17 3 Art and Moral Education

The idea of ​​the connection of morality and art, the nature of their interaction - one of the cornerstone problems, draws attention to aesthetic theory. The history of its development. The importance of art for the spiritual improvement of man, in particular for moral education, was first realized by the ancient Greeks. Moral and artistic and aesthetic principles of vitality appeared so interconnected that the lack of artistic skills rozhalasya as evidence of immorality. So, according to Polybius, \ "bad fame kin The anthiv of one of its tribes, Arkad, who was considered to be deprived of good habits, is connected in public opinion with the fact that they didn’t know music \ "(italics autom - V M) [4, p. 341] Aristotle gives a rationale for the connection of morality and art on the basis of aesthetic analysis of tragedy and comedy, taking into account the peculiarities of the character of the hero, such as confrontation, the cathartic actions of art on man. In the Enlightenment, this problem becomes central to the aesthetics of J.- Rousseau, A. Shaftesbury, F. Schiller, G. Gogol. The art of realism, focused on the idea of ​​educational education. time orazhevaet a complex picture of human life, in which good and evil are in constant advocacy of space, the tragic conflict at the same time reveals the nobility of good and demonism of evil Extend the history of mankind in the contradictions of life, often tragic, it is art and aesthetic theory that assert the value of good, which opens with beauty in spiritual world and the actions of the heroes. Consequently, two directions of interaction between art and morality in the context of art as a special form of consciousness and a special t pa spiritual experience The first is an artistic reflection of the value of morality, the person unfolds in the actions of the heroes of art, their relationship with the world. The type of experience is called valuable especially in the epoch of spiritual stagnation, the decline of social habits, because it allows to retain the image of due in human loans. to life in the person of its bearers The second type of connection between morality and art is the spiritual-formative influence of the aesthetic experience of the artistic perfection of works of art. th spiritual structures subject to the moral and aesthetic attitude towards the subject is not indifferent to nebayduzhostі subject.

Aesthetic theory, based on the laws of the artistic life of art, convincingly proves the harmonizing effect of the artistically beautiful on the psychic structures of the personality. She sees the dependence of their connection in the unity (but not identity) of the ethical and aesthetic forms of social practice. Another thing is that for the developed psyche, in particular, in the early age, a social environment with non-moral orientations can build a steady rejection of beauty and goodness. Taking care of the future, the society must protect the younger generation disappointment in beauty, defenseless against evil or it will form the cynical or indifferent people, which in itself creates hopelessness obschestvstva.

The influence of art on the moral consciousness of man is widely approved by the theory and practice of aesthetic education. Aesthetic and pedagogical theory considers art to be an important source for the formation of moral personality illusions. This can be traced to the writings of Ushinsky, Sukhomlinsky, B. Yemeni, M. Kiyaschenko. Highly artistic works with sustainable communication with them are able to give birth immunity to the other and the arable land. Moreover, they can induce the perfection of reality according to the laws of the natural network Nogo.

The creative-forming ability of art is not in that it gives an image of perfect reality, but in that it opens the objective prerequisites for affirming beauty and humanity, shows that they are not ten outside of man, but are determined by the level of morality and creative skills of the subject of vitality Essentially, art is a specific way of creating an ideal reality that reflects the image and essence of a real world. In the way of being, this is an ideal reality, and in essence it is a natural manifestation of the level of perfection presentation of spiritual values, the image of which lives in the consciousness of society, objektivuyuschies in the work of his artists.

A vivid example of an artistically convincing manifestation of morality in its conditioning by the qualities of subjects of spiritual experience is folk tales. In them true good always triumphs over evil. However, the philosophy of a fairy tale is that the victory of good over evil is always a result of the efforts of a person (a fairy tale hero) who suffered from injustice. brother, deprived of heritage and doomed by fate to poverty and without rights, is not a situation in the family. A heightened sense of justice encourages the hero to actively compete with the fate of a fairy tale. They testify: in this competition, the hero moves only moral ways in life, and it is precisely because he suffered and hated evil. The path to justice is difficult, because evil and envious people oppose the hero in every way. In an effort to take away the good he has earned, they deprive him of life And only natural forces save the hero: they bring back to life, help to defeat evil, and not with cruelty, but with good People’s consciousness retains an image of good for all relationship problems. This image is the result (and process) of its creation, which means it is gleamed by the hero's soul, and the fairy kingdom and the princess, who becomes his wife, is only a reward of fate for human virtues. Culture, even if it is a perfect image of good, asserts its value for life. It defines the condition of normality of life, the idea and the image of which must be held in the mind and, if possible, embodied reality in reality.

The value of art for the spiritual health of mankind lies in the fact that the world, phenomena in artistic images, does not just arise by stating the existence of good and evil in it. Art unfolds their processes into fashion, which reveals the essence of the conflict - the unfolding of the real qualities of evil and good in it. from these realities (either concentrated in a separate person, or divorced into the world of several carriers) From where Riva is natural in the processes of creating experience of relationships When good wins in them, it is revealed that bla After winning his victory, the world is getting better, there are prospects for further improvement. Hegel analyzes the natural influence of art on reality, taking into account the reasons for its inner vitality, because it is real as inspired beauty. The philosopher remarks: \ "Returning to harmony with his true concept other forms of existence were distorted by random and external features, the art frees the phenomenon from features unsuitable to this true concept and creates an ideal with such a cleansing \ "[3, p. 164] To concretize thought, he resorts to a convincing example - a portrait image of a person. One thing, the philosopher notes, to convey the face of the person to the floor with external and external features, and a completely different thing - to portray his true features that express the soul of the person portrayed. persons here it is necessary to bring the external existence to the spiritual, that is, when the external one becomes as a spirit comparable to the way of its disclosure. Therefore, there is a complete coincidence of the internal and external elements of the work conclusion follows to keep in mind when it comes to the nature of the ideal in art with agliblennya in the ideal world of artistic beauty contributes to the self-organization of the senses, the imagination and the memory of the permanent content of the image of perfection in order to eat them, and strive to provide the real-life figure es tetichnih sovershenstvaestetichnoї doskonalostі.

The ability of an aesthetic attitude, formed in empathy to the heroes of art, is tested for its compliance with perfection in moral interactions with the world. Artistic treasures of world art or ishe then become an effective factor in creating spiritual experience when the depth of the content and perfection of the artistic form, passing through the spiritual experience of the individual, become formative the basis of consciousness.

The influence of art, no matter how paradoxical and sad it is to state, manifests itself most often in situations of contradiction, that is, in situations where the deforming effect of pseudo-art on spiritual structures of personality takes place. The effect of and for the aesthetic, it roots a person in the available and only real experience for her, without demanding any spiritual reasons, does not induce any doubts as to her value notions about the meaning of life. Thus enyaet limited experience as the only way istinnuyuy.

The qualitative distinction of artistically perfect art is in its ability to induce the consciousness of the subject of aesthetic experience on dialogue with itself. It unfolds as a dialogue with itself — existing in the name of itself — dos died, stimulated by the world of art heroes. Characterizing this feature of art, Nietzsche notes that artists impart to people Vision and hearing, they learn to hear and see that each one is \ "Til ki; they taught us to appreciate the hero hidden in each of ordinary people, and art –– as if from a distance and as it were, simplified and pro brightly contemplate yourself as a hero - the art of \ "stage yourself \" in front of us. Only in this way do we overcome some low details inherent to us \ "[6, p. 559] The ultimate goal of the dialogue with ourselves is consistent with the notion of catharsis value: -existing, in dogs, it goes deep into its \ "I \", trying to find the features of spiritual kinship with the hero and the path of spiritual ascent to a morally specific perfection of a person to morally determined people.

The real possibility of the educational impact of the beauty of art is due, firstly, to the structural organization of the human psyche: the mood for harmonious interaction with the world The conclusion of reality in the artistically perfect ways of its existence, characteristic of art, meets the human need to harmonize their relationship with this ideal world to create aesthetic certainty feelings thereby acquiring Livius contradicts the basic principles of the type of experience in which, on the conditions of non-contradiction ideality and reality interact. That's why art can be or not an effective source for creating spirituality of experience - its aesthetic certainty. Mankind has not developed a different type of experience, wherever it appears in its creation as a process and at the same time as its effectiveness: orientation of the spirit to harmonious (or disharmony ynu) - depending on the molding sources - interaction with mіtom.

Secondly, the educational impact of art is due to the aesthetic nature of artistic formation. The way to create the universality of the image of vitality - in the forms of perfection - is the source for creating the universality of content in the senses according to their individual originality. Sources of this ability are not in a particular work of art, but in its artistic the only real way to create and preserve the integrity of spiritual experience The origins of this universality are due, as rightly pointed out t To Jung, by the fact that each work of art deepens a person into the unconscious, evoking from the depths of the psyche the memory of \ "types, \" or \ "archetypes \" [8, p. 283] The fullness of perception is due to the ability to deepen into layers of meaning with the purpose of reading the characters \ "A work is a developed image in the broad sense of the word. This image is available for analysis to the extent that we are able to recognize the symbol \" in it, К Jung specifies [8, with 281 moles ”, є. Jung [ 8, s. 281].

Note that the symbolism of artistic imagery has a dual nature, respectively, affects the perception and experience of the work as a source of aesthetic and moral experience. The first type is the symbols that have been formed over the long development of artistry and reflect the features of the universal in the attitude of humanity to reality. fit into aesthetic forms of manifestation in holistic art tvs there, not symbols defined as specifically artistic phenomena, but rather the opposite: artistry was created as a way to enclose symbols in a system of images, so that their \ "coded \" content could unfold completely with its formative possibilities. Here the image takes on the meaning of spiritual reality, which imagination sees as capable of influencing physical, natural reality, controlling it, to ask him the logic of development and forms of manifestation of Sae such a semantic load is contained in the images of mythology and mythopoz - cultural phenomena that concentrate the experience of the collective unconscious ( Recall that according to F. Schelling, the origins of art is precisely in mythology. Essentially determined on the basis of the universality of content, and therefore the universality of the way of creating experience of feelings, the images-symbols are the formative principle of human feelings-their humanity. They concentrate the spiritual principle as "choral" ", the source of the creation of the public life Art in the history of its formation, fitting into the system of ceremonial actions, stood as a form of social activity, formed feelings in the public, emotional pro the phenomena of the subject acquired a morally specific character: his consciousness was organized by the universality of the content of social experience Nested in aesthetic forms of organization, and therefore, elevated above the commonness of life, he was behind the process of his \ "creation \" and in the forms in which he invested, appeared to be the unity of aesthetic and the moral principles of the spiritual spirit of the moral and the moral principles of the spirit.

The second type of symbolic figurativeness has developed in artistic creativity, reflecting the universal in the individualized way of its vitality. This is the "author's" art. It is also a symbolic nature, but uses the symbol as an established cultural form into a new type of spiritual experience, and therefore, renders symbolic images of the new way of vitality respect of this type of artistic formation, the architeptum, in it, the nature of the character acquires new horizons of vitality and at the same time deepens the consciousness to To comprehend his own depths, Jung, characterizing this type of imagery, remarks: \ "The creative process, as far as we are able to trace it, consists of the unconscious spiritualization of the archetype, of its deployment to the completion of a work of art. The artistic development of the prototype is in a certain sense its translation into as in modern times, after which everyone gets the opportunity, so to speak, to regain access to the deep sources of life, which otherwise would remain for him behind seven locks \ "[8, p 284] Analysis of two The types of artistic formation are important in the context of analyzing the connection between morality and art in that it reveals their natural character both at the level of the creation of morality by mankind and at the level of its assertion in the wholeness of the image of morality in peace.

So, within art one can distinguish at least two levels, or ways, of the functioning of artistic experience, which determine the nature of perception and experience of its phenomena. The first is the individuality of artistry, which reflects the universality of feeling, which means that it is not a reflective type of aesthetic experience. It is not designed the dialogue of experiences, and creates feelings of community as a definite agreement drives the whole, in fact, is directed not at knowing the qualities of the real world in the artistic way of their existence, but at self-realization I am in feelings, certainty of a symbol, in which the subject of being uncaught of being Jost fit. The spiritual structures of a person, since they are formed by this type of figurativeness, are organized, according to her logic, unconsciously for the subject during a meeting with her. This is the phenomenon of "unconscious mythology" or \ "collective unconscious \" This type of experience belongs folk epic, including skazodnyy epos, zokremma kazki.

The second type of imagery - the author's creativity, is associated with the individualization of the image of the world in the activities of artistic formation. The imagery of this type of art also contains a \ "prototype \", but such that it digs for the perception of a person as recognizable, because it reflects the reality, а затем в произведении концентрируется всеобщность содержания, символическая его сущность в индивидуальном художественно-образном способе бытия Авторское искусство создает настоящие основания дл п provide for

the dialogue of experiences: the past and the present, the individual and the universal, the artist and the subject experiencing the relationship Differentiation of the mentioned types of experience, concentrated in art, is important for the rose ability to connect morality and art, since it opens its natural character.