, I can’t get any more. “A prominent English actor of complicity,” wrote V. Bregadze, “showing a movbi is morally more moral to expose all evil and more evil viciousness to the whole arsenal of our artistic and artistic interests” 20.

In the theater of the new theater (S. Akhmeteli, V. Vakhtangov, B. Brecht, Sun. Meyerhold, L. Kurbas, E. ІесESCO, Ж-Barro) in their own skin, ala obov'yazkovo talented interpretation of the idea of ​​artistic re-creation, theatrical intelligence on a fundamentally new level. From now on, the mystery of aesthetically dissolving the subject of reality reality. Zavdyaki to the big arsenal of artistic and artistic interests, to reach a wide range of colors and forms, to the rhythm, melody and imagery of the word, to form an artistic code of the highest laws, self-determination. The transformation and natural re-creation in the subject’s relationship, the development and form is not just important, but the law of mystery.

From the very beginning, I’ll conceive, and until the completion of the work, Mityets Pragne Nadati, I can do all the work of art; Later, the good vidome of the old-school terminologist understood “art” meant “intelligence”, “right”. It is etymologically unique with the term “mystery”, water supply for a new person is that specific, a clear view of a significant level of mastery in a great deal of creativity and creativity. Як художній і естетичний феномен мистецтво

Брегадзе В. Феномен безобразного в искусстве и эстетическая проблема художественного отрицания. Тбилиси.' 1989. С. 74.

виокремилось у специфічну форму духовності й естетич-! ного досвіду. В поняття художності вкладається два значення: родова ознака мистецтва з властивою йому образністю пізнання та співпереживань і міра естетичної досконалості твору, відповідність його змісту і форми. Категоріальна широта і багатозначність цього поняття щодо характеристики мистецтва не повинна зводитися до якоїсь його риси чи ознаки в окремому виді мистецтва. Є тут і певна невизначеність, хоч добре відомо, що художність стає істинною там, де маємо високий вияв таланту, пере-твореність у виразний естетичний знак змісту і форми, витонченість смаку і майстерність митця.

У спеціальному розділі книги, присвяченій теорії мистецтва, художник К. Юон порівнює художність з сильно діючою енергією: «Дія художності на людей схожа на дію світла, що враз перетворює їх свідомість... Художнє те, що іскриться живим виразом, що подано образно-поетично... Почуття художнього становить ту першопричину, якій зобов'язаний своїм існуванням живопис. Воно таке ж органічне і природне, як радість життя, як посмішка»2'. Автор наголошує також на тому, що художнє почуття фільтрує враження, очищає їх від зайвого, випадкового, залишаючи лише потрібне для здійснення наміру автора.

Усе це, звичайно, так, але цілком задовольнитися такою думкою неможливо, оскільки знайдеться багато інших критеріїв художності як в творенні, так і в структурі чи сприйнятті мистецтва. Ось чому, крім уже зроблених найбільш загальних визначень художності, скажемо про її атрибутивну інтенцію і властивість бути притаманною мистецтву як його родової сутності в найконкретніших проявах. Якої б грані мистецтва ми не торкнулись — основним її контекстом залишається художня міра.

Художність — це поетичність у мистецтві. Поняття, однак, не в усьому тотожні. Перше у певному своєму значенні ширше за друге, тому що поетичність, на відміну від художності як прерогативи виключно мистецтва, належить також і до реальної сфери переживань. Саме звідти художність набирається власних сил і спроможності зворушити перетвореним естетичним змістом. Поезія почуттів у реальному житті — то є те джерело, яке здатне, по-перше, надихнути і, по-друге, воно достатньою мірою служить художникові, композитору, письменникові, артисту

21 Юон К. Ф. Об искусстве. М., 1959. С 24.

першоосновою художніх перетворень. Поетичність — не жанр, а тип романтичного світосприймання, яке грунтується на розкутості внутрішнього стану і екзотеричності ставлення до навколишнього світу. За висловом теоретика німецького романтизму Новаліса, «поезія розчиняє чуже буття в своєму». Сфера поета, вважає він, то є світ, зібраний у фокусі сучасності. Поет повинен з'єднати все зі стихією духу, створити цілісний образ, складений з протилежностей, загального і частковостей. Роман також має бути суцільною поезією, в якій поєднані гармонія, здивування й істинне поняття про світ. «Чим поетичніше, тим істинніше»,22 — такою є формула Новаліса.

Абсолют, вічність і істинність поетичного виступають аналогом невмирущості моральних цінностей. Поетичність — в романтизації, схильності до ідеального в людській психології. Художність, належачи до витвору людського духу, гармонізується з поетичністю споглядання — естетичного сприйняття природи і життя. Саме в художності криється перемога над стереотипом почуттів і мислення, а це, у свою чергу, є боротьбою і громадянським вчинком митця на захист ідеального. Трагедія Янки-музиканта з однойменної новели Генрика Сенкевича стала символом втрати ідеального, втрати відчуття гармонії і поезії життя у грубій і суворій реальності світу. Вивчення специфіки художності стає можливим не лише в аналізі його зв'язку з естетичними перетвореннями, структурою предмета, а й зі змістом і формою мистецтва.