Topic 17 SOCIETY, ART, the spiritual world of the individual 17 1 The subject of aesthetic experience of art

Art is a type of spiritual activity, the highest purpose of which is the nourishment of the human spirit with perfect artistic images full of expressive inner vitality. Individual uniqueness of the universal content of experience is concentrated in art. It is an inexhaustible source of activation of the spiritual structures of the subject of perception to the intellectual experience of the ideal way of being. the work of artwork stimulates the mental structures of man centuries of an adequate response. Therefore, art produces a formative influence on its spiritual structures, attuning to harmonious interaction with the artistic perfection of artistic announcements.

The objective prerequisite for the effectiveness of this process, the transformation of opportunity into reality is related to two main factors: objective and subjective, which aesthetically arise a dialectical unity. A person entering life may not meet with real artistic treasures, and the world of beauty will remain alien to her and therefore, the living environment is an initial field, which sets value ideas: it turns away forever from true spiritual treasures, it forms a foundation What is the need to communicate with them? This is an objective prerequisite for creating the spiritual needs of the subject in an ideal. True, the situation is not fatal, since in every person there is often an unconscious need for a harmonious relationship with the world. As a result, a chance encounter with an artistically fine person is fraught with great spiritual growth and need to communicate with him.

However, the optimal is the situation of creating a systematic experience in communicating with the best works of world art, because it is only in this way that they are capable of influencing the senses, mind and rootedness in the world of a person to express themselves in the sphere of action of the will, ie to be sent for approval of beauty and harmony of relations with the world as an aesthetic measure of a specifically human vital.

The concept of consistency has two aspects. The first is the aesthetically artistic quality of works. It is because of their expressive vitality that they induce constant communication, give rise to the need for feelings, mind, imagination in such communication. The second aspect - there is a need in the world of the person to turn to artistic treasures to nourish the spirit, maintaining its harmonious vitality. The stability of the need forms the spiritual structures of the subject experiencing a relationship, imposing a measure on his self-expression in relations with the world.

Systematic communication with art forms the concept of aesthetic measure of relationships, allowing you to relate the ideal and real being to the human degree, helps you understand yourself through the world of heroes, their feelings and relationships with others, understand the causes of conflicts like those encountered in real life, sets up mental structures for the rejection of evil and the returnees Let's say, the world of \ "dead souls \" in the eponymous novel of the great M. Gogol is so expressive in its negativity, arises last measure, and traces - criterion of the negativity of the assessment of phenomena in the process of receiving them in reality; Expressive personification of avarice - Plushkin, dishonest enrichment - Chichikov, empty reverie - Manilov and under this way art helps to form a culture of attitude towards oneself and others, helps to eliminate contradictions and creates prerequisites for organization of relationships in real life according to \ "samples of due \" The mentioned aspects of the need to communicate with art have a purely \ "functional \" meaning and do not rise to the level of aesthetic x relationships, although some of their value can be noticed. The urgency of the problem lies in the fact that the real environment of relationships is not mainly to us to get rid of their aesthetic measure, therefore they cannot be a source of human spiritual life, and this is dangerous for society. Without having a criterion for aesthetically acceptable relationships People get used to putting up with a lambskin. Therefore, a person is condemned to spiritual and spiritual devastation or monotony of everyday life in which neither the mind nor the senses receive power sources. The consequence of this situation is A person’s spontaneity, has not developed her potential creative abilities, or, because she is dissatisfied with life, resorts to wasting his bad habits, distracting herself from bitter thoughts and dissatisfaction with life and herself. Consequently, the question remains: how to give life meaningful content and appropriateness to certainty, i.e. what corresponds to the concept of "aesthetic" of Arts contains a huge potential for organizing spiritual structures of a person for harmonious interaction with the world, since it reveals the laws of its aesthetic organization. Thanks to the integrity of the work as artistic reality, art introduces the subject to the fullness of the way of life his creations are consistent with the law in a dosage of his creation.

Above revealing the sustainability of the need to communicate with art is the need of the spirit to feed on the beauty of artistic forms, to be in creative interaction with the ideal world of spiritual treasures in order to maximize the spiritual experience of mankind. Active experience of the world of the artistically beautiful is a source of perfection of feelings that are defined as sensible feelings. You shouldn’t think what it means to start ignoring reality and living above the real world. On the contrary, due to expansion and improvement the perception of reality is changing for the spiritual experience. The latter does not arise self-sufficient, but opens up to our faces with contradictions, therefore, grounds are created for improving reality according to the ideal. Even if the ideal cannot be achieved, the person realizes the imperfection of the real world, to a degree, the spirit seeks to be realized in the formation of the desired as the vestigial.

The beauty of art is an important stimulating factor for human self-fulfillment in the forms of beauty Imagination, memory is organized by the beauty of a work of art, attached to the active experience of its expressive manifestations is about, the subject of perception in the active comprehending-experiencing and assessed creative activity increases spiritual experience with morality of interactions with the subject of perception - artistic product The effectiveness of the named process is determined by the level of previous experience of perceptions and ha actor to respond to the phenomenon of particular importance in the formation of the ability of the aesthetic experience and assessment activities are the treasures of classical Cape tetstva They concentrate aesthetic experience relations, events in convincing artistic forms That is why the classical artistic heritage - effective source of aesthetic perfection of the spiritual to the svidosvіdu.

The effectiveness of the process of aesthetic experience and its effectiveness has a prerequisite for a developed culture of perception, the ability to delve into the world of ideal entities, comprehend their inner life of tevist in the interaction of feelings and reason. For this, a person’s entry into the world of artistic treasures from childhood is essential for communication to become systemic. - the first Necessary component is the creation of the ability to live spiritually fully, absorbing all the richness of the expressive forms of the world in the ideal - artistically perfect way of his existence Only under the condition of spiritual structures at this level of communication, art can be defined as an internal necessity. It is significant that the aesthetic organization of the environment (creation of park ensembles, urban greening and e) was preceded by landscape painting, which constituted the aesthetic attitude of European society to the natural world. .

When an inner need to communicate with artistic treasures becomes established, the process acquires a personality-defined character and unfolds in the forms of the subject’s dialectical ascent to the highest levels of the ethical relationship. Here it is legitimate to single out the following stages: the accumulation of immediate impressions of the perceived, which are in emotional response to the course of events, relationships heroes, Nepod Ivan turns the plot of the work, and others. Their temporary deployment in literature, playwrights , theatrical art requires direct complicity of the subject of perception, which obeys the rhythm of events, the plot of these lines of work. The same temporal nature of the relationship takes place in the process of perception of musical, poetic works. However, this is the initial stage of the subject’s spiritual work, because emotional tension dominates non-perception. that does not allow you to distance yourself from the process in order to achieve the logic of the work as an artistic whole It is valuable as evidence of my ability to enter into a situation of "real life" as if living with their heroes live, rejoice and suffer with them. Therefore, emotional stress in dramatic moments of events is able to walk even to the state of affect, that is, uncontrollable by the mind. manifestations of, say, crying, exclamations toschachu, vigukіv toshcho.

The second stage is a kind of negation of the previous. Here, the mind arises as an organizing principle. He seeks to explain the nature of the emotional response, following the logic of unfolding the content of the work: the poor persuasiveness of the plot lines, the motivation of the actions of the characters and others. works This process requires the activation of memory, imagination, thinking to understand the correspondence of the interactions between the senses The content and content of the work, that is, not only the work as an artistic whole, but feelings also become the subject of reflection. At this stage, the induced effort of the intellect is aimed at explaining the logic of the creation of the work, the originality of its artistic fabric, etc. (after all, it is only under this condition that the work acquires inner vitality) Owing to the ability to comprehend the morning logic of the work, our judgments about it do not arise by something arbitrary. They claim objectivity to the extent that we are able to relate each element to the whole. However, this is only an intermediate stage. aesthetic attitude to the work, we would stop on it, then inevitably would be lowered to the level of one-sidedness, losing the vital fullness of being of the work and limiting it to a certain "frame" to rkasom ".

The third stage is defined as the stage of denial of a purely rational attitude to the work of the Highest, the final stage of the process of spiritual interaction of the subject with the work of art is the synthesis of the logical and sensual beginning in the sense of spiritual experience. This is the stage of unfolding the relationship in the form of denial-negation, at which denial carries the extra logization perception of the work in favor of the integrity and completeness of its comprehension by the mind and feelings. In this way harmony of the spiritual structures of the subject is acquired relations, the possibility of real immersion in the process of comprehending and reliving the relationship between u, in works as an artistic whole, Imagination, memory, thinking, harmoniously interacting, help \ "create \" work, build it as if from the perception of the perceiving subject again. and new facets, nuances of artistic wealth. Therefore, the work begins to live in the consciousness and feelings with its fullness, unfolding in all its inherent riches thanks to the coherence of mutually actions of reason and feelings, memory and representations, pamyat y uyav.

Note that the stages are highlighted with the aim to trace the complex structure of the process of creatively perceiving attitude to artistic values. In fact, a developed culture of aesthetic perception of the work has the character of constant creative interactions of the mind and feelings with active imagination, memory, perception organs, associative thinking, etc. life in the world of the person, the work is rooted in its spiritual structures and is defined as actively in the experience, because the memory is time from Meni revives the various nuances of the events, circumstances, thoughts heroes, their communication and for active communication with tv Oram, who are particularly lit mind and senses, sometimes maintained throughout the zhiznennottya.

The pattern of \ "entering \" into the world of artwork is important because it opens up tremendous opportunities for creativity, what is the sensible and sensual life of the spirit in the space of works of art. This way of deploying an aesthetic attitude is possible only in relation to the reality of a work of art. the work seems to have already been fully experienced and meaningful, with each further circulation we discover new nuances each time. They continue to become Everyone seems to have been in a situation where we proclaim the well-known poetic work mentally or aloud to once again plunge into the aura of the coherence of poetic sounds full of meaningful depth and melody, to revive the already experienced state of inspiration that is stored Our feelings also affect the spiritual current of the Kurtu music, providing them with internal integrity, coherence of interactions and (which is important and characteristic of a genuinely artistic work) teaching bringing feelings over everyday life, giving them the focus on "vertical or \". And only because of this they are able to envelop the world, which is harmonious unity of consciousness and harmony.

But the very need for further experiences of already perceived works encourages to visit theater performances and art museums again and again to communicate with your favorite works is art - an irreplaceable and similar code of the free organization of spiritual structures of a person into harmonious integrity. Thinking and feeling, getting used to interactions with perfection. , able to flare up these qualities and for purely artistic means, to organize themselves into the harmonious integrity of interactions during the perception Activities of any knowledge and implementation of any type of activity, after all, they already have an established culture of creative interactions and organizations.

So, the objective need for spiritual experience with art is, firstly, that through the world of art heroes and artistic perfection of works, a person is able to reach for self-comprehension and purposeful improvement of their own world with the content of artistic values.

Secondly, it can be a source of improvement of reality. A person who has a culture of aesthetic relations can improve life, raising it to a proper aesthetic level by the very fact of rejection of the limitations of everyday communication, non-compliance with the culture of relationships, etc. a person’s style does not just indicate disagreement with rudeness, but shows exactly how such relationships should be built. This law applies to all activities, attitudes towards the environment, the natural world, and others. Third, communication with art is the source of the harmonization of the spiritual structures of the subject, the formation of the aesthetic measure of attitude, is in itself a means of organizing relationships not only in relation to art, but also in relation to any sphere of vitality.

The importance of educating the need to communicate with art from early childhood, which has already been noted, is the first, but not the only condition for the formation of a culture of communication with artistic treasures. The second condition is the qualitative nature of art. Classical art is an inexhaustible source in which a deep artistic idea perfect artistic forms, creating the perfect beauty of the whole. The third component is the medium of communication with works of art. It helps to discover spiritual treasures. а общества и человечества, прививая культуру эстетического отношения к ним Это сложный процесс, и навыки его приобретаются продолжительными й традиции вдумчивого вхождения в мир художественных ценностей Четвертая составляющая - выработка методик создания опыта эстетического общения с искусством Так, сравнительный подход может основываться на а налезет классических (оперных, симфонических) произведений и эстрадной музыки для понимания своеобразия каждого из видов музыки Ассоциативный метод способен развертывать общее в темах, мотив х произведений Скажем, лирич на поэзия от эпохи А Дайте и Ф Петрарки до времен Леси Украинская, Б Пастернака, А Ах матовой и Л Костенко содержит много общих тем и мотивов, несмотря на различия образного языка, и свидетельствуют этим богатство возможностей создания образа предмета переживая отношение Пятая составляющая - углубление в творческий процесс вследствие овладения навыками образно-формирующей деятельности (рисование, музыку ния, стихосложения, лепка, резьба и т.п.) Овладение художественной «техникой» - важное условие для более глу окого понимания внутренней жизненности искусства конце концов, это путь к себе: выяснить собственную склонность ность к определенному виду художественного формирования Шестая составляющая - обращение к источникам истории искусства для постижения закономерности художественной жизни человечества как одного из наиболее значимых факторов формирования ку льтуры отношение к миру и к себе самому Седьмая составляющая создания опыта - обращение к литературно-критических и художественно-критических трудов выдающихся искусствоведов, беспри трастные, компетентные суждений ния которых выдержали испытание временем При совпадении нашего восприятия произведений с исторически сложившимся опытом отношением к художественным ценностям, мы получаем ощущение укорененности нашего духа в духовн м опыте человечествуху в духовному досвіді людства.

Отметим, что определенным объединяющим фактором для активной жизни художественными ценностями и необходимой составляющей формирования эстетического опыта является художественное формирования В опыте народа во все времена умение вы ишиваты, расписывать дом и писанки, вырезать, плести, вязать были неотъемлемой составляющей создания уютной жизни Таких умений приобретали все члены сообщества, причастны к упомянутому содержания опыта Это был своеобразный приданое, без которого молодые не начинали самостоятельную жизньття.

В дворянской среде неотъемлемыми элементами воспитания было, кроме знания основ наук, владение иностранными языками, правилами хорошего стиля поведения, формирования художественных умений - рисование, музикув ния, стихосложения и под случайно именно дворянская культура в Западной Европе и России создала богатые сокровища профессионального искусства Народное искусство, благодаря имеющейся в его среде художественности, актив но взаимодействовало с профессиональным Выходцы из народа - разночинная интеллигенция - развернули художественность в диалектическое единство народного и профессионального искусства, наполнив им среду человеческой жизненности О профессиональными искусство становилось также предметом интересов в среде народа Историки искусства сообщали, что в Украине и России в конце XIX - начале XX в, крестьяне, бывая в городе на ярмарке, отв идувалы передвижные художественные выставки Национальная интеллигенция распространяла знания, в том числе и художественные, в среде городского и сельского населенияселення.