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Aesthetics - Levchuk L.T.

§ 2. FREEDOM OF I DETERMINISM AT THE MISTESTVI

From one side, mysteriously, wait for great natural aesthetic self-sufficiency, ring out at one’s due standard to all people all kinds of high-altitude goals, but it’s impossible not to miss this earthly root, of all kinds of difficulties.

By itself, there is a certain freedom of mind for the mysterious people who will need differentiated approaches, before that, not for the world of wisdom, but freedom for anyway, it’s dumb, but for the sake of the future, I have to rely on respect. In specificity, the guilty party is widespread and irrelevant. So, the first sign of freedom is a category of aesthetics, a picture of an artistic mystery, a historical task of genetics. The mystery is vnln of the most sacred nation, that is why it won into the zmagannya and the supernormal and spontaneous self-giving birth of objects and objects. At the time of the appearance of two approved two booty - a lot of determinism at your own European cosmic logic and one that can be seen at the highest level of idealized perfect harmony.

There is a sign of freedom in the mysterious pole in the very same day, but you don’t be deprived of a different nature, assimilated to spiritual parallels, and you will have to freely set yourself to be a model, to be aware of the following, be aware of the problem. It’s better to carry it out, mysteriously, to transfer it to the hour, turn to them at the sight of the presence and view of the logics of the intertwining cliffs. Everything that is necessary for hyperbole, metaphors, thickened farb, “benefits of dream and reality” is accessible to the mystery. You can be a king, a princess, you can live in a sweet little life, but you can live like an innocent creature - you cann’t deceive yourself in any way, intrude on the most important sphere. Vono Vilne.

With all the obvious polarity, to understand freedom and determinism , the increase in power, the image of them, their innocent consideration of them from the point of view of each other, the absolute opposition to antagonism. Adje also has a cutaneous facet and special features, so as to become internal, in itself the antinomism of the mystery apparition itself. Freedom in mystery is not absolute, but less than that. Until then, in the present presence of zoom and determinant needed.

I’ll clearly understand the freedom of freedom, the freedom and freedom of the spirit in oneself. Freedom of the great hairy vibra нав just for mind, which is dictated by the furnishings. For the sake of the category of zdadelshaetsya zde_lshogo ethical science. The first cycle is true, as long as we talk about freedom in creative work, then there’s a lot of moral criteria, I want to include the whole folding psychological range of a purely natural order - like, for example, naturally, clearly, clearly, clearly, clearly, See other яз b'yazkovostі і past. Heroes of Greek mythology, the spirit of the riches of the world — the gods and people of love, people, special features, who don’t obey obedience, bear in their possession the greatest strength in thought and pursuit of accomplishment. "One is accessible to my knowledge of freedom - freedom of rosum and dyi," wrote Albert Camus at the essay "Myth about Sіzіfa". In the same case, I look at the existential issue of freedom and stagnation, the author of the question is about those who didn’t have antique slaves, “I knew freedom, I felt that there was a good deal of freedom 9.” being entrusted with a clean return, detergent deposit, determinism from the first primary rosumna and sub-activity. Freedom cannot be passive. Vaughn - with a spirit, a vibor and a charm. The basis for free vibration is the number of usd dramas and tragedies, which are worse than moral moral catharsis.

9 Camus A. Camus A., Fromm 263. Sisyphus. Essay on the absurdity // Nietzsche F., Freud 3.,., Sartre J.-P. Twilight of the Gods. M., 1989.S. 261

Philosophy of freedom in mystery - the philosophy of freedom of people, and not less than the creativity of the artist. It is hard to spend the same time with the freedom of the artistic “I” of the heroes. It’s all right, though mysteriously, for the second time I have a great deal of desire, I want to be very good for my very own day and for those who are appointed. Freedom of the mystery is not self-interest, but a symbol of pragmatic people to the point of independence. Looking at the category of freedom in the legal and moral aspects, Hegel wrote about the desire “I”: “I am a person, I’m strong and at once I am a chain; I’m independent of those who I am single, for the whole hour, for the most part, which I have for the most part, I’m completely independent for myself, those who are more powerful than others. ” Dalі Hegel, I’m sure that for any kind of furnishings, Lyudin is always without any self-determination of his freedom, “his own booty,” vimaga “keep yourself in good shape, as long as you can.”

Determіnovanіst and stagnation in the mystery is not one і those ones. Determіnіzm (in Latin lat. Determinatus - significations) - the visualization of the manifestations of nature, suspension, the psychics of people is active. It means the cause of the fallow, in the event of the absence of the yavischa, the logic of the final ordering may be changed. Type i straight, navigate style in mysterious with the most causal occurrences. І vіdbuvaєetsya through special talents. Here, not everything has been left to the will of natural poetry and programming. For singing zbigu, it’s been furnished to me and the regulars of endless bugging of spiritual, psychological, moral factors, and the self-birthrightness of the artistic apparition is unique. All vdbuvatsya through the moment vipadkovostі, it is necessary to emphasize sub-active activity. There wasn’t anything else to lose, as it were, to check and give themselves up to the will of the rest. Alya є human will of supremacy, an especially special fate is shared with the majority of the majority. Well, I know the same for the broadest plan, all those who want to get into culture at the end of their life, are the result of the active development of history, the fact that they are special, and the whole advantage of not having to do it. It’s quite reasonable here to admit that scholarship is based on the fact that, in a certain sense, the development of artistic and practical practice. And from the accumulation of the right to those through those of the institute and to a certain way of specificity, the quality of the supply is limited.

Hegel G.-V.-F. The philosophy of law. M., 1990. With 395.

Freedom is not wicked and not overlooked by the posture through the process of styling the artistic ministry and worship. The style itself is about singing style and unanimity, in Russia it is formative to have aesthetic value. However, it doesn’t mean that there is an unshakable tug of sound over the mitzvah, and there are no winners of any kind. They are becoming more stylish and fashionable, sober in their own way of new art, so much so that I’m singing the new freedom and the necessary.

What style? All the freedom, fragments to myself in the New Year, I’m real, I’m realizing a special person. And then, at once, for example, recognition, dedication to owning one's own hours, ways of experiencing, living life. Literary V. Weidle called style the form of the soul "for the vision, the inner rendition of the mystery, the supra-generic rendering of creativity. Style, - respect for winnings, - and є нач signage, therefore, it’s not ziznuy’s zvaznі, but the middle, the end of the will of the people. "

Otzhe, in determinism є freedom, and in freedom є determinism. Moreover, the very same in the inner world invariably interfere in the Unity of the protest. It is a mystery not to tolerate a one-sided tlumacheny side, that is freedom and determinism in new. In addition to the natural nature, the foundation is laid on an active change of mind, a lot of freedom and determinism in the global and specific, more complete construction process, which at the end requires a lot of fun.

Well, until freedom of mind, you must see the following aspects: a) how much you can give in to the Lord of the hairy talent, to give you the freedom to show yourself, to be indestructible, to be rude; b) the day of absence, the mystery awaits є for the life of an autonomous life, since the mystery of life is manifested by a strong manifestation of reality, but it has splashed upon a new one; c) mystery is a symbol of the ideal of freedom.

It’s impossible to discern and understand determinism, without losing faith in how much mystery we can get in order to have a historical understanding of our own moral criteria and follow up to the obscene process in

11 Weidle V. Meditation on the fate of literary and artistic creation // Self-consciousness of European culture XX in M ​​1991 p. 269.

formation of suspension of information, including the principles of hierarchical ordering, knowledge of the economy, economic value, and interest-related value. It is impossible to deprive a pose of respect and analogy for the stumbling block of the social function of a functional functional system, a manifestation of the freedom of individuality. Well, naturally, the tradition is nourished, as well as the primary factor, although there was a constant struggle against the most recent new art critics, and it’s necessary to bring them to the point of adequate and progressive progress.

Yak is already implied, creativity is dominant freedom in a wide ethical and aesthetic significance. Mityets vіlny vіdbirati for themselves the very signs of life, some kind of overtaking, supremely likened, relish, demonstrative shilinost and special talent. Mitets should be held in full control, rather than corporate corporate, as it is, in itself should be held true, more than one should rejoice in yourself those who have the right to self-incur at the uniqueness of the hour and the lofty boot. Macro and microcosm become one's soul and one's spirit, one's spirit, and whether one is to change one's heart, to separate oneself, to squeeze one's spirit out of the way, you can get used to the tragic melody. Above the fallow pan, it is tempered by the strength of a lofty spirit, in addition to whose winery this situation is paradoxical, as it is possible to demonstrate with the butt of the ramming Tommaso Campanella at the knit of the voluptuous "Mista Sonza". Otzhe, bagato of which to lay not freedom and physical freedom, but anti-slavish rebellion. W hell of a wagon, who blessed those who have suffered.

A romantic declaration about the freedom of mystery, such as water time of the creator himself, hanging from the front to the poetic zbіrki Сх Shіdnі motivi ’by Victor Hugo. I want pathos, quietly, the judge of dressings, due to incompetence of criticism, but the writer's thoughts are free to open space in the presence of the dyalnosti poet and may have an outward character. With the dominant natural esthetics of roses, there is a great deal of judgment, with the condemnation of any kind of marriage between the artist and the vibrant artist, I have formulated Victor Hugo's program so that I can feel the midsection, but not the greatest strength. Ні. author, moving, do not lie down until quiet. hto visa for criticizing the right to succumb to the singing of a fantasy and vimagati vid vidpovidi, whose whole appearance was this, and not the main plot, the rosette itself, and not the most farby, having scooped up the same thing. The theme is, everything, more to lay everything down to the mystery, to rozmіrkovuє V. Hugo. all the right to bullying at the train. The mystery of nothing to be robbed with shores and kaydans, “Say goodbye: go! - the first pass” to the great garden, in a seemingly dumb fence. Prostir і hour to lay poetry. Huy sings directly kudi if you want to rob those who respect them: such a law ”12.“ Sings Vilnius ”- the maxim V. Hugo.

With the drive of the said dodamo, here there is a glimpse of hyperbolism of a polemic nature. The mastery spent a lot of energy on freedom of freedom, on the perfect way, on the aesthetics of romanticism, especially on the other hand, I want to be able to talk mainly about show, not about vinyatki. The mastery fought against the deadly academic, for the expansion of its sphere of infusion. Religious fences are allowed to be accompanied by the use of history, on the application of two religious relations - Muslim and Christian - to the maximum number of rules, the fence right up to the time. At the same hour, at the middle smykhovy culture, there is a verse of supremacy of the Holy, terrestrial over rigorism and fence. In the skin’s offensive era of Mali, there is an element of freedom, the presence of the creative “I” in the mystery.

Freedom of mystery and freedom of artistic creativity are related as a tendency (law) and a concrete way. The singer’s rozumіnnі freedom of artistic creativity has a unique character, therefore, it’s necessary to lay down a vid bagatochnik officials, including a primitive amusement of will, a material twist, an irrelevant middle ground, and it’s not that much of a song is involved. Є internal occurrence of mittsya, which is manifested in incapacity to cross the moral boundary by almost obov'yazka. Є so just a lack of freedom, brought to the extreme barracks grip. That is because, for the sake of lack of freedom, we can constantly whip up on the contrary, inwardly soulless freedom, with the price of life, physical stagnation, value of knowledge. I myself am here manifesting to myself that invisible phenomenon of freedom of the spirit, that high porosity, a kind of sanctuary for the Indians, strength and strength.

Mityets Vilnius and Independent spiritually. Yakshcho w vin slave, retooling with fear of prejudice, then you can

12 Hugo V. Mistetsvo and people. K-, 1985. P 109.

riti about knowing talent, spiritually driving the mitts. And there is freedom of spirit through pathetics, as if due to undefended, wikla-wit. Until that hour, leave the mitez without reconciling with your compromise in the fight against evil, we confront you with a middle ground, and do not let go of your heart with virility. Є krilatiy of the visitor of Siren Kierkegaard about those who want to hear the words of sorrow and the sound of the sound of the song itself. Zgadaymo epichnogo Menjnuna: what is more viprobuvan v_n knowing from your vidchii turn your right to cohanny, tim melodyinіshoyu and divovizhnіshoy bula yogo pisnya. However, the romantic manifestation and the fact that it is not the hefty factor of the most important factor, which is associated with winter, the artist’s talent, knowingly cake and flour. became the butt of the most superstrong crosses with freedom and encroachment on her. The train to speak is not the name of a citizen, but the word of the unspent freedom in the New. The mystery is at one’s own nonsensical, unprotected, slave-like deposit.

Freedom and lack of freedom in the mystery mission. But here you can have a special zbіg furnish. Freedom to Vibor Mitzia and the Power of the Cross, on one side, on the other hand, bondage to moral imperative, on the other. Yak vchiniti - alternatives to mute. Є rejoicing talent and summation. Є lack of compromise before the acknowledgment of historical truth and justice, more justification — that is, the continuation of the reconciliation of the thought, the enticement of thought and thought. We won’t be at a loss of power. There are two differences between us and children. Zvernemosya to the sheet Forestі Ukrainka addressed to M. Pavlik in Galicia (1903 p.). I’m going to think about moving the scribes, пра пра ц ц,,, as well as about the joy of й throwing oneself off (so you’ll have fun) of all kinds of politics. “I would like to know the nobility, how can I mine all the prosperity?” - I’m powered by the author of the sheet. —It doesn’t matter so much that in Galicia I’m a little more “quieter” than living in Ukraine? If so, then the sacrifice of souls is terrible. I could, perhaps, not have gone to the edge of politics in such a significant way, I haven’t taken up bi-specific agitation, I haven’t joined the members of the kraivih parties ... I think that I’m like a lecturer, I’m more and more interested in it, nahai lonely. Alya "throw off all kinds of politics" in literature and in my acquaintances with the metropolis I can’t, I can’t reconcile only, but I can’t allow that temperament. " Having wandered about at the speed of my soul, I won’t be able to appreciate that I’ll live on “quiet land, I’ve lived less than desired ... I want to fight”

“Meni,” said Dalí in the list, “it’s morally unfeasible to acknowledge the political truth (historical, as if I’ve shown Kulish) as real, if I couldn’t throw myself off about completely unavailable Ukraine, I can’t, if not my strength threw herself off with great minds ... To this day, you need to throw yourself off and give me your best wishes, in order to keep them in good stead, having thrown off that deal, I’ll call them stolen in the least, ”13.

Lesya Ukrainina hung up with her new tendencies and classrooms in mysteries The science of the world is “Two directions to the new history of literature”, “Notes about the new Polish literature” that is. Ztrachayuschiesya to analysis of the Italian literature, won’t clearly desecrated the poses of two representative representatives - Adi Negro and d'Anuncio - specialties that are diametrically protected "for ideas, for sympathies, for temperament, I am still in good condition. Ada Negri - poetess, plebeian; d'Anuncio - sings-aristocrat-rat; lodging up to two important camps, surrounded by strong class self-esteem ”and. Prior to the speech, Volodymyuchskiy, Nimetskoy, Engliyskoy, French movi, the writer wrote well that I was guided by the current European mystery and politics. In the dramas of Russia, which is often very philosophical, inspired by the intellect and the high poetry, with a fantastically wide watch and geographic space (“In the catacombs”, “Kasandra”, “In the house of robots, in captivity”, “In forest” ін.) an inaccessible dominance fell short of “serious national wounds”, the ideal of freedom and the recognition of spiritual and physical slavery. Час і віддаленість простору ставали умовністю, метафорою і алегорією, наближаючись до сьогодення, до найболючіших його проблем.

Існує чимало протилежних міркувань з приводу того, бути чи не бути мистецтву включеним у сферу політичних відносин, чи не краще залишитись у власному бутті поза невластивими йому функціями? Адже мистецтво — царина передусім духовна і поетична, воно є гра, «дитя свободи», як говорив ще Ф. Шіллер. Це справді так. Але ж саме тому мистецтво вільне вибирати свій інтерес до життя в різних проявах — потворних чи величних, тих, що сховані у глибинах особистісних інтересів, психології і відносин моралі, чи тих, що не позбавлені взаємозалежності з більш загальними причинами суперечностей і зв'язку, названими узагальнено соціологізмом. До них належать ідеологічні, класові орієнтири. У будь-якому випадку неодмінно залишаться два важливих критерії; чи є то правдиве з точки зору об'єктивної історії зображення, а також, наскільки воно відповідає законам мистецтва.

Варто прислухатися до думки відомого італійського політика і теоретика мистецтва Антоніо Грамші, який, не приймаючи ідей ізоляції мистецтва від суспільних інтересів, водночас слушно застерігав від будь-яких можливих волюнтаристських утисків. «Під загрозою покарання можна,— писав А. Грамші,— притиснути волю, але не можна змусити до творення мистецтва». І далі: якщо моральний ідеал, за-який точиться боротьба, є істинним і життєспро-можним, то його розвиток стає нездоланним і породжує сйоїх художників. «Якщо ж,— підсумовує цю думку Грамші,— незважаючи на натиск, такий процес не спостерігається, то це означає, що мова йшла про неправдиву і фальшиву мораль, про паперове корпіння посередності» 15.

Хоч в ареалах мистецтва неодмінним критерієм його, що визначає приналежність до художньо вираженого «Я», виступає рівень майстерності і таланту, особливої гостроти набуває світоглядне спрямування та громадянська позиція митця. Ідеологія аж ніяк не залишається поза увагою в ідеологічно наповненій атмосфері боротьби. М. Хвильовий, уособлюючи вищу міру прояву громадянської світоглядності (політичної, національної, моральної), дає об'єктивну оцінку того, як щирість, чесність ^талант митця можуть бути переведеними у площину соціологізму. Але це й означатиме, що без урахування останнього загальноестетична і загальнохудожня оцінка твору залишиться абстрактною. Особливо ж на зламі епох, коли мистецтво може виявитися заручником тенденційних і суб'єктивістських оцінок, що не беруть до уваги його властивість активно включитися і виражати в собі усю глибину, складність і неоднозначність процесу. Історичний момент і дух епохи стає вирішальним фактором, який визначає буття мистецтва, його місце у загальному світосприйманні. Літературознавство, критика й історія мистецтва, соціологія культури, звертаючись до художнього життя пореволюційної епохи, вносять суттєві

13 Українка Леся. Твори. Т. 4. С 316—317. " Там же. С. 106.

15 Грамши А. Искусство и политика: В 2 т. М., 1991. Т. 1. С 13, 240.

корективи в оцінку справжньої вартості того чи іншого твору.

Але незбагненним залишиться пореволюційне мистецтво в його тенденційності —«за» чи «проти», коли не враховуватимуться асимілятивні властивості художньо-образних його перетворень. Аналізуючи збірку поезій Василя Еллана, М. Хвильовий виділяє органічність художнього звучання, переповненого, як він писав, «високим шляхетним трагізмом». За його ж словами, елланівсь-кі вірші революційного бойового циклу зроблені (якщо не всі, то принаймні на 90 відсотків) цілком досконало. «Хіба ми тут не маємо вишуканих асонансів, тонкого верлібру, чудових алітерацій?..» Говориться також про насиченість «соковитими образами, які так хвилювали нашу порево-люційну літературну молодь». В «соціальній ліриці» В. Блакитного, його поетичній збірці «Удари молота і серця» «як у краплі криничної води... віддзеркалюється епоха громадянської війни — такої жорстокої в своїй реальності» 16.

Отже, справа не в самих по собі тенденційностях, виражених за допомогою мистецьких засобів, не в присутності політичного кредо, а у рівні талановитості досягнення мети. Крім того (а це не менш важливо у порівнянні з висотою художньої довершеності), особливого значення набуває громадянська совість мистецтва, суб'єктивне бачення явищ відповідно до індивідуальності художника, але з розумінням об'єктивних загальнолюдських процесів. The other half of the XIX century. В. Соловйов закликав творців мистецтва робити все можливе, аби мистецтво не замикалось в самому собі, а включалося у процеси здійснення усієї повноти сущого, визнання того, що художня діяльність «не має в собі самій якогось особливого вищого предмета, а лише по-своєму, своїми засобами служить загальній життєвій меті людства» 17.

Як з'ясується в ході історичного досвіду, однобічне й прямолінійне розуміння свободи і залежності мистецтва в суспільстві не допомагало розв'язати це теоретичне і водночас ідеологічне питання, а, навпаки, ще більш ускладнювало ситуацію, бо для мистецтва конче потрібен творчий імпульс, який узгоджується з внутрішньою свобо-

16 Хвильовий М. Г. Твори: В 2 т- К-, 1990. Т.2. С. 632—633.

17 Соловьев В. С. Философия искусства и литературная критика. М.,1991. С. 91.

дою. Незалежно від суспільних інтересів і духовної підтримки мистецтво втрачає свободу власної самоцінності. Мистецтво вільне від вузького прагматизму. Воно поставлене над суєтністю дріб'язкових інтересів. В цьому його сила. Навіть при врахуванні того, що поруч з основною своєю метою мистецтво змушене виконувати не властиві йому функції, в своїй непорушній силі воно залишається вільним, концентруючи дух і геній людства у най-значніших своїх явищах. Свобода його давала про себе знати і засвідчувала свою неминущість і самовартісність у тому, що найбільш суттєва його ознака бути засобом естетичної гармонізації почуттів незмінно сприяла вільному розвитку духу людини, уяви, почуття, розкріпачення думки і самосвідомості. Мистецтво — над економічним детермінізмом, якщо йому вдається зберегти моральний потенціал. Воно не підвладне часові; кордонам, тимчасовим кон'юнктурним впливам. Мистецтво — символ свободи. Воно має крила трансцендентності, його царина — світ ідеалу та ідеальності.