9 3 The symbolic and imaginative nature of the aesthetic

activity - any of its types (material-practical, cognitive, artistic, etc.) - has a symbolic-figurative nature. The concept of \ "symbol \" and \ "image \" developed in culture and were defined in aesthetic theory as ways of displaying and consolidating the wealth of meaningful layers of spiritual experience. Interest in a symbol as a way of providing universal content (ideas) in an image can be traced throughout the history of the formation of aesthetic experience. Recall that this concept was developed in Plato's aesthetics, Plotinus Neo-Platonists, in Christian theologians, in particular, Dionysius Areopagite Representatives of the philosophy of Romanticism, first of all, F. Schelling, comprehensively substantiated the concept of a symbol, in particular, an artistic symbol, viewing art as the most adequate way of self-expression of the Absolute. the change in the type of symbolism in connection with the change in the nature of the dialectical connections of the idea and image is argued in Hegel’s “aesthetics”. laughs in Cassirer's philosophical heritage, Freud's psychoanalysis 3 and analytic psychology. Jung The philosophical analysis of the problem of a symbol reveals its specific and universal property the symbolic nature of Thinking, the genesis of which is connected with the spiritual self-determination of humanity in the activity of world objectification. Let us recall that the Greek word symbolon means \ "sign, omen \". The symbol is characteristic of the wealth of the experience of spiritual and practical mastering of the world invested in it through the semantic stratifications of meaningful mastery through mislovі nasharuvannya values.

A symbol as an aesthetic concept is an image, but in a particular way of its existence: concentration of content, requires “decoding”, the ability to see spiritually related content behind external omens O Losev regards a symbol as a “generalized semantic power of an object, decomposing into an infinite series, comprehends and the whole infinity of private objects, the meaning of which he himself is "[15, 65] In other words, the symbol expressive manifestations of the vitality of the subject appears as a concentration of semantic stratifications of spiritual experience, it explains e specific subject specific subjects.

The symbol serves as a kind of code for concluding spiritual experience in certain forms determined by culture. In this sense, the nature of the symbol also stands for aesthetic. Aesthetic nature is not only the work of human hands, not only artistic formations, not only images of the natural world introduced into the spiritual experience of humanity. Scientific knowledge also a symbolic nature: it \ "creates \" the world, enclosing its manifestations in a system that has the authenticity of truth, comprehends the laws of being. In this case \ "the concept of true Things are their symbol \ "[15, with 27 symbols" [15, p. 27].

The grounds for individualization of a human image are acquired through the separation of individual knowledge, skills or possession of a "sacred" subjectness, which ensures a particular effectiveness of efforts. In myths, fairy tales, era, the hero is made (or he produces himself) tools, designed specifically for his strength, his hands are adapted. \ "Iliad \" Homer's weapon for Achilles is made by the god Hephaestus, taking care of her crush and convenience, that is, the unity of function and quality of function and strength.

A no less stable idea of ​​the symbolic (magical) property of objects to be wards of evil forces or to help a person gain victory over evil. In fairy tales, the hero often wins not only because of his own strength, but because of the properties of a sword or stick in his hand, by chance objectivity is given individual vitality (\ " soul \ ") in the form of symbolic definitions of its unique vitality (in the design, inlay, etc.) Let's say the belt - the symbol of the circle - is the subject guard, that in the culture of many nations symbolizes the protection life The origins of its symbolic properties are associated with the image of a solar suit. The same function is performed by ornaments in the form of a circle on the arms, neck, chest. This image is a symbol of protection from evil forces. Let us recall the magic circle that Thomas the philosopher outlined in M. Gogol's story “Evil forces couldn’t break through its borders until Thomas destroyed himself: looking up at Vija, he established a spiritual connection with the forces of evil links between the forces of evil.

Individualization of experience by means of symbolic imagery corresponds to the need to raise it over everyday life, form it into a holistic, expressive image of vitality and thereby acquire the experience of a caring person. Consequently, activity creates an image, and its content symbolizes in the images of carriers of knowledge and skills cumulative whole Note on the essential line that is characteristic of aesthetic consciousness: it reflects the uniqueness of individual vitality This it the image and at the same time represents a natural in the spiritual experience of mankind (the idea duhovnostiі).

In an individual image, the idea of ​​human creative forces and capabilities gleams to highlight the boundaries of valuable experience that requires its concentration. Therefore, the real bearer of the experience of the masses to be a hero - to symbolize the kind of skill. With his creative qualities, he draws up the content of experience, opens up his formative possibilities. the subject transitions from "mythological to metaphorical" [13, p. 311], i.e. from the aesthetic formation to its highest level - artistic imagery of art with its intrinsic richness of the cross. In the expressive figurative with life itself, the experience arises psychologically convincing and is experienced as personally desired. Thus, the personification of the universal in the sense of experience, taking into account its values, the idea of ​​God Adolescence he is inclined to a person, aesthetically experiencing his being: not to himself, ordinariness and profanity of this world, but experiencing its symbolic and figurative embodiment, its potential the power and infinity of its capabilities - the potency of its possible \ "other \" being This is where mythological ideas about \ "other world \" arise. This is a symbol of the opportunity to realize your own potencies in another, perfect \ "Being and \" This is a project of yourself-another being, where Paradise is an ideal environment for realizing oneself in an ideal image within an ideal space, that is, the prospect of fulfilling oneself in goodness, beauty, justice, rationality, etc. The more laid back on \ "later \", the more hope and faith existed e of \ "potomotіm" Tim bіlsha Nadiya is the Vira in іsnuvannya tsogo "potіm".