Lecture
The category the sublime characterizes the aesthetic value of large-scale, promising for the spiritual self-becoming of humanity and the phenomena of reality not fully assimilated by it. Exceeding the aesthetic measure characteristic of the beautiful, they unfold the relationship to an infinite perspective. Attitude to the sublime phenomena has a dual character. On the one hand, worship and reverence, on the other hand, fear of the disproportion of the joints of the subject of the relation and the possibility of its comprehension by the subject of perception by an Objective History This majestic is unusual, it is incommensurable with the possibilities of man manifestations of nature: stormy seas and oceans, high r ori, ocean depths, the infinity of the Universe In human life, the manifestations of the sublime associated with a high degree of morality of man’s attitude to others, the confusion of the moral foundations of life is, the sublime is the high concentration of the moral principle in the subject of activity, realized even at the cost of your own life Spiritually e beginning is affirmed in heroic activity and as a value, higher physical vitality Social processes aimed at the improvement of human life have a majestic character: overcoming its anti-human, dangerous for society manifestations. The broad sphere of the sublime has a special concentration in the subject of creative abilities characterized as genius. They are the identification of higher opportunities is unfolding in a qualitatively new achievements of humanity in the sphere of the era of science and art. Promotion on the way rogressa greatly owes geniuses that elevate the experience to a whole new level on yakіsno novі schablі.
Aesthetic theory quite late realized the phenomenon of the sublime and defined its essence and features of aesthetic experience. In a categorical sense, the sublime is accepted in the treatise "On the Sublime," whose author is called Pseudo-Longin (I in N). It talks about creating an elevated style. speeches, and the purpose of the latter is seen in the excitement of feelings of surprise and admiration. In fragments of raktaty that have survived to our time, there are practical guidelines for creating a magnificent style of speech and style of music.
European aesthetics began to develop the theory of the sublime only with Hugo. Interest in the sublime characteristic of classical German philosophy. Great attention was paid to the study of this concept by English empiricism (Hume, Shaftesbury, Hutcheson). Recall that the category of the sublime is central in the e Berke's treatise "Philosophical Studies on the origin of our ideas of the sublime and the beautiful \ "the main source of the sublime of the sublime, the author considers the nature of the spontaneity of its manifestations. He identifies two types of affects born in experience of sensory perception One type - the emotions caused by communication, the second type - the effects of conservation Exalted phenomena involve affects in the form of fear, horror, surprise and admiration \ "Everything that is somehow arranged in such a way that causes ideas of discontent and danger, all that, to some extent, is zhakhl ivim, or associated with objects that cause horror or similarity of horror, is the source of the sublime, "says E Burke [3, p. 72] Exalted in accordance with certain features of his perception by a philosopher, It is beautiful, whose objects create grounds for harmonious interaction of the subject of communication. The phenomena of the sublime, activating the affect of fear and dissatisfaction of feelings, completely fill them with themselves, so that consciousness is not able to freely turn around the qualities of an object to understand the state of their feelings. The philosopher is even inclined to believe that the ugly \ "the comparison is not with the idea of the sublime." The emphasis on the connection of the sublime with the negative effects caused a narrowing of the content of the sublime. Active opposition Adding beautiful and the sublime aims to reveal the specifics of the actual view of the sublime qualities of objects and features of their perception that subektom'єktіv Especially їh spriymannya sub'єktom.
Further development of the theory of the sublime contain treatises on aesthetics and Kant: \ "Observations on the sense of the beautiful and the sublime \" and \ "Criticism of the ability of judgment \" The first work shows the influence of ideas of E Burk on I Ka anta, in particular regarding the differences between the sense of the sublime and \ "The Sublime excites, \ the attractive attracts, \" writes And Kant relates to the qualitative characteristics of the phenomena that cause the differences in the beginning of uttes, he characterizes them with the help of the concepts that are in E Burk or those close to him. feelings of horror, surprise caused by unusual phenomena In the main work on aesthetics (critical period) and K ant significantly changes his views on the sublime. From the empirical criteria of the sublime he goes on to the a priori principles of the mind to analyze the structure of feelings. Considering the sublime in the system of others to understand, and Kant justifies a systematic approach to the categories of aesthetics He does not oppose the sublime and the beautiful, but brings them together on the basis of objectivity qualities (the ability to \ "like itself \"); support for the judgment of reflection (and not a sensual logical logical judgment); consistency of imagination and reason (or reason) in creating the concept [12, p. 1095] The differences between judgments about the beautiful and the sublime are that the beautiful in nature relates to the form of an object, while the sublime can also be found in a formless object, because or because of it) infinity seems to be and at the same time its integrity is consequently. The notion of the beautiful is connected with the mind, and the sublime with the mind. The relationship between them forms a categorical series of dialectical vyazey philosopher interprets this: enjoy great due to the perception of quality, and the sublime - with the idea of kolichestveennyam about yakіst and pіdnesenogo - Quantity of uyavlennyam about.
About aesthetic pleasure from the beautiful and the sublime, it is also significantly different. The beautiful is connected with the free play of the senses, and the sublime is with a serious load of the imagination, not only preying on the subject, but also repelling them the satisfaction from the sublime includes not only positive pleasure, but also reverence or respect. A philosopher describes such a synthesis of feelings as \ "negative normative pleasure \" He sees the value of powerful elemental manifestations of nature in the fact that its greatness and power in We are encouraged by the idea of the sublime. No less important is the following conclusion: we must look for the basis for beauty in nature outside of ourselves (in its subjects), and for the sublime- \ "only here, in the way we think that brings the sublime into nature (italics of the author - In M) \ "[12, from 1098 - V. M.)" [12, p. 1098].
Analysis of the sublime, according to Kant, requires dividing it into the \ "mathematical sublime \" and \ "dynamic sublime \" depending on the movements of the soul (the beautiful keeps it in a state of calm contemplation) If you lift Essen through imagination correlated with cognitive ability, it defined in the object as a mathematical sublime; if the ability to desire - as a dynamic sublime given the mood of imagination Mathematical sublime should be sought not in things and phenomena of nature, but exclusively in our ideas So, the definition of it is formulated as follows: \ "Exalted, compared to what everything else is small \" [12 , 1102] About the dynamic of the sublime, it directs us from the object to the spiritual world of the subject: the reflexive ability of judgment shines on the mood of the mind under the influence of a certain idea. Therefore, you can add to the definitions introduced such: \ "The sublime, one possibility of thinking about what already proves the ability of the soul, surpasses any scale of external feelings. \" The designation of the sublime as a state of the soul: a stat and above nature within us is our soul: a stature of nature and all of us.
In the world of human relations, the subject of the intellectually sublime is a moral law, the most striking and convincing manifestation of which is self-sacrifice. Thus, intellectual, that is, itself is morally but well-wise, in an aesthetic assessment it is associated not so much with the beautiful as with the raised, because it gives us a sense of respect. Because human nature is morally good only through impulses that the mind produces for the senses, it is sublime in nature and in ourselves there is the ability of the soul due to moral principles to rise above certain obstacles that sensuality entails. Mentioned aspect To raise hay room is relevant in the context of the tasks of forming an intellectual s personality bases Kant argues that in man the qualities of dignity, nobility associated with the dominance of the intellect over the purely sensory GOVERNMENTAL pobuzhdeniyamukami.
The aesthetics of F. Schiller (\ "On the Sublime \"), which was largely shaped by the influence of ideas and Kant, contain the definition of the sublime: \ "Sublime we call an object, on presentation of which our sensual nature feels its limitations, the rational nature our superiority, our freedom from all restrictions, thus, it is an object before which we are physically at a disadvantage, and morally, that is through the medium of ideas, we ascend to it \ "[24, from 171” [24, p. 171 ].
Agreeing with Kant’s ideas, in particular, about the connection between moral and sublime, F. Schiller departs from purely rationalistic moral foundations and emphasizes moral connections not only with rational knowledge and rational thinking. He sees the sphere of the sublime in \ "absolutely moral force \" of a person - in elevation of her spirit The aesthetic ability of a person is connected with the ability to "be excited by certain feelings by Grigoriev's objects and through the purification of human feelings to acquire the ability for the ideal take-off of the soul" [25, p 228] F. Schiller shows a huge heuristic potential of the sublime given his ability to transform the yuvat conflict of various sensory forces that reveal the truth about him to a person: \ "man is in the hands of necessity, but the will of man is in his own hands. We admire the terrible, because they want to want what n ehtyuyut our instincts, and reject what they want \ "[25, p. 231] In other words, the inconsistency and contradictions between mind and sensuality are aesthetic as a sublime condition that but because it suppresses the sensual as such, the Sublime philosopher connects with the idea of freedom that the mind receives from its own sphere. The ability to feel the sublime is seen as a manifestation of the independence of our thinking and will, as the ability to rise above the sensual limitation of one’s own nature and use the laws of "pure spirit і Posulsovuvatsya laws "pure spirit."
German romantics in the substantiation of the aesthetic principles of artistic creativity based on the idea of the sublime Novalis (F. Hardenberg), considering poetry as \ "transforming external things to thoughts, \" writes: \ "Because I attach the following to the highest sense, the usual - in the third, the known - the value of the unknown, the final - the appearance of the infinite, - I romanticize him \ "[10, I 66 years old" [10, p. 66].
In \ "aesthetics \" In Hegel, the sublime is characterized by its objective qualities as majestic, expressed in art by means of symbolic artistic speech. It corresponds to the worldview of peoples and associates with their beliefs F. Nietzsche (\ "Birth of Tragedy \") defines the sublime as \ " artistic overcoming of the terrible; artistic underdog of the wandering. "
The sublime is the most adequate, aesthetic way of realizing the essence of the human spirit in the symbolically imaginative tissue of culture. The semantic function of the sublime is a reflection of the rationality of human nature in cultural phenomena that personify its superiority over naturalness as such (physical nature) by creating symbols of the elevation of the human world (spiritual) a) vitality. The spirit consolidates its elevation in ideal forms, where it unfolds freely with the fullness of its ideas about the world. Denmark, human relations, relationships with the natural world, etc. The symbolic-sign system (artistic language of art: architecture of the tour, sculpture, painting, music, poetry) form an elevated ideal space, which appears as an organizing force of consciousness as integrity.
The way of existence (virikremlenist of direct practical needs) art forms show their value as the most suitable for the free development of the spirit vertically and horizontally a stack of wearing - its height above the ordinary and transient It is significant that already in archaic cultures a picture of the world is formed, where the hierarchy of structures appears in the form of an opposition series \ "Cosmos-Chaos \", where Cos os means ordering, that is, the height above Chaos But such opposition does not eliminate the other Cosmos is divided into two worlds: the human world (profane) and the world above (sacral). The world exalted by hell (the first ancestor, heroes, gods) acts as an ideal model, setting all dimensions to the real world. However, the opposition of the sublime and the profane is not absolute, since in this case all the structuring is lost, therefore, \ "the kingdom of heaven \" the opposition \ "the earthly kingdom \" For the former to control the second needed points of their contact, the place where \ "the sky meets the earth \", and objects states and states and at the same time belong to both worlds (tree, mountain) They create \ "liturgical space \" - an analogue of \ "heavenly country \". A ritual act and ritual time unfolds in it. Participants of the action crime ayut the opposition of earthly and heavenly, acquiring knowledge standards and samples stored in sacred space On the ground, \ "mediators \" objects are created - correspondences reflecting the model of Cosmos (sanctuaries, temples), demolished in space close to the sacral (Gora Cosmos (sanctuaries, temples), esseni in the expanse, close to the sacral (Mountain).
Formation of the city as a cultural form - its elevation above the space outside it and placing \ "in the center of the world \" - is creating an image of the elevation of culture (organization) above the natural space (Cosmos and Chaos). The city - the model of Cosmos - outlines the boundaries of worlds and organizes orderliness of the spirit, raising it to the vertical, to the highest levels [8, 91]. An illustrative example of the symbolic-sign nature of the image of the cross that is the symbol of the destruction of the harmonious equilibrium of the world. The fact that a person does not position himself in the center of the world, but is directed at the top of the Inu - up to the sky. The horizontal edge becomes propped up. The difficulties of climbing vertically make the cross a symbol of suffering by the symbol of citizens.
Kant attributes enthusiasm to modifications of the category of the sublime, defining it as the idea of the good, combined with affect: aesthetically enthusiastic, since it is a strain of forces through the idea of M Modification of the sublime (as well as the beautiful and the tragic) is a heroic category As we have noticed, the transition from the beautiful to the sublime provides for a sublime character, due to the moral visas for the apprentice idea, personifies the universality, scale, which exceeds the measure (the idea of beauty) and the direction Deployment relations to a new quality of the heroic is a category that creates a foundation for a I go from the sublime to the tragic: the impossibility of realization of the moral idea in full results in the tragedy of the individual - subject of activity aesthetic experience of the tragedy of the hero - katarsyarsis.
So, the sublime is a category that personifies the creative nature of man as its essential certainty. In an aesthetically elevated spirit, his creative essence is objectified in a symbolic, semantic and symbolically symbolic way.
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Aesthetics
Terms: Aesthetics