8 2 Aesthetics of classic realism

Analysis of the aesthetics of modernity is advisable to start with the aesthetics of classical realism, which is directly related to the entire previous classical tradition in the views on the nature and purpose of the mystitstva, its place in public life. The aesthetics of classical realism became in the 20s and 50s of the 19th century in Western and European countries. Eastern Europe, acquiring leading value in the indicated period and keeping it floating until the middle of the 20th century. At the same time, the aesthetics of irrationalism arose and began to establish itself. In the 1930s, aesthetics were founded. ism with a number of its otvetvleniyzhen.

The concept of "classical realism" appeared in the first half of the XIX century in terms of art and aesthetics, which used the best examples of aesthetics from previous eras and reached philosophical depths in understanding social life, personality psychology, the origins of human relations and the laws of their manifestation. Aesthetics of classical realism is not just a stage of maturity of realism, and the phenomenon of awareness of the aesthetic theory of law in public life, the relationship of the individual and society, the laws of human mental life In the XX in the direction fixed l concept critical realism However, the latter name narrows the aesthetic orientations of art, which unfolds the world of human life much more broadly than the negative principle allows. Classical aesthetics - the philosophy of artistic creativity, which analyzes the laws of life based on the social and human sciences The aesthetics of classical realism, in defining its principles in this way, notes its connections with the leading orientation of aesthetic theory throughout the entire period of its history. Following This ancient tradition, initiated by antiquity and developed in the Renaissance and Enlightenment, in German classical aesthetics, classical realism deepens the view of human nature and the importance of art in public life, the aesthetics of classical realism are deprived of educational illusions about the natural virtues of man and the possibility of purely educational means overcome social evil and improve public life; Classic realism deepens the concept of reality, considering its manifestations It is natural in social relations, not limited to an understanding of reality only as a physical relationship between people and chance collisions of characters. A huge achievement of direction is an interest in the inner world of a person, which leads to the psychologism of artistic creativity and the psychology of artistic creativity.

As an aesthetic trend, classical realism became and developed under the influence of the contradictions of social life. He focused on analyzing the laws of the relationship between the individual and society and the relationship of the individual with him in the conditions of destruction of the integrity of life. Scientific analysis of social relations combined in it with the requirement of artistic conviction of the image of the contradictions of life aesthetic theory and artistic practice of classical realism should be considered as conscious historicism So the role in determining the formulation of new aesthetic principles of the connection of art with reality belonged to the ideas of Kant and about people as the main subject of art, about art as a manifestation of creative freedom; The ideas of Hegel regarding the historicity of the artistic process and the natural character of the reflection of the formation of the spirit of humanity in the forms of the artistically beautiful. The idea of ​​F. Schiller about two types of artistry, which were defined in terms of real and perfect Estet ika classic realism uses the artistic practice of critical realism (second half of the XIX - the end of the XIX c.) Humanism is the dominant trend of aesthetics and ozhestvennoy practice direction that directly hudozhnoї practice.

The aesthetics of classical realism arose in two ways. First, its ideas were determined in the articles of artists, they formulated the basic principles of art based on their own experience of understanding the laws of artistic creativity, and secondly, in aesthetic theory, which was created under the influence of the ideas of revolutionary democracy and scientific socialism. to say that the outstanding artistic talents who, during the first time, embodied the national spirit of peoples and the spokesmen of his ideals, were representatives of the classical of realist realism Synthesis of philosophical reflection on being and artistic imagery embodies aesthetic and the language of art - characteristic features of the art of classical realism already in the period of formation of this trend, in particular for such well-known representatives of it, de Balzac (1799-1850), Stendhal (Henri Bey yl) (1783-1842) in France; H Dickens (1812–1870), B Taker (1811–1863), W Bronte (1818–1848) in England, A Pushkin (1799–1837), M Lermontov (1814–1861) in Ukraine) in Ukraine.

The concept of realism in relation to art and aesthetics, focused on man as the main subject of artistic knowledge, was formed in aesthetics throughout the 30s of the XIX century. Important was the heritage of German artists to her the words of the Book L. Winbarga Aesthetic travel (1834) which criticized the romantic school and the dedication of "Young Germany, not the old one", gave not only the name of the new group of artists- "Young Germanium", but also stimulated the search for new aesthetic approaches to artistic creativity with the support and real life. Important for the formation of the concept of realism and the formulation of its aesthetic principles in this and the period of the work of G. Buchner. He spoke out with criticism of idealization both among romantics and Schiller F, noting the importance of social perspective in art. An important achievement in the aesthetics of the new The philosophical and literary-critical work of Heine became direct, criticized the reactionary tendencies in the aesthetics of romanticism, and affirmed the fruitful ideas of this direction. To the deepening of the aesthetic principles, realism promoted activity of the left Hegelians The manifesto Protestantism and Romanticism was published in the magazine Yearbook of Halle (1839), which not only dissociated the new trend from romanticism, but also contained OSU's active tendentiousness of literature and service to its cause freedom and my Wimogu is actively involved in trends and references in the service and service.

The creation of the aesthetics of classical realism was facilitated by the work of representatives of French literature and art Gustave Courbet in the Preface to the Courbet 1855 exhibition catalog outlined the manifesto of creativity in the new direction, declaring the idea of ​​artistic freedom and the artist’s right to reflect the ideas of his age. , having fully studied the tradition, to get a meaningful and independent sense of my property individuality; To know in order to be able, - such was my thought. To be able to convey feelings. my ideas, the image of my epoch, according to my assessment, to be not only a painter, but also a person, that is, to create a living life - this is my goal [24, p. 245] G. Courbet aggravates the opinion expressed at a congress of Belgian artists 1861: The basis of realism is the negation of the ideal Romantic art, as well as the classical school, was art for art Today, according to the latest data of philosophy, even in art you need to think and not allow feeling to conquer logic [ 24, p. 245-246] We draw attention to the above statement and the words negation of the ideal This is not about the negation of the ideal as a way of being reality in art - being in the system of ideal artistic images The artist denies idealization as a principle of approach to the image of life The artist’s opinion is equally important for aesthetics of classical realism: Realism in essence, the art is democratic. "[24, p. 246] At the initial stages, classical realism combined the principles of in-depth understanding of the contradictions of social reality with romantic views of man ka and opportunities for improvement of vital life with romantic glances at the people that can live in harmony.

Of particular importance in understanding the aesthetic principles of classical realism was the work of Resistance de Balzac Preface to The Human Comedy (1842), which contains the aesthetic manifesto of the new art One of his original theses was the idea: Literature is a reflection of society Notifying society of his intention to create a holistic way of social life, Oh de Balzac is inspired by natural science research, revealing a holistic way of natural life. The writer stresses that in order to carry out his plan It was necessary to study the foundations or the general basis of these social phenomena, to grasp the hidden meaning of the huge accumulation of types, passions and events [13, p. 614] The writer also seeks to comprehend the principles of human nature and find what human societies removed or attached to the eternal law, to truth, to beauty [13, p. 615], the dialectical approach to the artistic process and its subject - society and man - a qualitative feature of the aesthetic direction in Oh de Balzac recognizes the inconsistency human and human relations, however, does not consider the situation fatal: I do not believe in the infinite improvement of human society, I believe in the improvement of the people themselves. The preface contains a number of specifically aesthetic ideas related to the artistic perfection of works of art and the criteria for its definition Qualitative difference This approach is that the artist seeks to investigate the natural in the life of mankind, whereas he previously depicted individual human types or specific aspects From time to time they were depicted by the people of a type or a concrete side of life.

No less important for the aesthetic theory were the thoughts of O. de Balzac on various types of literature (literary schools ). The critic divides their dependence on the relationship of image and idea, ideal and form. On this basis there are different types of artistic formation: literature ideas , literature of images and the school of synthesis of the named approaches are classical realism literature (true, in O de Balzac, this concept is absent, but inaccurate- literary eclecticism is adopted) In characterizing the positive features of these schools, Em due art ideas , i.e. the ability of artists to contain in the artistic formation and the general idea, which gives the product integrity in the literature of images is marked as a valuable poetry of artistic language. In the literature that synthesizes both approaches, both positive features of these types are [1 3, p. 623]. differences in understanding the essence of art critic introduces clarifying concepts: classics and romance The concept classic he connects with literature of ideas and whether it applies to artists of the past, but also his own creativity and some -to of contemporaries No less important for understanding the aesthetics of the classic realism of the writer's thoughts on the nature of creative genius, the concept of Ravda’s artistic art , the purpose of art in society and the role of the artist in public life, understanding of худож art truth ’, mistrend in this role Mitsya in suspension of life.

Fruitful aesthetic ideas are contained in the critical articles of La booth (Akri Beyl). These are studies on the history of music (The Life of Guyana, Mozart and Metastasis , 1815); the history of painting (History of painting in Italy, 18,817); polemical work against classicism (Racine and Shakespeare , 1823 - h 1; 1825 - h 2) Stendhal's aesthetic views were influenced by the aesthetics of the Enlightenment, determined the optimistic view on man in the belief in the infinity of its possibilities and the pursuit of happiness. The latter is considered the main motivation of human activity. He sees the purpose of art in empathy for heroes and heartily hear a person to strive for happiness. Aesthetic ideas based on Iterative-critical works, the writer has consistently embodied in the artistic work of vtіlyuv from the artist's creativity.

The aesthetic principles of the new direction in English literature and art criticism were argued by J. Reskin (1819-1900), M. Dickens, V Taker. The most important works of J. Reskin belong to Contemporary artists , Artistic fiction: beautiful and ugly , English art , Art and reality , Lectures on art and others. The principle of artistic realism is leading in its aesthetics. The idea of ​​the need to study art in combination with philosophy and sociology was important for chturology. and at once idodeystviya various types of art His writings advocated a view on the importance of x udozhny ideas in art, contains criticism of bourgeois society, based on purely material values ​​and hostile real beauty and spirituality of art. The critic differentiates the concepts of the language of art and from cities, or the idea of ​​the work to show the dependence of the latter on the intention, which inspired the artist Not the way of the image, but what is depicted, then in painting, or in the language determines, finally, the greatness of rector or poet [13, p 854-855] In the context of the present, the idea of ​​the importance of the artistic idea is actual, because in the absence of it in the work, the person gets great pleasure from contemplating the natural and said that the artist’s helpless efforts : Honestly, the pleasure that we get from art is somehow connected with the intellect [13, 856] That is, the critic sees the innist of art not only in the perfection of the artistic form, but also in the perfection of the content knowledge, requires intellectual efforts of the subject of perception. In the works of J. Reskin, interesting ideas were presented about the concept of "imitation" and his connection with the concept of "truth". He notes that the idea of ​​inheritance is a complex combination of truth ideas with ideas of beauty and aesthetic attitude. Opinions are voiced in our time regarding the connection between art and morality. The very possibility of the existence of art by a scientist is from the moral level, otherwise art cannot exist. Art penetrates the minds of those who are morally after that, he is already able to obey his influence [13, p. 867] The mental health of a critic is justifiably dependent on her ability to love the beauty of sensation as well as the health of her soul” [13, p. 867]. Psychic health of the people critic criticized listen uzalezhnyu vіd її zdatnostі love beauty.

The aesthetic ideas of Charles Dickens expressed in the pages of works of art, and program design received in the Preface to his novels The Adventures of Oliver Twist and The Life and Adventures of Nicholas Nickleby About their main motive - to show that the subject of artistic images have the right to not only elegant themes and high heroes. The truth of life, revealed by art, has to vividly show the true extent of poverty in, the miserable existence of representatives of the underworld Open the truth - means to try and make lko extremely important that can benefit society Writer's artistic truth vbacha there is a significant means of improving society and morality man zasіb udoskonalennya suspіlstva that moralnostі Lyudin.

A significant contribution to the development of aesthetics of classical realism was made by the Russian revolutionary-democratic aesthetics and the art of critical realism. The aesthetics of this trend were founded by the works of O Pushkin, M. Lermontov, M. Gogol, and in criticism by the works of Belinsky (1811-1848), Oh Herzen (1812-1870) ) continued in the works on the aesthetics of M. Chernyshevsky (1828-1889), critical articles by M. Dobrolyubov (1836-18 61), F. Dostoevsky (1821-1881), L. Tolstoy (1828-1910), A. Chekhov (1860-1904), V. The owl (1824-1906) and others. The character of the complete system Russian aesthetics XIX entered into the work 900 ), the aesthetic position of which is a synthesis of the ideas of aesthetics of classical realism and the irrational experiential dosvіdu.

Conscious democratic ideological position has become the initial principle of the aesthetics of Russian classical realism Vissarion Belinsky clearly distinguishes the so-called truth of fact and the essence of things and phenomena, I note Shuyuchi that in knowledge should proceed not from facts, but from ideas of the weekend in understanding the meaning of the artistic process he sees the principles of philosophy and the aesthetics of Hegel, in particular, the unfolding of an absolute idea in sensory forms of art [4, 1, p. 287]. The main task of art is seen by the critic in the reflection of the natural ого - оно возникает обще ценным благодаря гениальности художника, открывает его обществ в силу своей личности, силой таланта художник предоставляет реального образа своему времени, открывает сущностные основы его бытияо буття.

Образцом такого типа творчества В Белинский считает драматургию В Шекспира [4, т 1, с 335] Он подчеркивает важность философского осмысления закономерностей действительности (природной, социальной и лица истисного мира) и отражение его в искусстве адекватными художественными средствами Такое единство позволяет эстетической идеи получить реальную жизнь, предстать в виде идеала художественно прекрасного С позиций является щими глубинной идеи и художественно совершенного ее воплощения обретается критерий ценности искусства, в частности творчества гениев национальной культурультури.

В Белинскому принадлежит обоснование идей связи народного и национального в художественном творчестве, природы гениальности и детерминации творчества содержанием национальной жизни Критик открывает относительную д диалектику формы и содержания искусства: относительную независимость формы, поскольку она обусловлена ??уровнем таланта художника, то есть субъективной способностью, а содержание носит объективный характер Содержание дает поэту жизни его народа, следовательно, достоинство, глубина, объем и значение этого содержания зависит прямо и непосредственно не от самого поэта и не от его таланта, а от исторического значения жизни его народа (курсив авт - В М) [4, т С, с 44 т. З, с. 44.].

В Белинский дифференцировал уровне таланта учитывая возможностей таланта и гения влияния на общество Талант характеризуется как частность и исключительность, а гений - олицетворение духа нации Имя ген ния - миллион, потому что в груди своей он носит страдания, радости, надежды и стремления миллионов И вот в чем заключается всеобщность его идей и идеалов: они касаются всех, они всем нужны, во ни существуют не для избранных, не для той или иной слои, а для всего народа, а через него - и для всего человечества [4, т С, с 131] Среди актуальных проблем, постоянно прослеживаются в рассуждениях к ритика, - проблема влияния литературы и искусства на духовную жизнь нации, ее моральное здоровьевне життя нації, її моральне здоров'я.

В эстетической наследии Александра Герцена для украинской национальной культуры особое значение имеет анализ творчества М Гоголя Актуальный вопрос о принадлежности М Гоголя то к русским, то к у украинской культуры четко проясняет само исследование наследия известного писателя О Герценом Философ отмечает малороссийском происхождении писателя и с большим уважением к истории и культуре н ароду замечает укоренившийся в нем дух свободолюбия и уважения к собственной истории Именно этот дух вобрал выдающийся художник [7, с 134-135] Творчество писателя критик делит на два периода, качественно отличные по характеру Первый - серия действительно прекрасных картин, изображающих мораль, привычки и природу Малороссии, - картин, полных веселья, изящества, живости и любви [7, с 135] С переездом М Гого ля из Украины в среднюю Россию меняется тон его творчества: все в душе его становится темным, мрачным, враждебным Комедия Гоголя Ревизор , его роман Мертвые души - это страшная исповедь современной России, - отмечает критик [7, с 135] Открывается очевидное: М Гоголь - украинские: уродство российской самодержавной бюрократической машины он увидел именно потому, что смотрел на нее отстраненно, извнекратичної машини він побачив саме тому, що дивився на неї відсторонено, ззовні.

Выдающимся теоретиком эстетики классического реализма в России был Николай Чернышевский В Зеньковский определил эстетику М Чернышевского как эстетический гуманизм [11, с 140] В Соловьев, оценивая диссертацию ю М Чернышевского Эстетическое отношение искусства к действительности (1855), назвал ее первым шагом к положительной эстетике Философу импонировала угловая мнение труда М Чернышевского относительно ценности реа ной красоты, то есть подъем красоты реальности над красотой в искусстве Ссылаясь на эстетику Ж-Ж Руссо и Л Фейербаха, М ернышевский доказывает, что действительность выше искусство, она - источник красоты Х удожня красота отношению к действительности - только часть ее, причем производная Понятие красоты М Чернышевский формулирует вполне афористично: Прекрасное е жизни, Прекрасная и существо, в котором мы видим жизнь такой, я кем быть она по нашим понятиям [34, с 72] По мнению В Зеньковского, эстетика философа, благодаря идее примата реальной красоты над художественной, открывала новые перспективы для философской эстет ики Эстетический гуманизм М Чернышевс кого содержит идеи религиозного имманентизму, которые значительно повлияли на эстетические поиски художников и философов в XX в, а также приближаются определенными аспектами к эстетике В Соловьева и Ф Достоевского [11, с 140ься певними аспектами до естетики В. Соловйова та Ф. Достоєвського [11, с. 140].

эстетическими проблематике посвящены также работы философа Критический взгляд на современные эстетические понятия, Возвышенное и комическое и др. В них углубленно объясняется ряд понятий, изложенных в диссертации й, в частности понятие красоты: Проявление идеи в отдельной чувственной существу является прекрасной идеей предмета называется сущность его в том виде, в котором она оказывается в действительности; идеей предмет определяется в аренду енших подробностей, ведь без вполне определенных деталей не существует предмет в действительности Поэтому мир идей и, следовательно, мир прекрасного начинается только со сферы жизни [34, с 221] Эстетическая позиция М Чернишевськог в отношении примата красоты реального мира над художественной красотой открывала новые перспективы для философской эстетики Его эстетический гуманизм влиял на эстетику В Соловьевуманізм впливав на естетику В. Соловйова.

Владимир Соловьев - крупнейший представитель русской философской эстетики, творчество которого синтезирует достижения философского идеализма в европейской и русской философии, и идеи эстетического гуманизма М Чернышевского, в частности идею первичности естественной красоты Эстетическую наследство В Соловьева делят на два периода Первый (1877-1883) связан с трансцендентальной дедукцией категории п рекрасного и осмыслением проблемы символа (Философские начала цельного знания, Критика отвлеченных начал, Чтения о Богочеловечестве, Три речи в память Достоевского) Во второй период (1889-1 900) анализируется многообразие проявлений прекрасного в природе и в духовной сфере, прежде всего в искусстве (Красота в природе, Общий смысл искусства, Первый шаг к положительной эстетике, цикл статей п ро поэзию О Пушкина, Ф Тютчева, А Фета и др.позитивної естетики", цикл статей про поезію О. Пушкіна, Ф. Тютчева, А. Фета та ін.).

Исследователи творчества В Соловьева (Есть Трубецкой, В Зеньковский) отмечают, что эстетические взгляды философа практически не менялись на протяжении жизни Формулируя теорию целостного знания, В Соловьев считает его настоящей целью осуществления высших человеческих ценностей: истины, добра и красоты, то есть их настоящее претворения в жизнь Решая проблемы осуществления универсума знания и ценностей, В Соловьев зму шений прибегать к утопическим теоретических построений Основой духовного Преображения - теургии - философ считает красоту Красота природы, где царит упорядоченность, - начальное звено (здесь ощутимо влияние эстетики и М Чернышевского) Высший ее проявление - красота искусства, задача которого - не в повторении, а в продолжении художественной дела, начатого природой Искусство должно стать важным делом, а именно - глубокого ко и сильно влиять на реальный мир Характер влияния он видит в том, что эстетически прекрасное должно вести к реальному улучшению действительности [30, с 351] Художественное творчество В Соловьев рассматривает как мистический акт, ведь его цель - общение с высшим миром через внутреннюю творческую деятельность - теургия [30, с 152] Философ подчеркивает: В человеческой жизни художественная красота является лишь символом лучшей, минут на радуга на темном фоне нашего хаотического существования [30, с 352] Эстетика природы рассматривается как шаг к постижению философии искусств. Естетика природи розглядається як крок до осягнення філософії мистецтва.

Основным в эстетике В Соловьева является понятие осуществление познанной истины, на основе которого открывается смысл его эстетической теории, не испытывала никаких существенных изменений на протяжении всего периода творчос сти философа Познание истины достигается умом, но выполнимая истина означает воплощение всеобщего смысла мира Выражая мнение относительно красоты и ее места в духовной Преображении мира (теургическому а эстетика), философ замечает: Пусть сама красота неизменна; но объем и сила ее осуществления в виде прекрасной действительности имеет много степеней [ЗО, с 352-353в..." [ЗО, с. 352—353].

Задача духовного совершенствования и эстетической организации действительности В Соловьев возлагает на искусство, действие которого - внутреннее упорядочение сущего, средство объективации идеи всеединства Сущностью процесса является является реализация идей красоты Красота возникает основной категорией эстетики и шире - гносеологии В Соловьева Идея Преображения мира по законам красоты в эстетике В Соловьева выводится из двух основных постулат ей: во-первых - принципиальной целостности эстетического объекта, во-вторых - ценностной природы эстетического предмета есть, эстетический - это всегда внутренне целостный предмет и ценностный по сутиутністю.

In Solovyov's aesthetics, based on the idea of ​​holistic knowledge, an organic connection arises between the moral and the beautiful. In his gnoseology and aesthetics, the problem of a symbol is considered to be based on the concept of "idea." The latter is not only a formal unity of spirit, mind and soul. comprehended in the image of the real identity of matter and form, that is, of a living being, a person, a metaphysical one, the version of Plato's symbolic mythology acquires a deeply personal meaning in aesthetics. Solovyov It led to the formation of the aesthetics of Russian symbolism (Merezhkovsky, Bely, and others), Russian religious aesthetics (Berdyaev, Bulgakov and Podv, Bulgakov і under.).

In Ukraine, aesthetics as an independent scientific discipline was established thanks to the works of Ivan Kroneberg, a professor at Kharkov University (1788 - 1838). The following treatises are devoted to the history of aesthetics: Aphorism we , Historical view on aesthetics , Materials on the history of aesthetics etc. The work Historical view of aesthetics explores the history of the concept imitation and its dual understanding: the first is not Aristotle’s introduction and means imitation of nature , the second is connected with the aesthetics of imitation of patterns and characteristic of classicism And Kroneberg pays tribute to Mr. Lessing, who, by his polemical talent, destroys the art nouveau imitation of samples (classicism - V M), paving the way for the democratization of artistic creativity [28, pp. 229-385] The author distinguishes the theory of fine arts (t. e. art history) and e aunt y The latter covers all phenomena refined around the world Intelligence Materials on the history of aesthetics analyzes the history of the formation of aesthetic theory in Germany from O Baumgarten to F Schelling It does not only certify the author’s excellent knowledge of classical German aesthetics, a high professional level of presentation of the theory, but also the unity of the historical and theoretical analysis of the aesthetic problems of aesthetics, the high fajovy rivn of the viklad of theory, and the combination of the historical and theoretical analysis of the aesthetic ¯ issues.

The formation of the revolutionary-democratic principles of aesthetics in Ukraine is connected with the work of Taras Shevchenko. In the following decades they unfold in the works of I. Franko (1856-1916), Lesia Ukrainskaya (1871 1-1913) M. Kotsyubinsky and Nechui-Levitsky made certain groundwork in democratic aesthetics. and others. The important role belonged to the aesthetic ideas of professional philosophers, cultural studies, art historians: M Grot (1852-1899), D Ovsyaniko-Kulikovsky (1853-1920), O Potebnia (1833-1891), M Dragomanov (1841-1895) and i895 ) that ін.

The aesthetic ideas of T. Shevchenko were formed during the heyday of art natural school and critical realism in literature and art. Reflections on art are contained in the writer's literary works (Musician , Artist , Walking with pleasure and not without morality ), correspondence, as well as in the Journal ( Diary ) Circle of problems, the artist is interested in - the influence of art on social life and the education of the individual, the possibilities of individual types of art in the educational process, in particular the meaning satire to commit the development of customs, customs, questions of creative inspiration and its sources and under its original interpretation of the concept of freedom of artistic creativity : It seems to me that a free artist is just as limited by the surrounding nature as nature is limited by its eternal, unchanging laws And try This free creator on the hair to retreat from the eternal beauty of nature, he becomes an apostate assailant, a moral monster [35, p. 128] T. Shevchenko finds an objective criterion for the artistry of art: beauty and natural and serves a measure of aesthetic expediency of formative skills. Clearly distinguishing between artistic and creative process and mechanical following in nature, in the letter B. Zalessky, T. Shevchenko, opposes the artist-creator to the copyist of the Second he considers to be a misfortune and writes: "about takvi-cop. Putting another wіn vvazhє neblastiam і write: for yourself, "I am afraid and think" about taka.

An outstanding aesthetic theorist was Ivan Franko. His aesthetic legacy is still little studied. The genius writer, poet, philosopher, sociologist, art historian, folklorist (and this is only part of the scientific interests of the national genius) belongs to many works on the theory and history of literature, theater, music, folklore and Dr. Franko is the author of a theoretical treatise on aesthetics From the secrets of poetic creativity and (1898), he was responsible for the substantiation of aesthetics as an independent science and methodology of art criticism. he devoted to the development of the spiritual world of the individual and the means of the artistically beautiful, the study of the value of art as a special type of spiritual experience, the originality of the artistic language of art, the social function of art, etc. Particularly pronounced is the aesthetic of I. Franco's aesthetics - democratism. He defends ideology, realism and folk art. In the article "Internationalism and nationalism in modern literatures the important problem of the connection between internationalization and "nationalization" of every single Literature It is thanks to this connection that the national originality of individual literatures is more vividly manifested, its os poured signs And originality does not appear to be pursued by form, the ability of the artist to understand and artist expressively expressive forms to convey the generally valuable in the national experience so as to touch not only the compatriots from the point of view, but also the of the entire civilized world everyone will find in his works, although that would have an unusual and original-national form, the same feelings, doubts, suffering, sympathy and sympathy, constituting the essence of the soul of the modern educated person [33, pp. 34-35], the critic affirms the unity of the moral and aesthetic principles of artistic creativity, opposing ideologically directed skusstvo with severe moral position literary fashion and Franco proves the value of creative geniuses of national literatures, which are deeply and courageously analyzed the human soul and the human and social relations kotrі Glibin i fearlessly proanalіzuvali lyudsku soul that lyudskі suspіlnі vіdnosini.

A special place in the heritage of I. Franko and in Ukrainian aesthetic thought belongs to the work From the secrets of poetic creativity The critic controversies with idealistic dogmatic aesthetics , with her favorite food and abstraction, focused on finding dead definitions and canons, in favor of practically oriented aesthetics, calling it a "new inductive aesthetics". The subject of criticism of the scientist is subjectivity in aesthetics and years of criticism and objectivism, tends to absolutize the factual authenticity of the work outside his artistic and artistic qualities and Franco rejects the one-sidedness of the philosophical and rationalistic approach to the origins of artistic creativity, and the position of E. Garman, who absolutizes the phenomenon of the unconscious in artistic creation [33, p. 59] The ideas of G Fechner, Wundt and Messouard regarding two levels of consciousness: upper and lower (ideas that would later find development in J Jung’s studies in the theory of the collective unconscious ring in K. Jung’s doslendzheni in the theory of bezsv_domogo ").

From the standpoint of the psychological approach and Franco analyzes the work of T. Shevchenko, emphasizing the peculiarities of the artistic thinking of the national genius

Comprehending the concept of artistic beauty , he focuses not on the content of the image, but on the artistic persuasiveness of the image, i.e. Franco writes on the aesthetic essence of a work of art: It’s not what things, phenomena, ideas a poet or artist takes as material for his work, but how he uses and presents them, what impression he will cause with their help in our soul, in that one lies the secret of artistic beauty "[33, 118parsi" [33, p. 118].

The aesthetic views of Lesya Ukrainsky are set forth in literary and journalistic articles Two directions in the newest Italian literature , Utopia in fiction , The newest social drama and others, in the correspondence of the UNI writer, of poetic and prose creativity She maintains ideological and tendentious, democratic orientation of art. The same ideas are developed in art as an aesthetic program of art; the goal of his genius writer sees the assertion of human dignity, the struggle for freedom as a condition for obtaining dignity, the awareness of his belonging to a national whole as the basis for a man’s fulfillment of his purpose in life, ultimately arises with the creativity of life. a number of art-theoretical concepts These include, in particular, the concepts of nationality (article Little Russian writers in Bukovina ) [19, p. 74] In Two n Directions in the newest Italian literature the subject of aesthetic analysis is the notion of bias in Mr. Estvi [19, from a theoretical analysis ан Understanding" tendencies "in the Mätztvі [19, p. 32].

Defending the democratic ideal of art, Lesya Ukraina ironically refers to modernism, emphasizing the artificiality of his motto art for art , and considers it immoral to derogate from living in pure art She advises to wait with propaganda until when in life there will be no helpless cripples, ragged students [19], p. 122] An important refinement in aesthetic theory is the concept of “but the romanticistic style”, formulated in relation to those representatives of Polish literature who constantly “oppose uvstva reason for literary device similar to Russian realism Turgenevskaya of the sample, but the passion and exclusivity of those grand contours closer again to romanticism [19, p 125ami nablizhayutsya znovu still to Romanticism" [19, p. 125].

The concept of neo-romanticism was widely used by R Wagner in his work Opera and Drama , in particular, analyzing the works of J. Meyerbeer Lesya Ukrainskaya accepts it more widely, as a phenomenon encompassing the art of a certain historical period and contains opposing trends in art. , it is applied in the author's translation into the Ukrainian language, and therefore, introduced into the scientific everyday life of the national cultures of the national culture.

In the works of the geniuses of national culture T. Shevchenko, I. Franko, Lesia, Ukrainian aesthetic theory goes beyond purely theoretical constructions, being realized in artistic practice, and thus a source of the formation of aesthetic and moral convictions of the personality arises.

Aesthetics in Ukraine in the second half of XIX century developed within the framework of the positivist direction in the depths of philology. The outstanding representative of the philological science school of Kharkov University was the linguist Alexander Potebnya. The aesthetic views of the scientist are set out in the works Thought and Language (1862), From the notes on theory literature and C lectures on the theory of literature (both posthumously published by students) About Potebnia investigated the relationship of aesthetics and linguistics based on the problems of general linguistics, comparative historical grammar, theory of words and words and folklore. The main research approach of the scientist is psychological and epistemological. His research was fruitful for aesthetic theory, since it opened up the value of an aesthetic position for scientific research in specific areas of knowledge. In Potebni’s works, the connection between myth, language and art, features of artistic thinking, the specificity of art as a way of manifesting mental life. s ready-made thought, but to create it is - not a reflection of world view, the existing and shaping its activities [2, t 4, 510sya and formuyucha Yogo dіyalnіst" [2, t 4,.. 510].

The scientist reveals the way in which knowledge is produced and how it is objectified by the means of the word. Accordingly, the thought with its content is either an image or a concept; there is no third average between the first and second. P Considering the relationship between word, image and concept, O Potebnia remarks: The central feature of an image expressed by a word matters not by itself, but as a sign, a symbol of known content [2, p. 507] Jujuchi connected thinking and imagination, the originality of the structure of the word in poetic thinking, he talks about word like the way concentration of thought , the transfer of mental strength of man; in a poetic word, it identifies an external nude form (sound) and an internal (method that expresses meaning), as well as meaning. The concept of “idealization” in art and the specificity of the poetic image becomes the subject of reflection. In contrast to the idea of ​​“pure art”, O Potebynia proves that, as such, it is impossible Language is a product of the people, and therefore art is viewed as democratic in nature and spiritual in essence. In the works of the scientist, a linkage of science and art as two forms of thinking is revealed. Psycholinguistic studies The ideas of Potebnia continued in the late XIX - early XX centuries in the works of D. Ovsyaniko-Kulikovsky and Andrei BelyogoXIX - the cob of XX cent. in pratsyah D. Ovsyaniko-Kulikovskogo that Andrіya Bєlogo.