Philosophy and Culture - rubric Aesthetics

Abstract: Review: the article shows that the philosophy of art (esthetics) operates ideas with the “double meaning” (or descriptive and evaluative ideas, in other words). This is what esthetics, ethics, theory of law and other “regulatory sciences” have in common. Such “double meaning” sayings speak of what “there is” and what “there should be” at the same time. This is why the idea of truth cannot be applied to most of the conceptions of philosophy of art. The author classified the main forms of descriptive and descriptive-evaluative ideas of esthetics. It is shown that, contrary to Ludwig Wittgenstein’s views, using statements with the double meaning does not oppose to regular, or “factual”, meanings of such statements. The latter are also compatible with “truly evaluative statements” which are quite often used in the philosophy of art (according to Alexander Baumgarten, Gary Graham, Beardsley and others). Key words: philosophy, esthetics, philosophy of art, descriptions, evaluations, descriptive and evaluative statement, classification of descriptive-evaluative sayings with the double meaning, the idea of inconsistency of descriptive and descriptive-evaluative sayings, false idea of the merely “regulatory” function of art, dependence of values and norms on activity.

Abstract: Review: starting from the end of the 20th and the beginning of the 21st centuries human culture and esthetics has been facing certain processes which change the traditional understanding of their nature and content as well as their role in a life of a modern man. It happens due to the development of the world and new processes in spiritual and material existence of the human world, from changes in the system of values, ideals and their presentation in modern art and culture to new forms of relations with the world. Most of all it is related to ongoing changes in culture and art because those reflect the world of spiritual values and ideals

Keywords: philosophy, philosophical anthropology, ontology, aesthetics, culture, values, human being, education in humanities, civilization

Abstract: Esthetics as an element of Schiller’s philosophy has a good impact on creation of a new anthropological type of a human being. According to the author, creation is a pure, ideal human is a task of one century. Schiller’s conception of the human is based on esthetical up-brining which is very close to Kant’s theory.

Keywords: philosophy, philosophical anthropology, esthetics, esthetical up-bringing, beauty, art, esthetic motive, reasonable motive, moral personality, physical motive

DOI: 10.7256/2454-0757.2017.3.21746

Abstract: The subject of this research is the city and its images, which change and transform the urban aesthetics as whole by being transmitting in media environment. A city image, facing certain environment, suggests a subjective vision and subjective feeling from the city on one hand, and on the other hand some projects on urban environment planning overall meet certain objective tasks, while the manipulation of proportions is subject to the ideas of utilitarianism and perception of the world that reveals itself in separate components, as well as in totality of these elements, which produce the field for interpretations and expansion of this world perception. Methodological analysis represents a combination of historicism with the principles of descriptive aesthetics, portraying the entire cultural block that applies and collocates the layers of various historical eras. The ideas of hermeneutics and semiotics would also be relevant in such context. The work examines the problem of cultural transformations, which interfusing each other, change the initial image. The author traces the works of well-known philosophers and aestheticians in the field of urban studies, who reviewed the changes in urban environment throughout various brinks of the centuries. The new paradigm includes the digital elements replacing the “documentation”. The conclusion is made that the image of a modern city correlates with the digital space, being involved into the media game that captivates the society.

Keywords: art, media, photography, architecture, image, urban studies, aesthetics, culture, philosophy, perception

DOI: 10.7256/2454-0757.2019.11.31273

Abstract: This article explores the question of theoretical principles of environmental design. The writings of the Russian and Chinese authors became the key historiographical and literary materials for this research. To address the question at hand, the author takes the following steps: examines information on classification of the specialty “environmental design” in education systems of various countries, primarily in Russia and China; correlates the concepts of “art” and “environmental design”, dedicating particular attention to similarities of these two areas of knowledge; systematizes the levels of environmental design; formulates the goal, method and content of the indicated academic and scientific scope of activity. The method of historiographical analysis for studying the original sources on education systems of Russia and China was applied in the course of this research. The comparative analysis was used for identification of similarities and differences with regards to classification of the specialty “environmental design” in various countries. The author determined that the concept of “artistic” environmental design exists only in Russia and China. The conclusion is made that environmental design, as a separate category of scientific and academic knowledge, is similar to visual arts from the perspective of purpose and object, in other words, “coordination of the relations” (for environmental design it is the interaction between human and environment) and “Image”. The method of environmental design incorporated the theoretical results of adjacent areas – the design of architectural environment and landscape architecture. The scientific novelty is define by comparison of the sources and literature of Russia and China.

Keywords: Integration of disciplines, Relationship coordination, Image, Process, Art, Landscape architecture, Design of architectural environment, China, Russia, Environmental design

DOI: 10.7256/2454-0757.2020.3.32329

Abstract: This article analyzes the approaches to understanding the aesthetic architectonics of coloristics and transcendental clarification of the dramaturgy of knowledge on color, as well reveals potential for its spiritual dimension. Viewing aesthetics as a form of metaphysical history of origin that changes modus of the ability to reason, and the aesthetics of color itself as what R. Arnheim calls metaphorical clash of modalities, the author demonstrates the emergence of text linguistics of coloristics as a manifestation of the observed at the limit, as a perception of unthinkable in creativity. The question that still remains open is one of how it is possible speak of transcendental vision of color, if the transcendental itself cannot be captured in a burst of passion or get inspired by it. Nonetheless, namely these acts are of great importance for comprehending all that suggests the presence of aesthetic predicates. For the first time it is shown that the conducted by Husserl analysis of the problem of perception of color is a paramount prerequisite for the phenomenological concept of intentionality of aesthetic consciousness. Transcendental phenomenology discovers fundamental grounds of this concept (also enabling aesthetic interpretation of the phenomena of consciousness) by modally intentioning understanding of the concept of color perception, finely structuring and describing it as a manifestation of activity of the consciousness on different levels.

Keywords: painting, color, aesthetics, consciousness, postphenomenology, phenomenology, Transcendentalism, creativity, Kant, Husserl

DOI: 10.7256/2454-0757.2020.11.34306

Abstract: The subject of the study is the aesthetics of early Friedrich Schlegel. In his aesthetics, Schlegel continues the traditions of German classical philosophy, focusing special attention on the principles of the beautiful and sublime in art. Schlegel considers beauty, like morality, to be inherently inherent in a person who, along with the moral, has an "aesthetic imperative". As a "transcendental factor", beauty is based on disinterested pleasure and represents an ideal that ancient Greek art approached at one time, and the aspiration for which modern art lacks so much. The highest beauty is organic ("vegetative") like nature; two main "elements" make up the essence of beauty: "phenomenon" and "good". The beautiful in its broad sense also encompasses the sublime. Schlegel pays special attention to the ugly as an aesthetic category opposed to the beautiful and sublime, and gives an outline of the future theory of the ugly. He connects the ugly with the animal nature of man and shows that it is based on the disgusting, painful, monstrous, "beggarly chaos" of being, manifesting an absolute denial. В The central aesthetic principles вЂ“ the beautiful and the sublime вЂ“ are opposed by two types of the ugly: the own ugly and the "sublimely ugly". Schelling considers art to be one of the main components of culture as a humanitarian factor and sees three types of culture: natural, organically growing on the basis of mythology (reached a high level in Antiquity), artificial, created on the basis of reason according to aesthetic laws (New European) and aesthetic, which means a special emphasis in culture on aesthetic essence, on artistry. Schlegel is convinced that further positive development of culture and art is possible only under the guidance of the "correct" aesthetic theory, the beginnings of which he learns from his contemporaries.

Keywords: the phenomenon, culture, art, ugly, sublime, beautiful, aesthetics, Schlegel, the benefit, artistry

DOI: 10.7256/2454-0757.2023.10.43687

Abstract: The purpose of this article is to reveal how aesthetics is embedded in the way of substantiating metaphysics as a science, how its thinking skills are honed during the "rehearsal of the beginning" carried out on the stage of the "Critique of Pure Reason". The aesthetic voice is expressed in a metaphysical discourse involving a dispute about the foundations of knowledge, these foundations themselves are explicated at a fundamental level by the consciousness of changing proportions – these initial aesthetic categories. In this context, it is necessary to reveal the role of aesthetics as a fundamental philosophical science, to raise its originality to theoretical consciousness by reflection. Here, first of all, the question arises about the meaning of the image of aesthetics, which is on the other side of the canvas, about the relationship of aesthetic attitudes and the world concept of philosophy. The main conclusions of the study are the provisions on aesthetics as the metaphysics of a work that produces infinity, expressing the "musical identity of all things" in the aesthetic facet of the world concept of philosophy. Aesthetics is also the feeling of the ideas of the original reality, the spiritual contemplation of superexperienced, supersensible grounds; this metaphysical a posteriori is precisely the primordial freedom of all creation, the freedom of art in contact with nature. Aesthetics is initially immersed in the fabric of metaphysical reflection, which in some cultural traditions is described as creative. And for aesthetics, the question is important, what is the structure of this principle, what is the way of dressing its mental tissue.

Keywords: transcendentalism, culture, music, painting, art, aesthetics, metaphysics, Philosophy, Kant, Mamardashvili

DOI: 10.7256/2454-0757.2023.9.43689

Abstract: The objective of this study is to identify inimitable examples of the introduction of aesthetic content into the Western European metaphysical tradition, as it was embodied in Kant's understanding of the world concept of philosophy, which has certain aesthetic connotations. In the article, the author analyzes new stages of the movement towards the world concept of philosophy, on which the aesthetic meaning of the basic structures of transcendentalism is explicitly or implicitly realized: the art of schematism as a world concept of epistemology; the world concept of art as an organ of understanding artistic works. In addition, this discussion becomes particularly relevant when they seek to reveal how much the concept of schematism allows us to advance to the explanation of the world concept of philosophy. The work reveals how Kant reproduces the definition of the world concept of philosophy according to a certain model, while posing the problem of the typical embodiment of the idea, the ideal of the philosopher as a model. In this connection, a new complication of aesthetic analysis is being carried out in order to show how the world concept of philosophy was personified and presented as if in the ideal of the philosopher as a model. Therefore, the paradox of the world concept of philosophy lies in the fact that we have to talk about a sample of what does not yet exist. The author reproduces a transcendental language that will reveal the movement of aesthetic thought into the center of the world concept of philosophy, where the traditional artistic technique of personification of the philosopher's ideal as a model is performed, where the contemplation of meaning is transferred into the universality of the concept, into the contours of metaphysics.

Keywords: Kant, transcendentalism, culture, music, painting, aesthetics, art, metaphysics, Philosophy, Mamardashvili

DOI: 10.7256/2454-0757.2022.9.38829

Abstract: The subject of the research is the features of Kant's "Critique of Pure Reason", which contribute to the methodological acquisition of aesthetic identity, they are generated through the transition to harmony of higher cognitive abilities, set the prospect of revealing how art is possible, and declare themselves in a specific experience of color and ideality of perfection and other concepts significant for aesthetics. Transcendental aesthetics, within which the first semantic images of aesthetics as a science and cultural form are formed, as a singular a priori of the history of art, as well as the structure of the coloristic discourse of criticism, reduces any objectivity of color and reveals the essential structures of its subjective experience. Kant, with one purely transcendental rhythm of reflection in the first Critique, revealed the conditions for the possibility of the aesthetic, raised the question of what makes all art possible; the transcendental undertaking itself manifested both timelessness and temporality behind their work in art.In the Critique of Pure Reason, the concept of perfection is analyzed outside of transcendental aesthetics, where a more or less definite description of perfection is given, which is directly related to the aesthetic facet of the transcendental meaning of the world. Its exceptional importance for understanding Kantian aesthetics is due to the fact that the metaphysics of perfection in late Kant allows us to rethink the critical approach to identifying the structures of aesthetic judgment in the third "Critique".

Keywords: Descartes, Berkeley, perfection, color, art, aesthetics, transcendentalism, Philosophy, Kant, Hume

DOI: 10.7256/2454-0757.2024.2.68966

Abstract: The essay is devoted to the reconstruction of the philosophy of art of Novalis, one of the prominent German Romantics, who presents it in his writings in a fragmentary way. Research of this type appears in scholarly literature for the first time; it utilizes a complex philosophical-aesthetic method of analysis of texts of the German thinker. Novalis appreciates art as one of the highest achievements of humanity, which elevates the human being from ordinary life to spiritual heights. Art is a free expression of the artists' Ego. Art is simultaneously a “self-contemplating and a self-creating nature.” The creative principles of nature are transformed within the spiritual world of the artist and express themselves in art. The secrets of nature are revealed to the artist. The artists sees something great in the least significant things. The beautiful is the object of art and this creates kinship between all types of art. Artists (including painters) do not imitate the external world but they create by means of their internal world. All types of art gravitate towards mutual harmony and foreshadow a synthesis of the arts of sorts. Novalis positions poetry above all other arts. This is because according to him poetry establishes heavenly wisdom on earth, elevates the human being over everyday life, and serves as the foundation for all other arts. Philosophy is internally linked to poetry and serves as its theory. The philosopher must be a poet. The poet lives a special, contemplative life and is a wise and prophetic person. Novalis imagines the future Romantic age as fabulous, magical, poetic, ironic, alogical. “Intelligent chaos” will play a specific role in it. All earthly will be elevated to the heavenly. Novalis considers the novel as one of the principal forms of Romatic poetry and presents its chief characteristics.

Keywords: the harmonious, fairy tale, the beautiful, genius, poetry, creativity, art, Romantic aesthetics, Novalis, novel

DOI: 10.7256/2454-0757.2018.8.26848

Abstract: The object of this research is one of the important plots associated with the key issue: what is the place of aesthetics, and in a broader sense, the artistic endeavor in modern world. For discussion of the indicated topic, the author chose the two prominent French philosophers Gilbert Simondon and Gilles Deleuze, whose works slowly but surely are accustomed by the Russian philosophical thought. The article also attempt to determine the profound link between the various philosophical strategies that touch upon the subject of aesthetics. Every art experiments with itself, checking the own limits, and making the visible invisible, hearable unhearable, and spoken unspoken. Every art experiments with the forces; as various oeuvres of this art invent and reveal the forces they use. And every art experiments with the body of sensation, which for Deleuze is the body without organs, unorganized body-world of the unshaped elements and anonymous effective forces. If there exist the area common for arts, then it is the area of molecular forces, which ametric rhythms and pulseless time of individual arts are involved in various combinations of light, color, sound and word. Namely this area generates the open system of arts, which common problem is not the problem of reproduction of invention of forms, but the problem of the use of forces.

Keywords: narration, art, aesthetics, supersaturation, metastability, preindividual, individuation, painting, music, technicality

DOI: 10.7256/2454-0757.2021.9.36305

Abstract: The subject of this research is the correlation between “Phenomenology of Spirit” and “Aesthetics” as the elements of Hegelian philosophical system. The author establishes the dependence of the “Phenomenology of the Spirit” on the original idea of the philosopher, which implied the course of lectures on aesthetics. The task is set to examine the impact of the work that grew out of this idea, observed in the first part of the “System of Science” upon the course of aesthetics read by Hegel in Heidelberg and Berlin, and reflected in the prepared for publication “Aesthetics”. Special attention is given to the influence of the Hegel’s aesthetic theory of phenomenological methods, namely its role in solution of the problem of substantiation the meaning of aesthetic reasoning. This article is first in the Russian literature to analyze the role of phenomenological method in the establishment of Hegelian aesthetics. The acquired results include the determination of general philosophical and phenomenological grounds for excluding the “beautiful in nature” from aesthetics as a philosophical discipline, substantiation of the role of the concept of the observer formation of the method of studying art, indication of the place of the concept of visuality in Hegel's aesthetics, as well as demonstration of the conceptual and stylistic uniformity of the texts of “Phenomenology of Spirit” and “Aesthetics”. The article also explains the dependence of Hegel’s understanding of the possibility of philosophical study of art on the “Phenomenology of Spirit”, and thus, interpretation of the status of aesthetics as a philosophical discipline.

Keywords: observer, structure of consciousness, phenomenological method, art, Hegel's aesthetics, Phenomenology of Spirit, Hegel's philosophy, appearance, spirit, language of philosophy

DOI: 10.7256/2454-0757.2024.1.68938

Abstract: The subject of the study is the fundamental philosophical and aesthetic problems in the aesthetics of Pierre Simon Ballanche, who stood at the origins of French romanticism. Two layers of his creativity - explicit and implicit - have been identified and analyzed. It is shown that his ideas about the art of romanticism are verbalized in a strict academic style. The implicit layer, is associated with Ballanche’s artistic prose. It includes philosophical and aesthetic poems, testifying the originality of his aesthetic position. Unlike most French romantics, who distance themselves from ancient culture as pagan in favor of Christianity and medieval art, Ballanche, in his talented paraphrases of mythological stories, romanticizes Antiquity, finding in it the beginnings of future Christian ideas of sublime love, mercy, sacrifice, beauty and goodness. The main conclusion of the study is the conclusion that art, according to Ballanche, plays a leading civilizational role in the cosmogonic-historical process. The core of Ballanche's implicit philosophical aesthetics is revealed - the original concept of palingenesis, interpreted by the author as a radical degeneration of the world for the sake of its future revival; it is precisely this stage of cultural and historical development that, in his opinion, marks romanticism. The author's special contribution lies in introducing into domestic scientific circulation, translated into Russian for the first time and analyzed the philosophical and aesthetic poems “Antigone”, “The Man with No Name”, “The Experience of Social Palingenesis. Orpheus".

Keywords: mythology, contemplation, sensitivity, sublime, beautiful, Ballanche, romanticism, art, aesthetics, palingenesis

DOI: 10.7256/2454-0757.2019.8.30346

Abstract: Leaning on the views of the sociologist P. Sorokin upon the cyclic changes of sociocultural systems alongside the views of the Doctor of Art History A. A. Artyukh upon the paradigm shift in development of modern cinematic art, this article examines the formation of the universal formula of pseudo-catharsis within the framework of postmodern aesthetics based on the example of “art blockbuster” of the Latest Hollywood. The author describes how in cinematography of the Latest Hollywood stemming from the synthesis of the “high” and “low” concept films was born the universal formula of “art blockbuster”, which initiated the new paradigm in the development of film industry. As a result of such synthesis, the “art blockbuster” combined in itself the antagonistic cultural values. The author associates sociological views with aesthetical views through correlation between the basic aesthetic categories of the form and content, which correspond with the sociocultural stages of P. Sorokin’s concept. On the example of the synthesis of idealistic harmony and eclectic chaos in the context of “art blockbuster” of the Latest Hollywood, the author illustrates the origination of the universal formula of pseudo-catharsis in postmodern aesthetics. As a result, the “art blockbuster” is consistently able to invoke the cathartic state, which do not lead to “transformation of the mind”, allowing their qualification as “pseudo-catharsis”.

Keywords: high concept, society, culture, New Hollywood, art-blockbuster, postmodern, eclectic art, form of art and content, low concept, humanitarian knowledge

DOI: 10.7256/2454-0757.2023.12.39234

Abstract: The article is devoted to Berdyaev's first Italian journey, which had a "tremendous influence" both on his creative destiny and on the development of his aesthetic views. It is significant that one of the defining motives for visiting Italy was his desire to "return to his homeland impressed by the greatest beauty"! Since the first journey of the philosopher was connected with Florence, it seemed appropriate to pay due attention to the achievements of this city and its decisive contribution to the formation and development of the culture of the Renaissance. The formation of revivalist principles in Florentine literature and fine arts is shown; the formation of theory (Alberti) and the history of art (Vasari), as well as a number of cultural phenomena accompanying these processes, which ultimately determined the artistic and aesthetic appearance of Florence and turned it into the capital of the Italian Renaissance. As a result, this makes it possible to fully understand and appreciate Berdyaev’s choice of this particular city, especially since Florence not only made “the strongest impression” on him, but also became the “key” to understanding both Florentine art proper and artistic-aesthetic culture Italian Renaissance. This is the first attempt in Russian literature to consider and analyze Berdyaev's Florentine journey as one of the sources of his creative heritage, which has not yet become the subject of special study. The relevance of topic is also determined by the existing confusion on this issue, which the article is aimed at overcoming.

Keywords: literature, painting, art history, Academy of Drawing, Silver Age, Berdyaev and Florence, Florence, Florentine Renaissance, first Italian journey, Berdyaev

DOI: 10.7256/2454-0757.2018.3.24571

Abstract: This article makes an attempt to comprehensively understand the notions and methods of the aesthetic theory of Gilles Deleuze presented in the works “Francis Bacon: The Logic of Sensation”, “What is Philosophy?”, “Cinema”, and others. The subject of this research is the conceptual foundations of Deleuze’s aesthetics that previously were not sufficiently covered in the scientific literature. Deleuzian philosophy of transcendental empiricism suggests an original theoretical approach to examination of art, aesthetic experience and sensation; the author of the article recites its prospect and innovativeness. According to this approach, art is not viewed in light of its special ontological or axiological status; on the contrary, the central becomes the study of its function – as production pf a special regime of space, and the place of origination of sense. The distinctness of Deleuzian aesthetics is revealed through the notion of sensation, which manifests as the core of criticism of the concept of the work and the traditional subject-objects scheme in application to art. Sensation is interpreted as a complicated composite construct that includes the space of aesthetical, as well as non-artistic corporeity and specific type of perceptive subjectivity. This allows expanding and reconceptualizing the notion of aesthetic comprehension, as well as develop the new productive methods of discourse on the nonfigurative and contemporary art.

Keywords: percept, sensation, philosophy of immanence, Deleuze, aesthetics, art, affect, subjectivity, sign, image

DOI: 10.7256/2454-0757.2020.2.32137

Abstract: This article is dedicated to examination of the main creative motifs of the artists of Symbolism: eternal femininity, living landscape, mythological and religious images in their not uncommon intersection in a single artwork and expressed by fine artistic means. The goal is set to demonstrate how such pointers as Maurice Denis, Odelon Redon, Gustave Moreau, Franz von Stuck and Mikhail Vrubel, using the means of artistic reflection of the listed thematic lines, were able to create the unique symbolic images. Special attention is given to the symbolist specificity of creative expression, embrace of the metaphysical bases of the depicted. Such approach allowed determining the exquisite harmony of landscape and female images (Denis); initiation of the mystical and unknown in lilac-purple twilight demonic spirituality of the night landscape and artistic expression of the demonic itself (Vrubel); demonstration that being charmed by the mystical, embrace of the abstract origin of landscape lead the work with a religious theme to the expression of mystical elements of being (Redon); while combination of classicist clarity of the image with symbolist mystery and abstract picturesqueness creates a myth itself as an increment of the profound sacral nonverbal knowledge (Moreau).

Keywords: Stuck, Moreau, Redon, Deni, landscape, myth, painting, art, symbolism, Wrubel'

DOI: 10.7256/2454-0757.2021.6.36130

Abstract: This article analyzes the emergence of the aesthetic category of taste, which dates back to 1620s–1630s, as well as the factors of its emergence. The author correlates the aesthetic category of “taste” with one of the categories of gallant aesthetics “fineness”, which becomes the key requirement for the behavioral pattern of a secular person, as well as for the lifestyle of French aristocracy of the XVII century overall, emphasizing the social conditionality of the concept of taste. From the sphere of secular communication and everyday life, the categories of “fineness” and “fined taste” flow into the sphere of art, which unfolds the discussion on the subjectivity of taste and the tyranny of rules. The problem of taste remains relevant, as we see the blending of edges of this concept, denial of the hierarchy of aesthetic values in modern art. The question of the development of criteria for assessing the artworks is still as urgent as in the XVII century. At the same time, it is impossible to speak of the development and transformation of the aesthetic category of “taste” if the origins of its emergence are unfathomable. The dispute around the crucial for aesthetics dichotomy “taste” and “rules” has blazed up in France in the late XVII century. In this discussion, “fine taste” is opposed not to the concepts of “no taste” or “bad taste”, they are analogous to taste since being subjective. The concept of “taste” was opposed to the rule, which instigated the dispute of the aesthetic thought of the XVII century.

Keywords: gallant aesthetics, french royal court, gallant man, beau monde, court society, galanteri, French literature, culture of everyday life, history of XVII century, refinement

DOI: 10.7256/2454-0757.2022.3.37496

Abstract: The aestheticization of everyday life is a multidimensional socio-cultural phenomenon. The study of the history of everyday life is today one of the most relevant areas of modern science.This research aims to identify the origins of the process of aestheticization of everyday life in Modern times and the expansion of time boundaries beyond its philosophical understanding in the XVIII century. The purpose of the study is to analyze the historical material of the XVII century, demonstrating that the processes of aestheticization and theatricalization of everyday life took place at this time. In France of the XVII century, there are all conditions for the process of aestheticization and theatricalization of everyday life. The process of socialization of elites is completed by the middle of the XVII century, a new aesthetic taste and aesthetic ideal is being formed, which can be transferred to the subject-spatial environment, art is being institutionalized and the luxury industry is emerging. In the XVII century, we see not only the artistic and aesthetic design of the subject-spatial environment, but also an absolutely obvious expansion of artistic life beyond art, when everyday life is likened to art, bodily needs such as sleep, nutrition, toilet are aestheticized and dramatized. There was also a change in the canons of behavior and appearance under the influence of a new aesthetic ideal. The process of aestheticization in the XVII century was not of a mass nature, remaining elitist and affecting only the social elite. However, the model or mechanism of the aestheticization of everyday life, created in the XVII century, persists for the next centuries, spread across Europe and reach Russia.

Keywords: secular society, french royal court, gallant ethos, philosophy of the XVII century, gallantry, gallant aesthetics, the history of everyday life, history of France, court society, mode of life

DOI: 10.7256/2454-0757.2018.2.24280

Abstract: This article is a continuation of the author's previous work "The Phenomenon of Theurgy in Aesthetics of N. A. Berdyaev: Origins and Approaches to the Problem" (Philosophy and Culture, 2017. No. 8), which analyzes the key problem of Berdyaev's creative heritage – the problem of theurgy that is interlinked with his concept of the tragedy of creativity. Namely the understanding of creativity as tragic in its nature, justified Berdyaev’s reference to the problem of theurgy, in which the author saw the opportunity to overcome the creative tragedy. This aspect is the subject of the article. The focus of attention lies in the most characteristic aspects that form the common contours of the future era and peculiarities of the new creativity. Highlighted by the author above all; this includes anthropomorphic character of creativity, and comprehension of its nature as immanent-religious. The article examines Berdyaev’s interpretation of symbolism as the expression of a profound cultural crisis, and simultaneously, the final act of the tragedy of creativity, which theurgy is called to overcome. But since the theurgist will "create the world in beauty”, the new creativity will be capable of revealing the actual aesthetic basis and essence of the universe. The scientific novelty consists in the author’s reconstruction of Berdyaev’s concept of theurgy. It determines the key role of the indicated problem for the philosophical-aesthetic thought of Berdyaev, as well as the concept of the tragedy of creativity. The author analyzes the pivotal, according to Berdyaev, features of the future era of creativity and peculiarities of the theurgical creativity, as well as the link between the latter and the “failure of culture”, symbolism, and aesthetic problematic as such.

Keywords: theurgy and tragedy of creativity, crisis and symbolism, creative calling of a person, religious meaning of creativity, antropomotphic nature of creativity, creativity and theurgy, new era of creativity, creative overcoming of culture, theurgy as superculture, theurgy and beauty

DOI: 10.7256/2454-0757.2022.4.37815

Abstract: The subject of the research is the ways of substantiating the fundamental concept of aesthetic science -- the category of aesthetic in Kant's philosophy. The author examines such aspects of the topic as the content of transcendental philosophy, in which the mind indulges in a purely aesthetic occupation, draws for himself the structure of the whole, the congruence of the conditions of the work of art of a priori fulfillment of feelings, understanding the category of beauty under the sign of aesthetic intention cogito, analysis of how the artist combines the aesthetic aspects of the thing in itself with the incommensurable worlds in the work art. The aesthetic exists in a kind of universal space, which is defined by the transcendental as the "last foundation". The main conclusions of the study is the statement that, by analogy with transcendental aesthetics, Kant admits an aesthetic of pure practical reason that is not identical to it, expressing the hope that in the future it will be possible to comprehend both as elements of the unity of the entire faculty of pure reason. The author's special contribution to the study of the topic is the search in the context of the philosophical interpretation of the concept of aesthetic pleasure, as it is carried out within the framework of Kant's moral philosophy. The novelty of the research lies in identifying the dramaturgy of the foundations of the aesthetic, which does not presuppose any of its scenario as a basis for building aesthetic thinking, in revealing how the system of aesthetic interactions and syntheses correlates with structures ideally initial in relation to the world and man, with absolute foundations, without which there is no aesthetics.

Keywords: Mamardashvili, Derrida, Heidegger, Husserl, Kant, creativity, metaphor, art, aesthetics, metaphysics

DOI: 10.7256/2454-0757.2021.2.35181

Abstract: The subject of this research is a new form of creativity emerging in the social environment – family videography. This is one of the first articles dedicating to this developing genre of popular culture. The author touches upon the general changes that take place in modern creative environment, the role and relevance of the new forms of culture. The modern period is characterized by transition of many exclusive creative knowledge into popular culture. The knowledge in the field of cinematography is of particular demand. Youth is fascinated with the art of cinematography, audio engineering, and film directing. There are new technologies that allow learning and working from any corner of the planet. What used to be just a dream becomes the reality of a new world. The article outlines the current trends in youth culture – seeking new forms and personal fulfillment in a new sphere. The new forms of culture emerge from the depths of professional creativity and affect the formation of moral, aesthetic, and social values of people. The question is raised whether these forms of culture can be considered art. The authors reflect on the topic art through the prism of new direction – family videography. The aesthetics of family cinematography has not become the subject of systemic research. The authors provide a scientific definition to family videography. The main conclusions are as follows: 1) the modern period is characterized by the transition of many professional creative knowledge into the sphere of popular culture; 2) multiple training events and schools of art are created on the online platforms; 3) new genres, among which is family videography, are created by amateurs in art environment. The scientific novelty lies in analysis of establishment of this new genre, and reflection on whether it can be attributed as art.

Keywords: values, harmony, sign system, popular culture, documentary film, videography, philosophical knowledge, aesthetics, creativity, a new form of culture

DOI: 10.7256/2454-0757.2019.10.30709

Abstract: The subject of this research is the plays of Konstantin Bogomolov, which most representatively for the modern Russian theatre and works of the produces feature the usage of the close-ups on screen. The author sets the goal to determine the main close-up effects on the example of such plays of Konstantin Bogomolov as “Boris Godunov” (Lenkom Theatre, artist L. Lomakina, 2014), “Karamazovy” (Moscow Art Theatre, artist L. Lomakina, 2013), “The Magic Mountain” (Stanislavsky Electrotheatre, 2017), and other. The article applies the theoretical-analytical and cultural-historical approaches; the foundation for this research is theatre studies methodology, complemented by methods from the field of film studies, medialogy, and art history. Comprehension of close-up effects in the Russian modern theatre becomes relevant, since the contextual boundaries of the emergence of close-ups in the 1930’s have significantly expanded. For example, close-ups on the screen in the plays of Konstantin Bogomolov often originate as a parody to the modern TV formats and genres, and invokes the mechanism of critical understanding of critical reality among the viewers, imposed on them through television screens, smartphones and computers. Konstantin Bogomolov stands for the natural role-playing, thus the close-ups release the actors from overacting and active gesticulation in order to deliver emotions to the last rows of the large theatre halls. Close-ups in Bogomolov’s theatre also become an element of multilevel montage scenic composition, where new plots are formed in intersection of vocalized text, action on stage, and the on-screen visuals.

Keywords: perception, screen culture, close-up, videoart, television, cinema, theatre, media, actor, spectator

Abstract: The article analyzes the basic issues discussed during the 18th International Congress on Esthetics held in Beijing (PRC). The author of the article defi nes the methodology of esthetical researches in the West and the East.

Keywords: philosophy, esthetics, esthetic education, nature, art, Confucianism, Taoism, religion, morals

Abstract: The article analyses the term ‘art critic’. It is shown that art critic is not the section of esthetics as a philosophical discipline. The author describes numerous bonds between esthetics and art critic. It is proved that critic is one of the sources of theoretical issues viewed by esthetics

Keywords: philosophy, esthetics, critics, meta critics, description, interpretation, truth, value, modernization, post-modern

DOI: 10.7256/2454-0757.2017.7.23525

Abstract: The subject of this research is the Russian religious hip-hop, while the object is its aesthetic peculiarities. Analyzing the materials from the interviews with hip-hop artists, song lyrics, and visual imagery of video recordings, the author determines the aesthetic borrowings and specificities of such music genre. The article refers to the key terms of postmodernist aesthetics, focusing on the cultural borrowings, metaphors, and cliché in the narrative and visual content of the analyzed hip-hop material. As the theoretical framework is used the neo-pragmatist approach of Richard Shusterman. Main conclusion consists in the following: borrowing the established images of hip-hop culture and religious narratives, the Russian religious hip-hop adds its original aesthetic peculiarities, but only in the sound effects, as for example, noise of bells. Although, there is a world entrenched tradition of hip-hop studies. This article is the first to introduce examination of the Russian religious hip-hop and its aesthetic features. In addition, special interest presents the selected by the author methodology for analyzing the visual imagery.

Keywords: aesthetic features, hip-hop, visual semiotics, discourse, neo-pragmatism, religious hip-hop, Russian hip-hop, aesthetics, philosophy, Hip-Hop studies

Abstract: There is quite a wide consensus that the semantic grounds of music are made up out of the subjective sphere, emotions and feelings of a person. But what exactly do we mean when we describe music as ‘jolly’ or ‘sad’ while music is not an alive creature? Powerful and original conception introduced by a British scientist Roger Scruton offers the following answer to this question. Emotive characteristics of music are very metaphoric, and these metaphors are ‘irremovable’; they are correlated not with the objective features of music but with a special state of mind which is not describable. Critical analysis of Scruton’s conception helps to make a conclusion about insufficiency and argumentativeness of provisions about the constructive role of metaphors in music perception and their correlation with the metal state described as the ‘recognition of expression’ by Scruton.

Keywords: philosophy, emotions, metaphor, expression, expressive features, Scruton, recognition of expression, moral sense, distinction between the sound and tone, emotive predicates.

DOI: 10.7256/2454-0757.2017.3.22131

Abstract: The object of study in this article is the intellectual activity of creating pictures of the world, or as it is also called "ontological design" in the professional jargon of philosophy. The subject of research is the features of aesthetic ontologies and mental procedures for their creation.The author examines in detail aspects such topics as "ontological work" with its four procedures: simplification through generalization, humanizing the world, the formation of the ontological scheme and objectification. Particular attention is paid to the identification of the features of the ontological processes in art and a typology of aesthetic ontologies. The main findings of the study include the following. The author has revealed similarities of ontological construction procedures. A special contribution of the author's research topics is the development of typology of aesthetic ontologies: realistic, perfectionistic, naturalistic, emancipatory and escapist. The novelty of the study consists in analysis of the specificity of the procedures of creative structuring of reality: artistic taste, radical subjectivation, creative inspiration, and formation of the secondary reality.

Keywords: artistic taste, objectification, formation of ontological scheme, humanization of the world, simplification through generalization, ontological structuring, aesthetic ontologies, radical subjectivation, creative inspiration, formation of secondary reality

Abstract: The author of the article analyzes poetry from the point of view of rapture, elation, inner trancensus as well as from the traditional materialist theory of reflection. It is based on the study of esthetics of Esenin’s poetry lyrics. The author tries to understand how far the image becomes the bearer of the abstract nature and the method of getting insight into the matter of things whereby it becomes possible to get access to the deepest grounds of world perception that transform impressions into thoughts.

Keywords: philosophy, poetry, esthetics, trancensus, lyricism, poem, spirit, art, folklore, topic.

DOI: 10.7256/2454-0757.2017.1.18800

Abstract: This article, based on separate examples, illustrates the distinctive features of I. Lisnyanskaya lyrical perception of the world – a neo-Acmeist “sixtier” – in intertextual communication with the traditional (classical) Acmeism, poetry of A. Akhmatova and M. Tsvetaeva, as well as the culture of European Renaissance. The author determines the foundation, concept, and “semantic poetics” of neo-Acmeism alongside its specific mythology, which in turn, structures a poetic model of the world. The article analyzes the spatial and time continuum, its coordinates, artistic space and time as a peculiar aesthetics and verbal phenomenon. The notion of synchronic-reminiscent chronotope, shifted relatively to the boundaries of the actual space and time, is being introduced; and thanks to this, the “monologue on polyphonic basis” is being formed within mythology. In the center of comparative approach lies the resemblance of expressive means and author’s stylistics – from literary approaches, general phrases, quotes, allusions to the integrity of the author’s concept of lyrical plot, artistic space, and synchronic-reminiscent chronotope, which in a similar way is presented in the poems of I. Lisnyanskaya, “Divine Comedy” of Dante, lyrical cycles of A. Akhmatova, and poetry of A. Tarkovsky. The comparative analysis along with the method of semiotic reconstruction of a poetic text serve as the key towards understanding of the semantics and inner structures of neo-Acmeism paradigm. The author comes to a conceptual conclusion that neo-Acmeism continued the mission of symbolism; it transforms the concept of the world as an “aesthetic phenomenon” (Schopenhauer) into the principle of mystical energetism, cognizing the world through the “mystical elucidation”. The scientific novelty consists in the fact that the works of I. Lisnyanskaya are subjected to comprehensive interpretation, as well as viewed in light of the action of mechanism of the cultural memory – as the synthesis of form and content.

Keywords: Archetype, Prototype, Literary context, Reminiscence , Lyrical character, Synchronic-reminiscent chronotope, Divine Comedy, Neo-Acmeism , Literary studies, Philology

DOI: 10.7256/2454-0757.2017.1.68580

Keywords: Archetype, Prototype, Literary context, Reminiscence, Lyrical character, Synchronic-reminiscent chronotope, Divine Comedy, Neo-Acmeism, Literary studies, Philology

DOI: 10.7256/2454-0757.2017.8.21675

Abstract: This article analyzes one of the crucial problems of Berdyaev’s artistic legacy – the problem of theurgy, which is intertwines with the main theme of his entire «life and thought» – the theme of creativity and, above all, the tragedy of creative path of humanity. Namely the comprehension of creativity as tragic in its nature substantiated Berdyaev’s reference to the problem of theurgy, in which he saw a way out of the common “tragic state of the world”, as well as overcoming the tragedy of creativity. The article demonstrated the connection of the problem of theurgy with aesthetics of Berdyaev. Taking into account the importance of such problematic for Berdyaev’s aesthetics alongside the entire Russian religious philosophical-aesthetic and artistic thought, the author provides a brief insight into the history of establishment of the concept of theurgy, its fusion with the philosophy, and particularly Neo-Platonism. Being an integral theoretical concept, theurgy already had a number of important basic provisions in its origins, which can be easily recognized in the works of Russian thinkers, writers and artists, including the aesthetics of Berdyaev. The author illustrates the continuity of Berdyaev’s perception of theurgy with the tradition of late antiquity alongside the Russian national tradition; and at the same time, the specificity of his solution associated with the deep metaphysical understanding of the nature of creativity, which was viewed in the context of the hypostatic doctrine. The scientific novelty consists in the authorial reconstruction of the fundamental provisions of Berdyaev’s concept of theurgy, which allows characterizing his aesthetics as theurgical. Special contribution of the author into this research is the revelation of the role of theurgical problematic for the overall philosophical-aesthetic thought of Berdyaev, inevitability of his way of cognition, as well as the philosopher’s understanding of theurgy and its inscription into the extensive historical context of Neo-Platonic and Russian religious philosophical-aesthetic thought alongside the author’s context of the philosophy of creativity as a whole, including the concept of artistic tragedy that predetermined Berdyaev’s way of comprehension of the theurgical problematic.

Keywords: incompleteness of divine creation, theurgy and Christianity, theurgical symbolism, theurgy and Neo-Platonism, origins of theurgy, theurgical aesthetics, tragedy of creativity, theurgy, artistic calling of man, new era of Creativity

DOI: 10.7256/2454-0757.2023.2.39345

Abstract: The essay is devoted to an analysis of aesthetic views of one of the most distinguished German Romantics, which came through with particular fullness in his fiction. Hoffmann’s aesthetic views focus around his understanding of art. He is convinced that art has an anagagogical nature. It elevates the human being from everyday life to the sphere of the divine and thereby ennobles everyday life itself. Art draws the artist away from the world and manifests to the world his prophetic gift, which is often perceived as “poetic madness.” The fantastic in art, as well as the terrible and the frightening, does not contradict artistic truth. The elements of the terrible give philosophical significance to the work of art and please the recipient. Art is cognitive to a high degree, because nature itself reveals its secrets to the artist and allows him to intuit the “truth of nature.” Hoffmann is convinced about the ontological status of art. It must “be something, and not mean it.” Artistic creativity takes place fully within the inner world of the artist as he aspires for his ideal. Hoffmann allows for a certain degree of vagueness in a concrete work of art, whose purpose is additional aesthetic effort on the part of the recipient, who must be internally ready for communication with art. Creative activity is based on imagination and reason. It is based on natural foundations and is inspired by the illuminating effect of divine energy. Hoffmann considers music as the highest form of art and the ideal for all the arts. According to Hoffmann, music is the truly Romantic form of art. He sees the meaning of music in its foundation in nature, its aspiration for the heavens, the fact that it includes the world of the spirits in its orbit, and that it incites a longing for the unattainable in the listener. Hoffmann paid much attention to irony as one of the features of Romantic art.

Keywords: music, irony, Romanticism, inspiration, art, fantastic, aesthetics, Mozart, Hoffmann, painting

Abstract: The article views one of the central problems of N. Berdyaev’s philosophy of creativity. Berdyaev himself called it ‘the tragic failure’ of a creative act and tragedy of creativity. The author shows the importance and inevitability of this problem of the philosopher’s work. The author also analyzes one of the main contradictions of a creative process (between intention and its practical realization) which leads to the tragedy mentioned above

Keywords: philosophy, creativity, art, culture, transcendence, intention, realization, objectivization, incompliance, tragedy of creativity

Abstract: The article views the problem of mathematical, physical, biological and esthetical meaning of the ‘golden proportion’ phenomenon and its relations with the fundamental laws of nature and art. The author analyzes the researchers’ points of view considering this phenomenon as one of invariant essentials of harmony and beauty

Keywords: philosophy, proportional harmonic relations, irrational relations, ‘golden proportion’ phenomenon, Fibonacci numbers, bisymmetry, forming in nature and art

DOI: 10.7256/2454-0757.2022.11.14385

Abstract: The subject of the study is the aesthetic aspects of the German philosophy of the late XVIII - early XIX centuries. Modern culture, with its anti-traditionalist impulse for autonomy, freedom from external authority, the use of critical reason, universal principles, in terms of which is questioned religion, history, customs, by this time found its internal contradictions. Post-religious and postconventional Enlightenment values - secularism, humanism, the primacy of reason and science - poorly suited to maintaining the moral and social relations, in the course of everyday life, and led to their progressive deterioration. German idealists turned to the area of aesthetic in searh of means of reconciliation between science and morality, the nature and the subject. The article taken hermeneutical analysis of texts submitted in the tradition of German romanticism and idealism in order to identify the aesthetic basis of searches and solutions in the philosophy of this period. Project of aesthetics which emerged in the XVIII century is seen as key to European philosophy and culture "after the Enlightenment," and as having not only theoretical but also of political importance, because it is in aesthesis - subjective field of experiences, feelings, affects, modern man could seek reconciliation with the world after the loss of traditional meanings and authority

Keywords: aesthesis, freedom, society, romanticism, subject, idealism, politics, aesthetics, tradition, historicism

DOI: 10.7256/2454-0757.2022.9.38781

Abstract: The article is devoted to the transformation of traditional folk culture archetypes of wood, stone, thread in modern decorative and applied art, as well as ways of using threads, wood and stone as materials for the manufacture of objects of modern art. The research does not aim to repeat classical ethnographic studies or to refer monographs on the history of culture. The article is an attempt at a comprehensive analysis of the modern practice of decorative and applied art from the point of view of the philosophy of culture and practical aesthetics. This approach is a unique experience in the analysis of jewelry and decorative practices of processing heterogeneous materials of natural origin. The cluster of masters of decorative and applied art in Russia is expanding, there are more and more opportunities and materials for creativity, but the authors of the products themselves are not engaged in stylistic, art criticism or philosophical understanding of their activities. Nevertheless, their works, according to researchers, reflect the oldest mythological images that are the cornerstones of Russian culture and represent the heritage of world culture, transformed by post-culture and man-made trends that have penetrated, among other things, into art. Archetypes of wood, stone, thread, preserved since ancient times, acquire new meanings and new forms of embodiment in the works of modern authors.

Keywords: aesthetics, contemporary art, culture, decorative and applied art, myth, philosophy of art, archetype, tree, thread, stone

Abstract: The article makes an attempt to show the interaction between self-sufficient scientific disciplines — philosophy, art and culture, - within the framework of artistic communication as the common apostille with clearly expressed values and meaning. Traditional approach to philosophy as the system of values and standards of human collective and individual existence is complemented with another interpretation: philosophy is viewed as a socio-cultural system that, by the means of art and culture, forms super reality oriented at a clear balance of the good and the evil, life and death, movement and stagnation (but not their opposition as it is viewed traditionally). Artistic communication is some kind of an apostille that becomes typical for philosophy, art and culture at the end of the 19th — 20th centuries.

Keywords: philosophy, apostille, communication, symbols, art, culture, reality, life, everyday life, society.

DOI: 10.7256/2454-0757.2023.8.43886

Abstract: Wackenroder is a Romantic author of a metaphysical-religious orientation. For him, the creator of art and its most adequate perceiving subject is God. As for art, he sees it as most tightly connected to religion, for both help the human being to rise from the earthly hassle to the heavenly sphere. The art of all times and nations contains a common essence – the beautiful – which is expressed in a variety of ways. Therefore the human being is capable of learning how to see beauty in any art medium. Wackenroder speaks of two symbolic languages that help the human being grasp heavenly matters: the language of nature and the language of art. Creativity is based on inspiration, which is a divine gift. In creating their art artists must begin with nature and present it in a transformed way. The process of creativity begins in the inner world of the artist, when he or she constructs a future painting in its completeness. The contemplation of a work of art is like prayer. Therefore perception of art requires specific training. Before contact with art, the recipient must initiate in him or herself the ability to perceive the beautiful and sublime. The grasping of a true work of art is inexhaustible. Every act of contemplating an artwork reveals to our soul something new. The process of perception of art is enthusiastic in nature; Wackenroder presents it as a confession of our spirit. In his musical aesthetics the place of honor belongs to the spiritual content of music. In painting Wackenroder most highly esteems the pacifying art of Rafael, the allegorical art of Michelangelo, and the cognitive art of Leonardo Da Vinci.

Keywords: Rafael, perception of art, music, creativity, aesthetics, painting, art and religion, Romanticism, Wackenroder, Michelangelo

DOI: 10.7256/2454-0757.2013.1.62043

Abstract: There is very little written about Arthur Schopenhauer’s views on esthetics, even though many researchers did try to study that topic. It turned out to be not so easy to summarize the German philosopher’s thoughts on the sublime, beautiful, genius, interesting and other esthetical categories. The term ‘will’ has a very broad meaning in Schopenhauer’s works because he claimed that any kind of natural force must be viewed as the will. Basic natural forces, such as magnetism and heaviness make the lowest level of will objectivizatoin.

Keywords: philosophy, esthetics, power, human, metaphysics, art, beautiful, sublime, interesting, genius.

DOI: 10.7256/2454-0757.2023.10.44177

Abstract: The subject of the research is a modern graphic and communicative design, in the context of changing existing and forming new roles of communicators, transforming the communication model, forming a semiotic communication format. The object of the research is modern graphic and communicative design, as well as their traditional, digital and generative subdirections. Design beginning to have digital, semiotic-interactive and artificially intelligent characteristics. The author examines in detail such aspects of the topic as: dialogical, semiotic-interactive qualities of design solutions; digital, semiotic-interactive design-software expressive means; features of semiotic-deconstructivity (analyticity) and semiotic-synthetics (constructiveness) of design solutions in the context of design activity; the influence of technical and technological features of tools and design-environments (design systems) for the formation of automated and artificially intelligent qualities of design solutions. The study of the conceptual model of a semiotic-interactive design is carried out in the context of a semiotic-interactive methodology (a set of principles and strategies of design activity). The main conclusions of the study are the description of the conceptual model of a semiotic-interactive design solution, in the context of a semiotic-interactive methodology implemented in the conceptual-generative subdirection of modern graphic and communicative design. The author's main contribution to the research of the topic is to identify the main components of the conceptual model of a semiotic-interactive design solution and demonstrate their relationship with each other in the form of a holistic model. The novelty of the research lies in the description of the characteristics of the components, the conceptual model of a semiotic-interactive design solution: a dialogical semiotic-interactive format for creating invariant concepts and design solutions; versioning of design solutions based on the semiotic synthesis of design programs; semiotic deconstruction of design solutions at the macro and micro levels; semiotic synthesis of design and artistic design programs; application of design programs as decision tools; use of hyperconnected capabilities of the design environment: the history of actions, integrity and continuous change and development.

Keywords: tool-solution, synthetics, deconstruction, versionicity, dialogicit, communicative design, graphic design, design-solution, hyperconnectedness, methodology

Abstract: The article is devoted to the nature of human esthetic consciousness which is deeply connected with his philosophical understanding of the world. Moreover, the author makes an attempt to fully consider the structure of esthetic consciousness showing itself in creative freedom and giving birth to the image of genius.

Keywords: philosophy, consciousness, ideal, freedom, beauty, substance, perfection, genius, harmony, taste.

DOI: 10.7256/2454-0757.2017.2.21809

Abstract: This article from the perspective of ontological prerequisites of the establishment of philosophical platform of neo-Acmeism, examines the formal-conceptual and genre innovation of the poets-“Sixtiers” on the example of their prominent representative A. Kushner. The work analyzes the peculiarities of functionality of neo-Acmeism within the external communication with traditional Acmeism, psychological realism, as well as determines the ontological dominants in works of the “esoteric circle” of the “Sixtiers”. The author reveals the features of psychological realism and their latent presence in the discourse of neo-Acmeist doctrine. The aspects of Stoicism in Kushner’s poetry, as well as the evolution of his outlook in correspondence with the three stages of philosophical doctrine of the Stoics, are being reviewed in detail. As the meaning-making and genre element of the poetic system of “Sixtiers” are considered not just the categories of time and space, but also a distinct poetic philosophy and its components in the center of which is the teaching of Stoics. The conclusion is made that within the poetic system and dynamic structure of a single “neo-Acmeist text”, we can trace not just the synthesis of literary directions – Acmeism, symbolism, historical and psychological realism, various timely plans, but also a gradual complication of the cultural “codes” and genre “valence” that enter the difficult dialogue relations or relations of mutual substitution with each other. Neo-Acmeism of the “Sixtiers” transforms the concept of the world as an “aesthetic phenomenon” (Schopenhauer) into the principle of mystical energetism, cognizing the noumenal world through the “mystical enlightenment”, and often, by the effort of the author’s fantasy. A. Kushner’s romantic stoicism is shifted into the neo-Acmeist philosophical-cultural paradigm, and revealed as the synthesis of the elements of modernism and realism: his poetry combines the mystical world, prophetic intuition about the events in the Universe, dichotomy of the “real and irreal”, as well as clarity, historical specificities, attention to feelings and emotions of a “little man”, memory of the “useful past” inherited from the psychological realism.

Keywords: Cultural memory, Esoteric circle, Lyrical character, Oneirosphere, Synchronic-reminiscent chronotope, Neo-Acmeism, Romantic aesthetics, Sixtiers, Psychological realism, Stoicism

Abstract: This is the review of a speech made during International Esthetic Conference held at the philosophical faculty of Moscow State University. The speech is devoted to life and creative work of M. F. Ovsyannikov and describes the rapid development of esthetics in the Soviet Union and establishment of numerous esthetical faculties in Russia, former Soviet Union countries and other countries, too. It is well shown that Soviet aestheticians made a significant contribution to development of the world philosophy of esthetics. At the same time the author describes the reasons causing closure of esthetical researches in modern Russia as well as consequences creating a threat for development of Russian esthetics and spiritual culture.

Keywords: philosophy, esthetics, art, science, religion, literature, mass culture, supreme culture, aestheticism, art aesthetic criteriology.

Abstract: In the context of non-classical epistemology, on a way to denial from being centered on science and to orientation on esthetic knowledge introduced by Russian symbolists, today we can witness the new unusual approaches to understanding the world, role and place of human, harmonization of human and the surrounding world in order to overcome the catastrophic confrontation between them. The article describes Vyacheslav Ivanov’s epistemological idea that trough rising above and denial from his own subjectivity with a help of a certain esthetical mood Artist can actually understand the deep nature of existence which is inaccessible for rational and sensual ways of learning. According to Vyacheslav Ivanov, Artist-creator finds the truth in the process of a synthetic act – Mystery. The article is also focused on epistemological methodology of Vyacheslav Ivanov’s esthetics.

Keywords: philosophy, symbolism, theurgy, mystery, esthetics, epistemology, beauty, artist-creator, synthesis, art, truth.

Abstract: The article concerns some peculiarities of interpretation of Russian classics through other forms of art such as cinema and theatre which are connected with the role of the art symbol and image in interpretation of the national literature tradition. The transfer of image, its comprehension closely relates to the understanding of the national literature tradition and its peculiarities. Due to that the following images are of special interest: insanity, fate, artistic quotes. The article is based on the analysis of concrete Russian classical texts and some cinema and theatre production. It is concluded that addressing to images and symbols ‘connects’ different forms of art and allows to better understand the classical literature text.

Keywords: philosophy, culture, esthetics, interpretation, art, literature, symbol, image, theatre, cinema.

DOI: 10.7256/2454-0757.2016.2.14469

Abstract: Expanding the traditional concept of musical sound recordings, the author introduces it in the context of contemporary aesthetics. The article considers the most significant scientific concept of sound recording's study, where the subject of research is the genesis of its aesthetic and artistic characteristics.With the installation of the aesthetic interpretation author explores concepts of "aura", "absolute music", "the dialectic of the general and specific ontological regularities of sounding matter", "creative simulation" et al., and also offers a variety of methodological approaches to the study of the sound recording art. Analyzes and correlates local and foreign research, which related to the topic of sound recording, in order to identify the most significant patterns in this process. In the art of music in the Age of Technical Reproduction there is resumption of in its aura of a qualitatively new form. The modern stage is also characterized by an alternative perception contrary to the traditional music listening experience. The novelty of the presented analysis consists in the interpretation of the artistic phenomenon in the sound recording system of philosophical and aesthetic reflection that provides the key to understanding of many things in musical science and offers substantial interest in the theory of art of the XX and XXI centuries.

Keywords: sound recording, aesthetic, technical reproducibility, absolute music, concept of aura, ambient, philosophy of sound, aesthetic interpretation, aural experience, sound engineering

DOI: 10.7256/2454-0757.2016.2.67510

Keywords: estetika, absolyutnaya muzyka, kontseptsiya aury, embient, filosofiya zvuka, esteticheskaya interpretatsiya, slukhovoi opyt, zvukorezhissura

DOI: 10.7256/2454-0757.2016.3.17083

Abstract: The subject of this research is the examination of the spirit of surrealism as an ontological characteristic of this direction in art. Under this notion the author means an expression of metaphysical essence of a particular art direction. On the example of the creative work of a well-known surrealist Joan Miró, an attempt is made to reveal the ontological characteristics of the spirit of surrealism. It is demonstrated that by using typical for the creative method oа Miróspecificities of art expression, which are based on paradoxical and aggressive-expressive transformations and metamorphoses of the objects of visual reality and stylization for children paintings, a famous surrealist creates in his works a special other being atmosphere. Scientific novelty consists in the following: the entire list of Joan Miró’s major works illustrates that they lead a recipient to submersion into dramatic or even tragic spaces of otherness that are filled with a spirit of catastrophism and apocalypticism, including his eschatological understanding, which is considered by the author as a spirit of surrealism.

Keywords: Surrealism, Metaphysical painting, Contemporary art, Apocalypticism , Symbolism, Aesthetic experience, Artistry, Joan Miró, Giorgio De Chirico, Salvador Dali

DOI: 10.7256/2454-0757.2016.3.67733

Keywords: Surrealism, Metaphysical painting, Contemporary art, Apocalypticism, Symbolism, Aesthetic experience, Artistry, Joan Miró, Giorgio De Chirico, Salvador Dali

DOI: 10.7256/2454-0757.2013.4.62654

Abstract: The article is devoted to the relation between axiological, cultural, sociological and economic professional values. The author pays attention at certain contradictions in life sustaining potentials of this profession. Esthetic image of profession is associated with the acting skills. At a modern stage of development of human labor activity, there is a growing need in ‘playing’ this or that profession, i.e. creating the esthetic channel for professional skills. It strengthens economic and social status of professions.

Keywords: philosophy, praxiology, labor activity, society, master skills, profession, esthetic image, anthropological development of human, cultural contradictions, civilization development.

DOI: 10.7256/2454-0757.2016.4.15599

Abstract: The reasoning of Plato on beauty, art is often criticized, especially from the time when the aesthetic sphere began to be understood as a purely autonomous (superficial interpretation of the concept of autonomy is not allowed to consider the phenomena of art and beauty in the long term benefits), and the usefulness of art, which Plato put acutely philosophical issues, has moved into the sphere of social-democratic ideology and social thought, has acquired a journalistic character. In this article the aesthetics of Plato is seen in the horizon of good ideas. Attempts to draw parallels between the critical reasoning of Plato on art and a number of ideas of such thinkers as J. Winkelmann, J. J. Rousseau, F. Nietzsche, S. Freud. So, we can talk about overcoming the habit of talking about art in general only in the positive sense, about the protest against the aesthetics of the passion as a socially harmful phenomenon, etc. In the context of reflections about the beauty and art reveals the comparison at first glance alien to each other phenomena - the "natural" man Rousseau, a citizen of the ideal state of Plato. The paper shows also how in the future the idea of the good of Plato develops the theme of pure pleasure - a theme that has continued in the areas of post-classical art, abstractionism and minimalism. In the context of the good ideas also emphasized the erotic relationship of the philosophy of Plato with the sphere of theology. In this article, we have used some of the principles of ontological studies, hermeneutics, and comparative and phenomenological methods. This study revealed a positive sense of criticism of Plato common "cave" views on art and beauty and is accented existential dimension of these phenomena in the philosophical aesthetics of Plato. All analogies and parallels given in the study, not random. They allow to identify a still relevant content of Plato's aesthetics, which as the entire Plato's philosophy, is a search of good, and its foundations within the human being.

Keywords: fun, use, imitation, passion, beauty, art, ontology, aesthetics, good, erotic experience

DOI: 10.7256/2454-0757.2016.4.67807

Keywords: fun, use, imitation, passion, beauty, art, ontology, aesthetics, good, erotic experience

DOI: 10.7256/2454-0757.2015.5.10925

Abstract: This article is devoted to the topic that has never been truly studied in the academic literatue - Nietzsche's aesthetics. The only serious research of Nietzsche's aesthetics that is worthy of being mentioned is Zeitler's book ' Nietzsche's Aesthetics' published in 1900. However, the book had no trace of 'true' Nietzsche because by the time it was published Nietzsche had already managed to drop the field of aesthetics, started to study ethics and metaphysics and went insane. The only one who wrote about Nietzsche and doubted his insanity was Jaspers. The author of the present artile has used Nietzsche's methods comparing Greeck mythology and general culture (nempe), defining functions of gods (analysis inside mythology) and studying Greek culture which Nietzsche called 'religious'. The author makes the following two conclusions: 1) the content-related conclusion. The author completes Nietzsche's method and believes that it is possible to replace the main beginnings of art according to Nietzsche (dream and drunkeness) with the symbolic and affective beginnings defined by the author. 2) the pro forma conclusion: even the same method used may lead to different results. This proves the fact that humanities still lack an accurate method of research.

Keywords: symbolic, drunkeness, a dream, comic, tragic, lyric, epic, dionysian, apollonian, affective

DOI: 10.7256/2454-0757.2015.5.66523

Keywords: symbolic, drunkeness, a dream, comic, tragic, lyric, epic, dionysian, apollonian, affective

DOI: 10.7256/2454-0757.2014.6.12104

DOI: 10.7256/2454-0757.2014.6.65126

Abstract: The focus of the present research is on the definition of interactivity. The problem is that interactivity does not have a clear definition and it is understood differently depending on the context. Today many artworks are described as interactive. When analyzing these artworks, it becomes obvious that even within the framework of one sphere interactivity has many faces. The author of the present article analyzes different artwork created by using computer technologies and tries to understand what makes this artwork ‘interactive’. The author uses different research methods in the article. First of all, the author uses the historical method that allows to track back the development of the term ‘interactivity’ throughout the XIXth and XXth centuries. The author also analyzes and compares both Russian and foreign researches devoted to the phenomenon of interactivity. At the same time, the author also conducts a comparative analysis of different creative programs. The author compares the traditional definition of co-creation with the innovative definition of interactivity. The author defines the two types of creative programs, closed programs and open programs, in order to understand in what cases the interaction between a user and a program is actually creative. Thus, the author substantiates the position that some computer programs can actually provide the user with a platform for being truly creative.

Keywords: computer technologies, computer art, interactivity, interactive art, creative program, graphic editor, cocreation, authorship, creativity of a software engineer, creativity of a user.

DOI: 10.7256/2454-0757.2013.9.63155

Abstract: The author of the article views the term ‘symbol’ as a philosophical category included in semiotic space of culture. The author also analyzes how the term developed in that space and discovers the differences and similarities between a sign and a symbol. Based on the analysis of differences between these two terms according to the leading philosophers, it is noted that the term ‘symbol’ has many meanings. At the same time, the term ‘sign’ has only one meaning. Symbol is good for creating a full picture while sign is better for creating a more accurate and precise picture. Based on examples from different spheres of human activity including speech, advertising, fine arts, and examples from Russian history, it is noted that during the periods of cultural crisis, sign is ‘exalted’ to symbol while previous symbols gain new contents. The author also describes different forms of reinterpretation of old symbols in a new environment.

Keywords: symbol, sign, image, picture, symbolization, exaltation of a meaning, reinterpretation of a symbol, symbol in semiotics, cultural definitions, new culture.

DOI: 10.7256/2454-0757.2013.10.63420

Abstract: The article presents philosophical and cultural analysis of esthetical content of such a topical phenomenon in modern culture as martial arts. Great interest towards traditions of marital arts cannot be explained only because they teach self-defense and health improvement or because Eastern martial arts are quite an exotic phenomenon in new European culture. According to the author, esthetics of martial arts plays an important role, too, and it is an essential element of both martial arts and psychophysical practices based on the former. The fight himself is the esthetical demonstration of ontological, theoretical and philosophical grounds of martial arts. The key to understanding esthetical symbolism of martial arts is the game or agon. Features of the agon and competition are preserved and codified in martial arts and their rules. From the point of view of phenomenology of culture, esthetical symbols of martial arts are expressed in different ways. It is not only the beauty of human bodies or music but the esthetics of the fight itself including the greeting rituals and special martial art costumes. Moreover, esthetical aspects are closely interweaved with ethical moments. Esthetical content of martial arts and fight in different nations and cultures allowed to martial arts to go beyond the limits of a particular cultural tradition and be spread all over the world because the need in esthetics and esthetical experience is universal. Esthetical elements of martial arts define polarization of plots devoted to martial arts in literature, cinematograph, other branches of art and modern culture in general.

Keywords: philosophy, culture, martial arts, ritual, agon, esthetics, kata, traditions, art, game.

DOI: 10.7256/2454-0757.2015.10.13404

Abstract: The article is devoted to the phenomenon of historicism as a distinctive feature of the European mind in the XIXth century as well as the implementation of the phenomenon of historicism in Victorian culture. The author of the article traces back the prerequisites and the main stages of the development of historicism, describes the genres and styles influenced by historicism such as a historical novel in literature (illustrated by the novels of Walter Scott), archeological naturalism in theatre (plays staged by William Macready, Charles Kean or Henry Irving), the Neo-Gothic architecture (Augustus Pugin's and Charles Barry's projects), historicism in art (creative work of the Pre-Raphaelites). In her research the author has applied the descriptive method to state historical and factual material (including the description of new historical genres and movements in the art of the XIXth century) as well as the cultural-philosophical approach to interpreting this material. The author concludes that there were the two main directions of English historicism. The first one was addressed to the national Middle Ages (Medievalism) and the second one referred to Italian Renaissance (Italianism). The vastness of the material collected and analyzed by the author allows to conclude that historicism was one of the key factors in the process of development of the English national art. Projection on the historical trends of the century moved historicism from the periphery to the avant-garde of the European art.

DOI: 10.7256/2454-0757.2015.10.67077

Keywords: historicism, Victorian culture, art of the XIXth century, English art, the Pre-Raphaelites, Neo-Gothic architecture, archeological naturalism, Art Nouveau, Renaissance, Italian images

DOI: 10.7256/2454-0757.2013.11.9658

DOI: 10.7256/2454-0757.2013.11.63554

Abstract: The article is devoted to art work during an era of its technical reproduction. The author of the article proves that it is necessary to view reproduced art as a separate category. The aspiration of the author to rethink some tendencies of development in the field of the modern art caused consideration and differentiation of the following concepts: original, copy, reproduction, authenticity, plurality and reproducibility of an artwork. The author of the article proves the thesis that reproduced arts are not ‘original’ in a strict sense of this word. Besides, the concept of explicit versions inspired by ideas of the Canadian professor of philosophy of D. Lopez is developed. The new concept \"explicit version\" is compared with the traditional terms ‘copy’ and ‘original’. Besides, on the basis of the analysis of different examples of creative works, the author defines interactive art as a special type of reproduced art proving that the result of interaction between the audience and interactive work is an explicit version but not a new original art work.

Keywords: replication of art work, diverse art, reproduced art, interactive art, computer art, modern art, original, copy, explicit version, authenticity.

DOI: 10.7256/2454-0757.2014.11.13368

DOI: 10.7256/2454-0757.2014.11.65732

Abstract: The question about cultural and ideological reasons of the origin of Christian art in the late Ancient Times is still a rather understudied topic. The grounds for creating the fine art canon that defined the particularity of the Byzantine Art are still rather unknown, too, while canonic art itself is rather a well-studied phenomenon. The present article touches upon the problems of esthetical and spiritual experience in art of the early Christian and Byzantine epochs. The author analyzes the process of creation of esthetic concepts and transformation of artistic canons, the shift of the esthetic modus and refusal from the idea of the beauty and replacement of it with the idea of the sublime. Special attention is devoted to studying ways and methods of application of anagogic experience in art and analysis of the role of creative fantasy as a special form of esthetic experience. The topic under research lies at the interface of esthetics, theology, cultural research and art studies which creates the need for application of interdisciplinary methods and attraction of a wide circle of sources. Canon is presented by the author as a set of rules and recommendations aimed at artistic fixation of the so called anagogic spiritual experience typical for Eastern Christianity. Canon is presented as a mechanism regulating the process of creative imagination of an icon painter. The process of imagination is defined as a specific form of the imaginary space where theoretical categories become the images to be understood.

Keywords: Byzantine canon, icon, mystical experience, fantasy, esthetic experience, symbol, artistic image, the sumblime, mimetic representation, anagoge.

DOI: 10.7256/2454-0757.2016.12.18236

Abstract: The subject of this research is the modern interpretation of classical art. The authors refer to the issues of understanding of the classical art, adequacy of conveying its meanings, experiencing the art and communication with it, value aspect of art works, as well as question of tradition and innovations in modern perception of the classical art. These problems are reveals through the reference to the practice of modern art – multiple movie and theatrical production of the classicism. The authors attempt to answer the question what is the modern interpretation of art, by analyzing the position of the classics in modern art and basing themselves on the works of philosophers, aestheticians, critics, literary scholars, and members of art community. Based on the analysis of “life” of the classicism in modern cultural-aesthetical field, the authors demonstrate the crisis of its understanding, rather than the attentive perusal realized by the contemporary means. Today, any re-interpretation of the composition can find (and finds) its justification and explanation. It is associated not only with the factors that should be viewed through the prism of development of the art, innovations, search of the new forms, but also more extensively – as a sustainable trend of confrontation of “non-classicism” with the traditional classical art. Such confrontation to a considerable degree causes the “crisis of understanding” of the classical artistic legacy and its interpretation in the modern art.

Keywords: Value, Artistic legacy, Tradition, Dialogue, Theatre, Cinematography, Distortion, Understanding, Modern interpretation, Classical literature

DOI: 10.7256/2454-0757.2016.12.68515

Keywords: Value, Artistic legacy, Tradition, Dialogue, Theatre, Cinematography, Distortion, Understanding, Modern interpretation, Classical literature

DOI: 10.7256/2454-0757.2015.11.13387

Abstract: The article is devoted to the phenomenon of fashion in contemporary culture. In this research Guzha gives a philosophical and aesthetical definition of fashion, examines the meaning and importance of such terms as 'aesthetic experience' and 'aesthetic knowledge' and analyzes the verbal and visual levels of aesthetic communication in fashion. The author also studies the manners in which aesthetic perception of fashion is achieved and excessive aesthetic meanings are conceptualized in individual aesthetic experience. The author describes the main concepts on the matter and defines semantic codes transmitting aesthetic communication at nonverbal and verbal levels. The methodological basis of the research involves the philosophical-aesthetic modus of the communication theory, philosophical and aesthetic analysis of the fashion phenomenon from the point of view of verbal and visual aesthetic communication. The scientific novedlty of the research is caused by the fact that the author applies the aforesaid methodology, which is exclusively innovatory for such kind of research, provides a detailed description of the communication levels determined and views implicit and explicit levels of aesthetic messages in modern fashion industry. The following expressive kinds and means are described at the visual level: colour, silhouette, composition, rhythm, ornament, style making process, eclectic and stylization. The analysis of the verbal level of aesthetic communication focuses on the rhetoric of fashion magazines and advertising companies.

DOI: 10.7256/2454-0757.2015.11.67229

Keywords: fashion, semantic code, aesthetic communication, aesthetic experience, aesthetic knowledge, visualization, verbalization, expressivity, style, play

DOI: 10.7256/2454-0757.2015.12.14061

Abstract: The article is devoted to some peculiarities of interpreting Russian classical writings when they are being transferred to other art forms. Much attention is paid to cinematography. Toporina has described such peculiarities as specific nature of the literary, cinema- and theatrical languages, the problem of defining the artistic interpretation (transfer), style, detail, national literary tradition, aesthetic component of a literary writing, problems of traditionalism and novelty as well as the role of personality in Russian literature. These peculiarities are defined through analyzing particular materials, i.e. modern artistic interpretations of Russian classical literary works. When writing her article, Toropina has appealed to classical fiction as well as literary, aesthetical and philosophical researches devoted to the problems of theoretical and artistic interpretation of texts. Conclusions: the researcher shows special features of a classical text as a source of active creative understanding in an artistic intepretation; describes peculiarities of artistic interpretation of classical literature as the way to convey the deepest meanings of classical literature through other artistic forms; examines peculiarities of artistic interpretation of Russian classical literature based on the analysis of particular artwork; attempts to analyze whether modern interpetations of classical literature are adequate.

DOI: 10.7256/2454-0757.2015.12.67266