ANTHROPOLOGICAL, SEMIOLOGICAL AND VISUAL TURNS AS AN INTERPRETANT OF THE CULTURAL GENESIS OF ART SYNTHESIS

Abstract

Relevance of the article. The article is devoted to defining the role of anthropological, semiological and visual turns in the system of interpretation of artistic syntheses as a phenomenon of cultural creativity. The anthropological turn in the philosophical reflection of the twentieth century is associated both with the change of the human image, ontological, phenomenological, mass media transformations of the reproduction of human integrity in culture, and with the emergence of philosophical anthropology. The semiological turn was marked by a boom in structuralist research, and the visual one by the emergence of a new visual metalanguage in the modern media space, in particular in advertising, design, and pop synthesis. The purpose of the article is to determine the cultural dimensions of philosophical reflection in the context of these turns. The modern media construct, like any moderators, mediators, modern protagonists who become intermediaries between "Me" and "You", makes it possible to say that culture is increasingly based on these intermediaries. The research methodology is determined by systematic and comparative approaches, which makes it possible to determine the integrity of cultural creation in the context of intercultural dialogue. As a protagonist in ancient Greece, mediocre communication becomes a mediator, it becomes necessary to mark any system of identification, to mark the manifestation of identity as a certain reflexive or areflexive, immanent or universal reality of communication, that is - everything we define as symbiosis, culturogenesis, synthesis, dialogue of cultures. Novelty of the article. S. Diaghilev's act as a phenomenon of seasons, synthesis of arts in the context of stage space is first of all a phenomenon of personal miracle, phenomenon of personality, human integrity, which arises in such unexpected opera enterprises, which are destructured, miraculously dancers. Conclusion. Dance as the most important choreic principle of cultural creation becomes the dominant principle of cultural creation of all artistic syntheses, which are carried out in the stage space at the beginning of the XXth century.