8 6 Aesthetics of the Soviet period

Important for the aesthetic theory of the 20th century were the achievements of Soviet aesthetics, which, developing within the framework of classical philosophical aesthetics, brought significant work to a number of branches of aesthetic knowledge of HPV, and ideologues pushed the aesthetic theory to the minimum, and expressed orientation to the aesthetic penetration into all spheres of life The achievement of the theory of eating ethics is the development and introduction to the scientific use of the metacategory aesthetic - it was worked on by L Stolovich, S Goldtentr xm, P Kondratenko, M Kagan, in support of the concept of Ivanov indifferent as the output th the concept of aesthetics - A Canary; understanding the patterns of manifestation of the aesthetic in nature, social relations, moral relationships between people - L. Stolovich, I Smolyaninov. The dialectical connections of moral and aesthetic are comprehensively examined in works. In Tol-verse, O forts The features of art as a type of knowledge and the aesthetic essence of art are characterized in works Burova, V Mazepa, V Malakhov. The specificity of the content of aesthetic categories and their dialectical connection was studied in the studies of Yu Borev, V Muriana, V Shestakova, analysis of forms Etic consciousness is the subject of theoretical reflections of E. Ilyenkov M. Kagan, V. Murian, L. Zelenova. The regularities of the art of the epoch of modernity and its aesthetic principles are revealed by L. Levchuk and the natural principles of rozkriti L. Levchuk and ін.

From the 20s of the 20th century, theoretical problems of aesthetics and art are explored, for example, in the works of G. Plekhanov, A. Lunacharsky, V. Vorovsky, O Bogdanov, B. Arvatov, P. Blonsky, L. Vygotsky Especially in this period, active participation in solving the theoretical problems of art by themselves the creators of aesthetic and artistic values: B. Asafiev, Maxim Gorky, Mayakovsky, Meyerhold, Stanislavsky K, S Eisenstein, L. Kurbas and others. The aesthetics of the 20s of the last century are developed within the framework of the psychological direction O Bogdanov, leading theo the retic of Proletcult's aesthetics that adhered to the ideas pozity will accept, saw the purpose of art in promoting scientific and artistic knowledge. According to him, social life forms such a series: experience - work - team - forms of cooperation - type of culture (its element is art). The basic concept of aesthetics of the philosopher The concept of organization Art is characterized as organized experience of thousands of years, crystallized in artistic form. The concept organization is applied to the mustovich part of the works, features of perception and their cutting. Finally, the organization of ideas and the organization of things in art are inseparable [27, pp. 25-26] The ideas about Bogdanov about the general theory of systems, the doctrine of organizational types and patterns set forth in the work General Organizational Science (Tectology) ( 3 h, 1925-1929), were important for the formation of some of the provisions of cybernetics and si darkened approach. They developed in the writings of H. Wiener and W Ashby, the general theory of systems L. Bertalanfy in N. Winner's priests E. W. Eshbi, and the theory of L. systems L. Bertalanf.

The positivist sociological orientation directed the consistent exponents of his ideas to absolutizing aesthetics as a means of transforming the environment. This was where the "identification of colloquial speech and artful literature, propaganda and painting, the activities of the newspaper and the poet" took place [27, 21] of life activity, the development of his ideas was carried out by B. Arvatov, M. Chuzhak, etc. B. B. Arvatov, in particular, notes: art should not be associated with spiritual moments. Its main function is to organize The production process [27, pp. 29-30] is, aesthetic proper, spiritual function of art is denied. However, this tendency reflected one of the dominant tendencies of Western, in particular, Anglo-American aesthetics, influencing the direction of the research search of Soviet schools [27, 62] Futurists begin the art of the "production" slope, who, in place of the traditional artistic trends of realism, symbolism, impressionism, assert technicism. Plekhanov, a well-known theorist of aesthetes, was G. Plekhanov. works on aesthetics- The proletarian movement and bourgeois art (1905), Art and social life (1912), Letters without an address and others. Intelligence on aesthetics and theory of art by G. Plekhanov devoted to the genesis of artistry , the spiritual essence of art, the connection of artistic creativity with social being and the aesthetic position of the artist of artistic creativity to suspense boutiques and aesthetic position of the mitz.

The problems of the sociology of art investigated And Lunacharsky in numerous works on aesthetics and art- The Tasks of Social-Democratic Artistic Creativity (1907), Letters on Proletarian Literature (1 1914), Literature and Revolution (1920 ), Philistinism and individualism (1923), etc. They consider the purpose of art in society, the spiritual position of the artist, the position of the artist in bourgeois society. The critic pays great attention to the analysis of "class" literature. Art and revolution is the main topic of theoretical articles. And Lunacharskogyutia is the main topic of theoretical articles by A. Lunacharsky.

Let us note the richness of the artistic life of this period, since many representatives of the lower classes, who were previously deprived of the opportunity to communicate with artistic treasures and the possibility of professional studies of mysticism, gained access to artistic education to communicate with art.

The special bloom of the aesthetic theory of the Soviet period falls on the 50s (second half) - the 80s of the 20th century. The democratization of public life, characteristic of this period, does not vividly reflect Ageni in the field of aesthetics and art : university and academic in Moscow, Leningrad, Kiev, Sverdlovsk, Voronezh, Tartu, etc. Scientific schools were headed by famous scientists M. Ovsyannikov (Moscow University), M. Kagan (Leningrad University), L. Levchuk (Kiev University), In Mazepa ( Institute of Philosophy, Academy of Sciences of the Ukrainian SSR) Problems of aesthetics The researches of aesthetics are also well-known representatives of the dialectical never of this Institute V. Shinkaruk (director) and V. Ivano V. Ivan.

Fundamental research on the history of aesthetics was accomplished by O Losev in a vast creative heritage The aesthetic problem — categorical meaning and understanding of objectivity — was explored in a monograph by the table ich ст Aesthetic in reality and in art \ ”(1959) Turning to the classical tradition, in particular to the ideas of D Diderot, the author regards the aesthetic as an "attitude" and notes his all-pervasiveness [31, 7]. An important place in his reasoning is the question of the objectivity of the aesthetic attitude, the subject of which is "humanized nature" [31, pp. 37-38] The scientist interprets the concept of "objectivity of aesthetic" according to the classical tradition, the unity of matter and the idea A. Canarian in his work Dialectics of Aesthetic Process (1979) analyzes the aesthetic dialectic of the process of formation and uniqueness of manifestations of the phenomenon of the sentient. Accepting this concept as a starting point for understanding the origins of aesthetic ability, the author writes: A sensitive human act is the result of the whole history of the socialization of people and their relations the essence is to turn it into a purely animal act, where the words humanism , humanity , spirituality can be used only for the sake of theoretical speculations [14, with 125" spirituality " for theoretical speculations "[14, p. 125].

The development of categorical knowledge in aesthetics is carried out both in the historical and in the substantive-logical aspect. The historical aspect of the categorical knowledge was thoroughly investigated by O Losev and V Shestakov in the work "East Thorium of Aesthetic Categories" (1968), V Shestakov in the works "Harmony aesthetic category (1973) and Aesthetic categories Experience of systematic and historical research (1983) In the last author of the current category of category knowledge, dividing categories into types depending on the content of the volume In addition to well-established in the history of aesthetics of the main categories (beautiful, sublime, tragic, comic, ugly) served in their modification (harmony, grace, ideal, heroic, catharsis, irony, grotesque), and also defined artistic categories (art, imitation, image, allegory, form, taste) [36aslіduvannya, image, alegory, form, relish) [36].

The problem of categories was investigated by L. Stolovich in the monograph The category of the beautiful and the social ideal (1969). The subject of attention of the scientist is a stable variable in the ideas of the beautiful and the connection of the beautiful and the ideal in the history of aesthetic thought. only in European, as well as in Eastern traditions Rightly paid special attention to European, including German classical aesthetics The author adheres to the consideration of the central idea, which tobrazhena virtually throughout the history of aesthetics, as clearly defined in estetikechena in estetitsі

And Kant: only a person can be an ideal of beauty , and humanity can be an ideal of perfection [15, since 1083] Aesthetic categories were researched by Yu Borev in studies Basic aesthetic categories (1960), About t tragic (1961), Comic (1970) Categories he viewed as a system of aesthetic knowledge, based on their analysis on the material of the history of art, first of all literature on materials, history, literature and literature.

The historical-theoretical study of the internal structure of art was carried out by M. Kagan in his work The Morphology of Art (1972). The monograph contains a methodology for analyzing art; a history of artistic development in its genesis and approaches to systematizing art; art in the richness of its species and varieties genre

A fundamental theoretical study of the specifics of art as a special type of spiritual experience was the work of E. Il'enkov Art and the communist ideal (1984) She returned with the classical philosophy of the problems ideal , ideality , spirit developed by German. “, separating the classical tradition from narrowly psychological interpretations of art. Formulating the concept of ideality in a controversy with narrowly hologichnym and sociological interpretation of it, E. Ilyenkov notes: Ideality in general is in the historically developed language fi In philosophy, the characteristics of speech-fixed (objectified, materialized, determined) images of social human culture, i.e. historically established ways of social human activity [12, 40] The methodological basis for the analysis of the category ideal in aesthetics can be Guvaty's argument E. Ilyenkov: The ideal form is the form of a thing, but outside this thing, namely - in a man, in the form of his active life, in the form of a goal and need Or, on the contrary, it is a form of active human life, but outside of a man, namely, in the form of a thing he created Ideality" in itself only and exists in the constant change of these d oh forms of his external incarnation , not coinciding with one of them, taken separately [12, p 76] This is a dialectical approach to the analysis of the problem of the ideal ;, do not zbіgayuchis ′ from each of them, taken okramo" [12, c . 76]. Tse dіalektichny pіdhіd to analіzu problems and idealnogo.

The problem of artistic creativity and cognitive and spiritually-formative essence of art is explored in Mazepa's work "Art Creativity as Cognition (1974) The author considers artistic art in the context of the theory of reflection and aesthetic specificity as a special type of relationship Differentiating aesthetic and artistic as identical concepts, the philosopher emphasizes that the task of artistic activity is introducing an esthete to the reality itself, forming it according to the laws of beauty [21, p. 21] This activity does not form a new type of knowledge, its purpose is to integrate cognitive and evaluation activities According to the peculiarities of artistic knowledge exist only within the framework of this integrated unity - beyond synthesis with estimated activity, artistic knowledge is no longer actually artistic Interconnection of aesthetic and artistic in traced in the differences of its content, mode of existence, its spiritually-forming capabilities, the dialectic of aesthetic and artistic author a level - the ability of objectification of creative skills, with benefits being the consequences of the formation, the scope of the spirit of self-expression in the aesthetic sense enshrined in Art fenomenannі, zakrіplenomu in hudozhnіh phenomena.

A special aspect of the aesthetic problematics is the study of the relationship of moral and aesthetic, morality and art. A thorough theoretical study of this problem was the monograph O Forts O in the dialectical unity of moral and aesthetic (1985) The author reveals the methodological significance of the activity approach to the study of moral and aesthetic, and also their interrelationship the concept of relationship I in its certainty is considered a necessary condition not only understanding the entire system moral activity , and the certainty of this system as an activity, because only through a moral attitude is a special way of asserting [32, p.9] The theory is a moral and aesthetic attitude, the study says, develops still irrespective of the activity, the essence of which expressed in the dialects of the night nature of their real unity. The author comes to an important conclusion about the connection between moral and aesthetic: The moral in its completion is aesthetic [32, 38] moral and aesthetic are revealed as Ways that are not alienated are the most complete and adequate manifestation of the essence of the human - humanity as a creative essence of a person. The aesthetic is a complete way of appropriating the social essence of a person in his trust by the method of appropriating the sustenance of people in її completed.

The aesthetic theory of the 60s – 80s of the 20th century developed during the Soviet period within the framework of the classical aesthetic paradigm, focused on the idea of ​​aesthetic perfection of the creative process, the creative essence of man, for which the formation of beauty laws and the need to live in its creation is an essential feature of man, a vivid manifestation of his humanity. The idealism of such an understanding testified itself not only to a discrepancy between the theory and practice of relations, but manifested itself in the hope of improving life on the paths of educational effects on the person by means of the artistically beautiful. In this aesthetic theory of the West, it is precisely during this period that a different paradigm is formed: the essence of art and its purpose is reflected in the aesthetics of postmodernism.