3 6 The Aesthetics of Aristotle

Creativity of Aristotle (384-322 BC) refers to the period of the late classics. He was a systematizer of knowledge of the era of antiquity in the field of natural science, humanitarian knowledge, logic, philosophy, ethics, aesthetics ki. Thus, in aesthetics Aristotle formulated a holistic concept of art and put aesthetic knowledge If we take the beginning of the aesthetics of the 5th century BC as a reference (the transition from practical experience to theoretical studies), then, according to V.Tarkarevich, the epoch opens the history of aesthetics, we can call the time of Aristotle, suggested instead more or less arbitrary theoretical studies harmonious on the scientific discipline [14, p. 130]. ​​The works of the scientist on aesthetics include: \ "About the poets \", \ "Homer's question \", \ "About the beautiful \", \ "About music \ ", \" Questions of poetics \ "They are known from ancient bibliographic d. Zherelo, although, unfortunately, there is only one preserved (and only partially) \" Poetics \ ". It is of great importance for the theory of aesthetics, since it is the oldest and most solid treatise on problems of aesthetics Ideas of aesthetics can also be exhausted in the writings of \ "Rhetoric \", \ "Politics \" Selected remarks understandings of the beautiful we trace in the works \ "Physics \", \ "Metaphysics \", treatises on ethics, in particular in \ "Nikomah's ethics \" and \ "Evdemova ethics \" Aristotle in aesthetic constructions used two basic foundations The theoretical source for him The ideas of Plato served: creative rethinking of the teacher’s ideas gave a new vision to a number of fundamental and aesthetic processes: the concept of the beautiful, the essence of art, its place in the spiritual experience \ “Material \” to formulate the ideas of the artistic and beautiful, the laws of the creation of art, The enchantment of sensual spheres of perception and experience became the art of the classical period (the tragedy of Aeschylus, Sophokus, Euripitus, the sculpture of Phidias and Polycleth, painting Polygnota spriimania and the experience became mystical classical perіod (tragedies Eskhila, Sophokla, Euripis, this scheme, this, this, this, this, this, this, this, this;

Like Plato, Aristotle seeks to philosophically \ "construct \" every thing as a certain individuality - to the world as a whole, he formulates the idea of ​​unity in "Metaphysics", based on the concept \ "measure \": \ "Being alone means - \" to be whole and indivisible \ ", and in the exact statement- \" to be the original degree for each type \ "[2, p. 254]. The case is a whole that is higher than each separate part and we are all parts. In the doctrine of a single laid the foundations of \" ontological aesthetics. Aristotle \ "[7, 194 - 195] The world in Aristotle stands aesthetic ki is a definite whole, the foundation of which being is beauty with high beauty; the philosopher considers Mind (Greek noys - mind, thought, spirit) - a certain eternal creative essence, the target cause of everything - \ "prime mover \", \ "god \" [2, с 332] This is an actual nous for which thinking and the conceivable coincide. Consequently, the activity of the mind is life, and the activity itself and its activity, what it is in itself is the active Mind and is the beautiful Mind appears to be a self-sufficient value and at the same time princes the mind values ​​for everything All existing beauty due to its involvement in Mind. Things appear as certainty, formality due to the unity of matter and idea - form, unity of internal media and the external side are orderly and expediently organized. Each thing is the unity of the four principles of its structure: ideas, matter, causes, goals The ideal and the material form the semantic content of the pre-goal and its sensually given being. Because of this, things appear to be the subject of aesthetic analysis. The human Nus Aristotle sees partial Potentially the human mind, thinking - not rational and intuitive divine - the highest value, the source of consciousness and self-consciousness and all creative forming umeniyove and іntuїtivne divine - Vishcha tsіnnіst, dzherelo svіdomostі th samosvіdomostі that vsіh CREATIVE-formuyuchih umіn.

Aristotle, in his views on the beautiful, understands him as pure being in himself and for himself (rationality, which provides for matter as a necessary condition for the birth and enjoyment of beauty in its integral sensory revelation)) With the concept of \ "beautiful \" the combined concept \ "good \", together forming a kalokagatia (unity of good and beautiful, ethical and aesthetic) It is interesting that the concept of the good is mainly associated with the external lives of goods — power, wealth, glory, and the beautiful — mainly with the internal qualities of people ovka (courage, justice) \ "A good and beautiful one for whom all good is good, and it does not spoil things like, for example, wealth, power, \" writes Aristotle [1, t 2, p 9] Pre-aristotelian tradition understood the relation between the beautiful and the good, vice versa: the beautiful was seen in the external manifestations of life, and the good was the inner quality of a person (moral virtues). Finally, in Aristotle's aesthetics they appear as a mutual transition of the beautiful and the good of the beautiful and the good.

On the basis of the idea of ​​rational orderliness and certainty of things of the natural world, the principle of being things that become reality through the discovery of the molding skills of the mind) creates the idea of ​​Aristotle about his realization as an imitation (mimesis) The philosopher, according to tradition, adopts the ancient concept of \ "\" applied to science, art and craft however, it is he who distinguishes their science and art from the craft, on the grounds that they are based on a conscious principle and method of construction, and the craft considers only the result imitations and habits The philosopher finds differences between science and art in that science deals with existence, and art - with becoming Art is a manifestation of potential being, \ "charged \" reality, although it is not as such Definition of art shows that for Aristotle it appears not as copying reality, but as embodied in images by its idea, which reveals being at the maximum of its possible expediency with its expressiveness expressed. "The poet’s task is not to talk about what happened about us Oh, and that could happen, ie about the possible or inevitable \ "[4, p. 54] The historian and the poet are different from each other, because \" the first talks about events that actually happened, and the second about what could happen \ "[4, p. 54] Art is not an existential reality, but an ideal. It acts as its ideal prototype, an expressive action-formation of an ideal, prototype, oppressive creature.

For the first time, it was precisely in the works of Aristotle that art was defined as a special kind of spiritual activity that has a self-valuable value. In \ "Metaphysics \" it is said: \ "Through art, those things arise, the form of which is in the soul to be in the soul."

[2, p. 121] In the "Nikomah ethic", the relationship in the art of the sensual (soul warehouse) and reasonable beginnings was analyzed: \ "There is no such art that would not participate in judgment and has such a soul mentality, which implies creativity, nor a similar composition that would not be art (as mastery), since art and the soul warehouse, involved in true judgment and such that it presupposes creativity, is, Ocevidno, the same Any art deals with appearance, and to be skillful means understand how some of the things come about Some may not be and whose beginning is in the creators, and not in the created \ "[3, p.176] Therefore, works of art may not be, because their reality is presented as conditioned by soul constitution, creative skills and judgment ability the quality of things and the principles of their construction The ability of the artist, capable of awn and the need to create appear to Aristotle the essence of the concept of \ "art \", ie The decisive are the spiritual qualities of the subject, on which the result depends - the aesthetic qualities of the work. If there are no innate abilities, no technical knowledge can help create art, although the philosopher pays due attention to the practical skills of the artist philosophical pride.

Aristotle belongs to the classification of types of art, different from the one proposed by the sophists, who divided the arts into useful ones and those that serve satisfaction. Following the view of nature as a reality is a unity of idea and matter, which finally emerge as phenomena of the beautiful, Aristotle introduces new bases for the classification of arts, namely: the relation of art to nature. The nature of a relationship is not aspirated (mimesis), and its features determine all the wealth of art [4, 39]. definition of excellence in imitation according to three signs: \ "what, what and how to follow in \" This is, firstly, about the formation of an image - colors, sounds, rhythms, and secondly - about the subject (idea) formation: display of forms natural world, feelings, characters, actions [4, p. 39]; Formation takes place by means of realizing the idea: rhythm, word, melody (epic, tragic poetry, comedy, dithyrambic poetry, kifarichna and flute music, etc.) These funds appear the cause of the existence of art, and at the same time its purpose: matter things exist for in order to point out her idea. The question of specific types of art and their peculiarities Aristotle developed only according to several types: tragedies, comedies, poetry, music. The fact is that at that time the species differentiation of the arts had not yet survived l, but the general concepts about some of them did not work out. For example, in the "imitative" Aristotle attributes epic and tragedy, comedy and dithyrambic poetry, musical works for the flute and qythar, each time listing them, because the general concepts "music" ", \" poetry \ "has not yet arisen," "poeziya" is no longer victorious.

Imitation, therefore, is not a copying of nature or human actions as such, but the creation of a symbolic image of specific human experiences — the symbolic language of art. Let us recall the ideas we cited about the essence of artistic formation: it is the creation of things that are in the soul, not outside, in nature as such. The artistic form is the result of the creative efforts of the artist: reason, feelings, imagination, skills. Simultaneously, this is a reflection of the universal — the essence of things in their self-existence to chnomnoe being, as it opens to the mind Hence Aristotle's great attention to the means of artistic formation for the creation of artistic integrity - works of art A striking evidence of such attention is the aesthetic analysis of the structure of the tragedy: fables, actions, characters of actors, the establishment of a connection between events, the impact of the tragedy Idomist and feelings of the audience and a number of other related problems. The definition of tragedy by Aristotle reflects its content, structure, means of creating imagery, The diversity of action and the aesthetic impact on the viewer: \ "Tragedy is the reproduction of the decorated language (and each part has its own decoration) important and completed action, has a certain amount, reproduction is not a story, but action, through compassion and fear helps purify such feelings \ "[4, p. 47]. A detailed analysis of the content of the tragedy confirms that it is the unity of \" matter \ "(structural elements that form it as an internal whole) and ideas (the actions of people form events, that is, life as movements the process of its creation appears in its likely-possible implementation. The logical nature of the existence of a work of art is determined by the internal logic and obudov (internal form). "For the beautiful — and the living being, and all things consisting of any parts — these parts were not only ordered, but also had a randomly taken value ", [4, p. 51], writes Aristotle in \" Poetics \ "It is this thought that vividly reflects the principle of constructing an expedient internally vital thing - works of art whose matter subordinated to the concept of expedient (\ "eidos \" or \ "image \") The criteria here are the objects of the real world taken as a model are determined by the degree, order of arrangement, balance of parts Actually, here the concept \ "imitation \" is revealed by its meaning: nature - This is a sample of expedient vitality. It arises as a consequence of the forming potencies of the Mind. By the same laws of expediency, the formation of \ "things \" - objectivity, including mysticism, should appear as \ "nature \", that is, have a form and essence (the last the purpose of the formation) [2, 112o I postayut yak "nature", tobto toil form i sutnіst (STOP - tse meta formuvannya) [2, p. 112].

Important in Aristotle's aesthetics is the problem of catharsis (purification) considered in connection with the theory of the tragic. This concept is not fully revealed by the philosopher, it is more likely to have remarks about the purpose of art criticism. Recall a fragment of the definition of tragedy already cited: "Tragedy is reproduction not by narration, but by action , through compassion and fear contributes to the purification of such feelings "[4, p. 47]. From their numerous considerations about this opinion, the explanation of O Losev, which rests I am on the general theory of Mind in Aristotle's metaphysics The author calls it nooologichnym (noys - mind and logos - science, concept word) According to Aristotle, all mental forces, \ "freeing themselves from the flow of becoming, in which they are only possible, turn into a kind of spiritual focus - to mind \ "[7, p. 199] Survive purification is possible without comprehending logical norms, but through deepening into events, their own logic, the logic of purification is connected with the logic of life: through experiencing it, it appears as a process of formation, an understanding of the whole process occurs And the indifference is It is not only an impulse to knowledge, but also opens the logic of the movement of feelings unfolding around the subject of indifference and gives reason \ "material \" for logical constructions. In the process of understanding, the discrepancy between the intentions of the heroes and the reality of their fate, caused by the hero’s activities, is therefore the basis of the tragedy of Aristotle he considers not characters (the subjective factor), but actions m and their course (plot) \ "The goal of the tragedy is the actions of people, not their properties of action and the plot - this is the goal of the tragedy, and the goal is the most important of everything \" [4, p 48 -49 ] Cleaning is associated with fear and suffering becomes a necessary moment of their completion. Due to the ability of empathy, a person rises to comprehend the tragedy of being, the knowledge of which the hero acquires in the process of "approbating" life - in activities, from where Riva lives as becoming through tragic contradictions. Tatarkiewicz also notes The \ "medical \" aspect of the concept of \ "cleansing \" in Aristotle [14, p. 144] Aristotle attributed poetry, music, dance, and tragedy to cathartic arts [14, p. 144]. To cathartic mystic Aristotel divided into a pozіyu, music, dance, tragedy.