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Aesthetics - Levchuk L.T.


A look at the place and form in the mystery of transferring the nasamg before splitting the whole into warehouses, so we can be left out for a theoretical level, before that there is no way for singing reduction and forgiveness. Tvіr mystetstva - tse zagalom completed i tsіlіsna system. If there is an element that is not visible, then we are faced with a constant posture. For the sake of nobility and memory, I would like to have the principle of analysis taken as the basis of the principle of value: the form is the form, the hour is hourly. Himself filed a gnoseological, anologic ontological sensor. For an effective basis for the whole of the last year of the rivals

22 Novalas (Friedrich von Gardenberg). Fragments // History of esthete ki. Monuments of world aesthetic thought. T. 3.P. 283.

take two of the criteria. Nimi є form i zmіst. Itself zmіst, idey, I utter the infiniteness of the mystery laid down in the image of the artistic articulation guiltyly convey to the one sprimatima. Yak vidomo, I’m not talking about anything. In Nyomu, there is a soul alive, that is, a serpent, a kind of spiritual energy, a zagalny pol_functional-ness of its own water. The form is a constituent serpent, a trim in sob.

Mysteries have traditionally been taken for freedom to respect the meaningful and informative components of the idea, to reflect the ideas, the problems, the more important, the more important, the more important Zimist mystery to the broadest of rozumіnnі - all the whole is material, spiritual information in the psychological, moral and natural alloy, passed through the people’s creativity and creativity. From now on, to the point of establishing an ideological, emotional, informative, straightforward expression of direct knowledge of mystery; vdbuvatsya through the rozgortannya at his living reality of such officials, as a theme, plot, thought in the figuratively-imaginative manifestation.

Prior to the formation, it is necessary to establish the organization and internal organization, logically connecting the structure. Zmist realizuє itself in a particular-chuttvuyu, sign-subject buttі, de sign reprezentu є sislovu meaning zobrazuvannogo, are deprived of the whole cloak of approved new realities, violated traditional cultural traditions, and it also exists.

Zmіst і form vzakєmodіyut mіzh themselves, to enter one from one. I in the middle of time - the nature of art. Diversity is different between forms and water hours, the difference between them is irrelevant to the law, it is recognized that there is a change in philosophy; specifically manifested won in mysteries. In fact, the most important issues and problems are addressed to the theoretical philosophical theory, which was repaired from the Hegel's excerpt about the transition in form and form. It was committed to respect and self-esteem of the category, which in the furthest numbered vinyatnogo value for the methodology of aesthetic achievement. In the words of Hegel, “mother is guilty of taking form, and form of guilty is materially, be willing to be one with the mother, to be identical, seem to be” 23. The wisdom of substance is form; form w

23 Hegel G.-V.-F. The science of logic: In 3 vols. M., 1971.Vol. 2.P. 79.

we become inspired to live in spirit - in itself we have the whole complexity for the mystery himself, so for the recognition of the organism of "poetic form", so that the form is artistically complete.

Mysteztvoznavchіy and philosophical literature will readily catch a thought about those whose form is not like a shell, clothing, casual shaving, so that you can take chi, navpaki, come. Form - tse exposing, tilo, alive flesh zmіstu. Zvrachayutsya to the creator, I seamlessly sprymaєmo ni sho іnche, as yogo movu і composition, so as to materially turn around the cocks and more freezing parts. Tsya form and carry in itself all serpent, won є about active booty. From now on, it’s a visibly pragmatic gown about those that have a form - that is, for a day, for that one has a big sight, as it is manifested in an outward, active way. The form of the inner z'єdnuє zmіst, even the first element of the idea will follow the logic of the art, including the art of art; over there, demonstrating to myself for the help of an intercession (ob'kt) and chuttiv sprimannya (sub'kt).

Є internal composition for the creator, transferring the energy of structural sounds, and є unconventional-chuttєv-shaped form of lofty zmіstu. But what is the most important thing for the one who has two sides in their mutual brains to acquire aesthetic and artistic significance? I justify the fact that I want to be sure that I’ve gotten to the point that I’m ready to go and see how much I need, I’m pretty sure I’ve got it right from the philosopher. Take it that way, because the form in the singing levels of the structures is instantly з zmіst, and the zmіst is tse є the real ruh of the yogi in its own way (formally) yak form. The law of inefficiency and the form of the special significance of nabuva in mysteries. The very form of the old creator. I have experienced mastery, more and more people’s life, less reality itself, more peace, more detail, more artful and more relish maystra. The form of crystallization in personal styles, signs, cultural traditions, orderly thinking and ideational ideas in the organization of solidarity. Zmіstovna fabric creation can be repeated for the very life itself, the form is replicated by the name of the reality of the present - an artistically significant value.

The form is done by mitz. But the meaning means that the artist takes on great majesty - dati life, not amused by the substance of organism and natural analogies, the aesthetic phenomenon of born reality. As a matter of fact, Hegel is guilty of “complying with one’s mother to be one with oneself”, because we really need a different system, but we don’t have a chance to become more comfortable and have more fun, because we have to have to do so now and then. Health Zavidaki formі utrimuvati slushno-napovnenu zmіstom vіdpovіdnіst. Do I have a link with this fasting: how can you reach the mysteries of those who have the more amusing arrogance of power, reviving the new day? A reference to the originality of an artist, such as an artist, is to bring Hegel, a pole in that, stink of "spiritualized truthfulness of the true in itself zmіstu". “Less than that,” read in “Lectures of Esthetics,” if the artist has acquired an entire rose and not impaired cleanliness by third-party features taken from the middle, - only the subject has been removed And to myself in my own true sub-activity, like pragna but lishe living in the middle of completed in my own artistic creation ”24.

The form of the mysteries is no worse than zib, with the help of which it is possible to achieve the reincarnation of real loneliness in artistically imperfections, the symbol of mystery, the vision of the original foundation. Form є also in the manner of the creation of the mystery. Intimidate the gap between structural relativity, materiality, and that of the old, the most familiar, the open space. He sings having put a stop on the spot, the composer wrote down a left note, the artist finished the tone and completed the twir. Peace and form panuvnimi. They will be covered by a false share of the creation of such a yakim vin. The form of historical collapse at once for the creators of mystery in the dynamism of the system of culture, and at the same time, I will protect the statics of this substantive self-sacrifice. They can be buty reminiscences, interpreted by those who have heard the creation of mystery, they can be buty varied by those, supplemented by serpents, and as a rule, there is a certain amount of literature in folklore. That in a skin okremoy vipadka that will also be a new TV, a constant new form. Liche on the theme of Prometheus. The whole mythological plot of the protestation of light and fear - written in different genres of dozens of musical works. The first skin of them is itself a constant constituent of form and zmistu (“Prometheus” is the opera of G. Foret for the tragedy of Eschil, “Creativity of Prometheus” is the ballet of L. Beethoven,

24 Hegel G.-V.-F. Aesthetics. T. 1.P. 309.

Poem bogging "- a symphonic poem by O. Skryabin," Kav-

* 3>) ____ cantata-symphony of S. Lyudkevich for one

created by T. Shevchenko and іn.). The government’s constant is not only of a form in Russia, it is crystallized in organization, but it is also tantamount to creation, which has become a symbol of the lack of fulfillment of the absolute ideal, since it is peaceful and uninterested in Prometheus, Idea of ​​the World, in Moscow. On the fact of the fact that having curtailed the respect of the mysterious person, I’m Golosovker, mikrukuvannya a kind of wikklyayut cіkavіst sh th tim, scho vin nadіlyaє form in the mystery of the view of nature with absolute status. For the sake of words, on the basis of the concept of “nature” in nature, in the process of creation and development, the concept of culture is the appearance of the form, image, ideology, 25.

Zovnіshnya form obmezhuє space underestimation of the visibility of the number of flat surfaces. The form is separated by an hour’s plinth, I’ll secure the steel of the item’s elements; Yak-sense in the image of won is based on post_ost. Merit of respect and the same miracle: “Form is the essence of the idea of ​​pure posture, which, for example, is so obvious in geometry. Ale wona such and I in music ... In nature, the form of identity is approximate. “The ideal thing is less in culture, in ideology, in mathematics, in thought” 26.

The idea of ​​instability of form in nature and of cultural identity, mystery of timothy, won won’t be ingenuity, before that there is an extraordinary thought about those, as the form of the artist is constant, you can actively understand it.

It goes without saying that in such a way emphasis is placed on emphasizing the analysis of freedom as well as the whole of bagaty to the senses of mysticism and form of active covet of aesthetic inner intercourse of spirituality. M. Berdyaev to impose the word "zmіst - form", "in the mystery form itself є zmіst" 2 ?. Likewise, the preceding problem G. G. Gachev about the "artistic forms" is hanging. Mystezvoznavtsi A. Єremeєv, V. Selivanov, E. Yakovlev, V. Mazepa reached the syncretism of the idea and form in the artistic art, the specificity of their boundary.

*! Golosovker Y. E. Logic of myth. M., 1987. S. 127-128.

In the same place.

Berdyaev N. A. Selected Works. M., 1989.S. 441.

Before zmіstu і form to fix the conflict (vid Latin. Konfiiktus - іткнення) - one із a category of poetics and aesthetics, scho vidrazobraє protistoyannya бор wrestling, on which you will be able to develop a plot and character in art. The nature of conflict is dominated by theoretical dramas, because of scenic mystery, however, the protest of forces and tendency to make the law of art of the image more irrelevant. The super-emphasis of real life and conflict is aesthetically pleasing category, which you can realize in a dramatic and tragic way, at the same time, at least one object is presented in the form of a better art. Already the topic itself is the first idea of ​​the imagination of the bagator and the conflict and the conflict. The whole old mythology and epic is created to overcome the forces of good and evil, they are divinely intertwined with divine and human pragma, truth and deceit, Eros and Tanatos, joy and confusion, wisdom and insanity, respect and love. In this type of incidents, the situation is as good as civil, and the demonstration of human will and guiding. "Elektra" Eurіpіda, the sculptural group "Laocoon" Agesandra, Polidor, Afenodor, Shakespeare’s Lir, "The Saints Sebastian" Tіtsіana, "Sіd" Cornel, "The Great Inquizitor" (Brothers Karamazovi "P. Pikasso," Kasandra "Forest of Ukraine - a whole set of natural symbols of the great (universal) protests, for some you can get a lot of stoicism, prophecy, self-confidence, honesty in truth, moral strength and integrity.

The leathery new step, the leathery historical overtake of justice, is given by the price of the gates. Harmony prevails in the struggle against super-transcendence. Suchasnilniki creativity-O. Balzac vidnachayut, scho yakbi scribe is alive at the XX century, then now you know all for yourself all the material for the imagination of the latest folding and super real realities. Conflict is already not changed, but the trivial factor is active in re-evaluating the clarity of classic ideas of goodness, compromising on evil, and on the other hand, on the other hand, there is conflict in the very same way. The artists, artists and philosophers S. Bulgakov, M. Berdyaev, A. Buliy, V. Vinnichenko, A. Camus, J.P. Sartre, J. Hazing, F. Kafka, T. Manya; that іn. in osmislenny protirich in the very fact of progress and civilization of conquest of the XX century art.

The materiality and philosophy of creativity of O. Dovzhenka - the yogi "Shchodochniku", newsletters, scriptwriters, prose,

the same kind of kinoflmah - to vimalovuyut magnitude metaphor epoch, nationality to the spirit, protirich, joy and civilization with home food: what є beauty? Warehouse, - vіdpovіdaє mitets, - "from the earnest receipt of all the living manifestations of life", "from overcoming the good over evil" 2J. All the words of the novel “Dream” were written in an authentic way. 1 And the axis is written in “Shchodennik” vid 5 quarter 1942 p .: “Yesterday, writing, guess about the food, about the hut, about the children, about the children, one meeting in a small room I smiled and cried. My God, good luck and good bulo in my life, what can’t you turn around! Skylki of beauty in Desna, in syncosa and skrіz-usyudi, where you don’t look at my soul’s eye. ” That nehai is not to be lost, schits, so there are no more bewilders of beauty, just one more bachiv. You have a wonderful, symbolic "dream" in the thought of the same novel story by O. Dovzhenka focusing on his whole wide range of super-expressions, like bachiv mitets navіch, with so much znaklivshissya with his own property. The serpent of the novels is utterly allegorical - the earthly and unearthly at the center of the world with the divine "commandments." God, - to keep a look at the individual, - by calling to myself and telling the angels to vipality with my soul and soul to perish with the fire sword, I was confused and afraid for the mother, I will be my father and I for all that I serve; for the share of the people, for the mystery. I angels got sick with me, crooked skir and threw її into the fire. Potim according to the holy holy command, the stench of virubal me less talent I gave me new. Virvali from the mouth of my tongue and threw him into the fire, abi becoming I clean. I’ve become a nimim, having forgotten in the wordless silence all words and all meanings of intelligence and wretchedness. І becoming miteите - to sway yomu uvіsnі - composer. Everything that you know knowing, everything, knowing everything, reveling in your spiritual spirit, turned into sounds. I become free, since I’m feeling sick, to pray for a long time. - I want to make the sound of my finishes. I have transcendental most beautiful spheres and write for people who have a separate part, I have to store them all. I deserve fear, beautiful dignity, without false, mucous and complete embellishment, without pleasing, without dumbing stupidity of the cold and the mountains-Dyu neukіv і їh merciless intercessors, who are able to lie to God, like a horse with a saddled horse.

In these four portions - bestialized to God, about tearing apart the tongue and ordering with talent for the most powerful

28 Dovzhenko Oleksandr. Kіnopovіstі. Opovіdannya. K., 1986.P. 666.

the words of the omnipotent God, the note and forgetting in the wordless silence, all the words are tragic symbols and words of irony, sarcasm, for the most part they have declined respect, bewitched by the poetry and the beauty of the old. Irony in that, if you want to go far away, take away your talent and mitigate them with music, having lost freedom and abstract spirit - and even to the most tragic notes, they sounded bridal music 29.

Idea in mystery, as it is accepted to respect the literature of aesthetics, is one of the integral elements in form and form, the fragments of the spirit of spirituality, the sense of direct creation. In the ideals, there are those who want to tell their creative work, what to bring, and what I’m doing. Without the idea, like without the serf, the creator is not buvaє. Mostly, with all the sub-active copyright laws, there are laws of historical processes, natural and moral assessments, it’s completely motivated and socially motivated. All in all, the hereditary knowledge of nature and the sound of the cliffs, the visibility and the natural sensitivity of the mitzvah. The art of the idea of ​​the same world is historical and historical. In the second and second years, the convergence to the true truth in the picturesque nature of nature, of the first and last people, is fixed. Zvertayuchi respect for those who are far-fetched, piece pieces and nibbles and ideals to pour on the level of artistry, G. Plekhanov citing the butt of creativity K-Gamsun. Creme strict social criterion, nayaynoymu buti is aesthetic tolerance. A mitek to create a personal idea and to present his own artistic achievement to a talent I didn’t declare behind me, but to the version of the Rosemary of artistic truth, do not wait for it to justify the forgiveness of the sociological evaluation. It’s sound, it’s a bit of a big deal, a secrecy is conformism, which can lead to viral talent. In the film "Mephisto" (after the same novel by K. Mann), the Ugric film-makers who won the Oscars show the progressive process of degradation, which resulted in fascist ideology. Itself through the idea, you can come to terms in the right view of the theoretical singing theoretical analysis of creativity. But if you’re just a little thought about those who are unreasonably justly looking at the very same idea, it’s possible to raise one’s heart to the idea of ​​one, good and bad thoughts. Ідея в усьому пафосі, настрої, атмосфері, нерозчленовуваності її, про

Див.: Довженко Олександр. Кіноповісті. Оповідання. С 666.

що попереджав І. Кант,— це має бути «естетична ідея» в багатозначності і безмежності її сполучень з чуттєвим світом.

Абстрагована ідея, відділена від усієї барвистості і чуттєвої повноти смислових відтінків, втрачає свою силу. Вже у самому задумі твору його сенс нероздільний з чуттєвістю, глибиною і повнотою перспективи внутрішнього бачення. Згадаймо, як «даль свободного романа», задуманого О. Пушкіним, проглядалась ще не зовсім чітко «крізь магічний кристал» мистецтва. Те, що не є передчуттєвістю і подихом живої повноти й перспективи для митця, фактично не є ідеєю. Але навіть і тоді, коли вже твір завершено і думка оформилась в гармонійно чіткий пафос її і рух — навіть у цьому разі ідея залишається нероздільною з усією тканиною свого просторового проникнення у світ твору. Але завдяки тому, що твір сприймається в ідеальному перетворенні, у формі ідеального образу інобуття предметності форми мистецтва, ідея стає ніби відокремленою і незалежною, як сама ж духовність переживань.

Абстрагування ідеї на рівні декларативних сентенцій — це вже інше, це» вже позахудожній, соціологічний, моральний чи філософський «еквівалент». Проти цього зведення до чистої однозначної абстракції застерігали видатні художники слова й інші митці. Чи ж варто скрізь розшукувати ідею і вкладати її? — запитував В. Гете. Відповідь його була промовистою: «Майте ж нарешті мужність віддатись враженням,— звертався він, очевидно, до тих, хто будь-що намагався віднайти якусь абстраговану думку,— дозвольте вас розважити, схвилювати, підняти, навчити, надихнути і запалити прагненнями до великого, але не думайте, що марне все те, в чому немає якої небудь абстрактної думки або ідеї» 30. На запитання, яку ідею хотів виділити письменник у «Фаусті», він відповідав, що не знає і сказати не може. Цю відмову потрібно розуміти так: намагання виразити в якійсь понятійній формулі усе багатство відтінків неодмінно приведе до збіднення змісту. Свою позицію з цього питання В. Гете пояснює таким чином: «З неба, через світ, в пекло — ось Що я міг би сказати на крайній випадок; але це не ідея, це процес і дія.— І далі пояснюється думка автора.— Якщо чорт програє заклад і якщо серед важких помилок люди-

Эккерман П. И. Разговоры с Гете в последние годы его жизни.

на, що безперервно прагне вгору до добра, досягає спасіння, то в цьому, правда, є дуже дієва думка, яка багато чого пояснює— але це не ідея, яка лежить в основі цілого і проймає кожну його окрему сцену» Зі. Чого б вартою була ця річ,— іронічно підсумовує свої міркування В. Гете,— «коли б я намагався таке багате, яскраве і вищою мірою різноманітне життя, яке я вклав у мого «Фауста», нанизати на убогий шнурочок однієї-єдиної для всього твору ідеї» . Але навіть і тут, при всьому тому, що життя береться в його розмаїтості прояву, є своя чітка система, свобода і полісемантизм вираження ідеї. І її справді не можна втиснути чи закувати у вузьке річище суджень. Є тут своєрідна роздвоєність — ідея, присутня у творі, може своєрідно прочитуватись у неоднакових ситуаціях, але як тільки починається вилучення її за межі живої тканини художності, вона одразу втрачає себе як ідея мистецтва. В розриві і розщепленні образу можна перевести в іншу площину хід суджень, але то вже буде соціологічна чи якась повчальна філософсько-логізована рефлексія. Та це не означає, що зовсім не можна ні виділити ідейний сенс твору, ні ставити його за передумову майбутньої творчості митця. Якраз навпаки, твір у своїй ідейній спрямованості набуває загальнокультурного, філософсько-етичного, естетичного резонансу, його думки стають ідентичністю реальних життєвих прагнень, утвердженням ідеалу прекрасного. Щодо ідейного задуму, то хоч у ньому ще й не виражена концепція і думка в усій повноті, однак саме від неї залежатиме подальший розвиток твору до його повної і чіткої реалізації.

Невиразність, позбавлені чіткості задум чи намір спроможні дати лише розірвані між собою фрагменти. Можливо, це міг би бути якийсь етап пошуку, а не завершеність мистецького твору. З точки зору художньої перспективи визначена для себе митцем основна думка — це і є духовність та «душа», надматеріальне у формі мистецтва. Твір організовує не лише структура будови його як предметності буття, а й структура (архітектоніка) розвитку ідеї, тобто, коли ідея твору живе і заявляє про себе не тільки в ньому, але також у народі, тоді таке мистецтво стає вічним.