AESTHETIC CONTENT OF CATEGORIES "POETIC" – "PROSE"

Аннотация

Traditional studies of art that were built art history and aesthetic logic of the artistic process, presently complemented by consideration of the latter in the context of culture. Relevance of the study of art requires consideration the achievements of all complex human sciences. The purpose is to explore the category "poetic" – "prosaic" in their aesthetic function.. Results. For a long time the category of "poetic" – "prosaic" were identified with the sphere of literature and the tradition the methodological foundations of which was laid by ancient philosophy. For Aristotle, the status of art confered primarily poetic creativity instead prose established a much less expensive phenomenon. M. Bakhtin and H. Lukach, creating a philosophical theory of the novel, came from the fact that this literary genre is the center of the overall vision of the world and not the technical support discipline. Hungarian Marxist philosopher saw in the novel a possibility of an epic completeness, certain harmony between the individual and the individual public entity. For M. Bakhtin the same novel is the scope of an open, unfinished interpersonal dialogue, the prototype of which he saw in the work of F. Dostoyevskyi. Conclusion. It is given in the article the reorientation of aesthetics, humanities in the 19th – early 20th century with speculative positivist method to the study of culture. It gives the possibility to study art as a really existing integrity involved in the formation of any kind of culture. The representation of a new artistic reality provides: 1) the emancipation of novelistic form and on this basis the creation of the poetics as "Aesthetics of verbal creativity" with a strong priority of prosaic, everyday principles; 2) the practice of postmodernism, with its emphasis on "rhetorical moduses text" performed audit classical measurement term "poetics" with his usual binary positions "high" and "low"; 3) in addition, in the second half of the 20th century in the historical epistemology is gaining the principle of narrative form as a cognitive tool.