Теоретична поетика Ігоря Стравинського як культурно-історична антропологія

Abstract

The purpose of the article is to determine the cultural and historical constant of the anthropological dimension of the artistic image in music based on the reconstruction of the anthropic dimension of the musical phenomenon of I. Stravinsky’s poetry. The research methodology is based on the principle of a systematic approach, which is an explicit and implicit poetics. The analytical method made it possible to find out the significance and place of the problem under study in the global culture, which is trying to generalize philosophical, aesthetic and ethical experiences. The structural method was applied to group and digest the factual material. The study is also based on the method of synthesizing musical space of the twentieth century. The scientific novelty of the study is to determine the cultural and historical constant of the anthropological dimension of the artistic image in music based on the reconstruction of the anthropic dimension of I. Stravinsky’s poetics. Conclusions. It is proved that the musical and anthropological horizon of the artist’s creativity is always equable to his poetic self-realization. Any poetics, especially theoretical, tries to generalize philosophical, aesthetic and ethical experiments and appeals to a person, his or her cultural and historical image, defining the person as the epicenter of poetic implication. Dance as an appeal to dance essence reflects the mobility of a person and not only repeats music, but also leads it to another world, which was an extremely important constant of creativity for Stravinsky. It was revealed that the composer’s world is hermetic, closed, and all the witnesses of his work are basically anonymous. The spectator finds oneself in a situation when a mask appears in front, behind which an outstanding artist is hiding. In this case, the situation becomes clearer if the composer’s musical anthropology is understood as meta anthropology. It is proved that I. Stravinsky is not a polyphonist; the composer revives the monodic deep impulse of vocals, which in the Christian world can be perceived as proto-music. The anthropological horizons of the artist’s poetics are considered as an anthropological limit in its self- determination by any art forms, particular, by music.