Aesthetic Phenomenon Research Articles

Unfinished Work as Aesthetic and Musical Phenomenon: about Interrelation of Genre, form and Technique of Composition

The relevance of the study is dictated by the interest of contemporary creators and researchers in various fields of science to the problem of unfinished works. The appearance of the latter is associated with the historical situation and philosophical and aesthetic ideas of the time, with the psychological characteristics of the Creator's personality and the peculiarities of his thinking, as well as with the originality of the individual design of the work. In musical art, a productive direction in substantiating the specifics of unfinished works is their consideration both through the “prism” of the philosophical and aesthetic ideas of the time, cultural and historical context surrounding the composer, and based on fundamental theoretical teachings.
 The aim of the research is to establish and substantiate the “zones” of action and mutual influence of categories that are important and system-forming for theoretical musicology — musical genre, musical form and composition technique within the boundaries of unfinished works.
 The scientific novelty of the research is reported by: 1) the definition of the artistic and aesthetic phenomenon of “incompleteness”, which is universal for works of art, formulated and proposed for the first time; 2) the classification of unfinished works presented in relation to musical art; 3) analytical observations of the process of interaction of genre, form and technique of composition in conditions of various degrees of manifestation of incompleteness of musical works.
 The research methodology is based on the works of various fields of scientific knowledge — philosophical and aesthetic research (U. Eco, J. Gartner, etc.), works on the history and theory of art (S. Stupin, E. Abramovskikh, etc.), research in the field of theoretical and historical musicology (Y. Kholopov, E. Ruchevskaya, M. Pereverzeva). The main research methods are the general scientific observation method and the comparative method, as well as various methods of analyzing a piece of music.
 The results of the study reflect the following conclusion. A progressive tendency is clearly visible from work to work, which in music belongs to the category of “unfinished”: from a ghostly “hint” expressed through the genre, through a meaningful idea “underlying” the form, to the assertion of the principles of an “open work” through total interdependence genre, form and technique of composition.
 The study is undoubtedly of practical value. It significantly supplements and expands knowledge about some new genres that are little studied in music (fragment, sketch, etc.) and their compositional originality.

Voyeristic Subject and Camp Phenomenon in Slovak Poetry (Michaj Habaj as a Modern Troubadour)

The contribution focuses on a specific form of masculinity in the poetry of Michal Habaj, a contemporary Slovak poet. The article describes the phenomenon camp in connection with experimental verses of this poet. Camp is represented by a way of looking at the world as an aesthetic phenomenon that is not based on beauty, but on stylization, as Susan Sontag presented it in her essay. The contribution focuses on a main feature of the stylization (artisticity and theatricality) and presents the consequences of stylizing a subject into a voyeur-oriented modern troubadour. It describes a phenomenon of game and irony in a work of Michal Habaj: a subversive game with the function of basic literary categories, a game with gender and a game with discourse, in connection with the transformation of the category of masculinity into poetry.

Modern Algorithmic Aesthetics and Mathematical Harmony Throughout History

The main objective of this review is to emphasizes the importance of mathematics and its role in aesthetic mental cognition and to encourage designers and contemporary artists to study pure mathematics seriously rather than dealing with pre-generated codes. By cultivating a philosophical attitude to so-called Algorithmic Aesthetics, the paper assumed that a new era of pure aesthetics could be begun. The article drew a solid connection between aesthetics and algorithmic design thinking based on mathematical approaches. Issues reviewed and discussed include the theoretical (quantitative) and applied (mathematical) theories that had been produced to explore the origin of aesthetics. This review attempts to emphasize the importance of mathematical sciences in understanding the beauty and perceive aesthetic phenomena. This connection drew on the precedents; Ceno-Pythagorean categories, Peircean universal categories, Birkhoff’s aesthetic measurement , Claude Shannon’s information theory, Moles’ communicative system, Bense’s information aesthetics, Siegfried Maser’s cybernetic model, and Stakhov’s mathematical harmony theory, which all contributed to reconceiving the concept of mathematical harmony in the aesthetic phenomenon. In line with these theories, algorithmic generative experiments were designed based on a naturally inspired algorithm, to present an example for a coherent mathematical structure that is required for creating any aesthetic phenomenon.

Aesthetic Eating

The aim of this paper is to sketch a framework for perceiving the act of consumption as an aesthetic phenomenon. I shall argue that, under some circumstances, it is possible to receive aesthetic satisfaction from the act of eating food, in which the object of one’s appreciation is, for the most part, considered separately from what is actually eaten. I propose to call such a process “aesthetic eating” and argue that due to its aesthetic autonomy it might be a potential factor in enjoying certain kinds of food. This phenomenon is apparent in the case of the types of food that are acquired tastes. It is plausible that distinguishing the aesthetic pleasures of food from the ones associated with the act of eating can not only enrich our aesthetic life but also deepen the aesthetics of our overall gustatory experience.

Aesthetic phenomenon of the reader in Givi Margevlashvili's prose (Who "is a reader")

The main characteristic of Georgian postmodernism has become metaprose or the principle of double coding - text within text, in which the effect is achieved in the form of linguistic games. When we talk about Georgian postmodernism, the greatest innovator is the famous German-speaking Georgian author Givi Margvelashvili. His work is a peculiar expression of postmodern aesthetics and deserves special attention, since his works have not been properly researched in terms of the deconstruction of classical texts.Givi Margvelashvili, in fact, lived under two dictatorships - fascism and communism. A family sacrificed to repression ... Spending the best years of life under pressure ... Constant persecution and harassment ... After all this, the writer's words that he is the protagonist of his book and has a flat in the book alone, intensifies the sense of the logic of fate.The subject of the Georgian postmodernist author's passion is the concept of the French philosopher Gilles Deleuze, according to which we do not draw dots, but draw lines. This means that literary characters are not even "buried" in their own texts, but they also run away from the texts. This phrase will probably be used as a starting point for Givi Margvelashvili's prose - Stop death in the texts! Considering the Kantian maxims, he is sincere with the reader and offers us the highest principle, the observance of which would be desirable of a universal nature. His prose is a text of the text, a metaphor, he calls himself an ontotext and believes that the characters in the book are determined by the same lyrical characters, they try their hand at the reader and can do nothing but what the author himself has determined. Margvelashvili becomes the savior of the book's characters, studies their existence and believes that people are defined by the text. The purpose of this paper is to show what kind of readers the audience of Margvelashvili's characters has, who the reader is in his understanding, what metaphorical attitudes the latter offers and what is the dichotomy of the relationship between the reader and the book characters.

Muslihabegim Miskin – XIX asr Buxoro adabiy muhitining iste’dodli zullisonayn shoirasi

In this article, relying on our religious views formed over the centuries, the talented author wrote about her poetic and prose works on theological-mystical, social-political, spiritual-educational, moral-educational topics in Uzbek and Tajik languages. The article discusses the works of the poetess Muslihabegim Miskin. Having such a brilliant poet in the literary environment of Bukhara in the XIXth century is a unique and literary aesthetic phenomenon. The life and work of the poetess were hardly studied by literary critics of the last century, as she was brought up on the basis of Islamic faith and engaged in art in this spirit. Muslihabegim wrote in lyrical genres such as ghazal, mustazad, muhammas, musaddas, mustasne, muashshar, rubai, saqiynoma, fard, as well as poetry and prose. The poetess’s three indistinguishable divans have reached us, and a comparative study reveals Muslihabegim Miskin’s poetic legacy of more than ten thousand verses. The article focuses on the history of the study of the poetess's life and work, analyzes her poems, highlights some aspects of her life and work, and identifies her as a talented poetess.

A. Tinyakov’s Poetry: from «Idyllic» to «Contrary»

The purpose of the article is to find out how the author’s attitude to such a genre as an idyll changes, how in A. Tinyakov’s work appears a new aesthetic phenomenon which is attractive and ugly at the same time. As a result, the study has found that there is the logic of the transition of naive texts to shocking anti-
 aesthetic poems. It is shown that the poems contain the key motifs for the alienation of I from its own past and the surrounding world. Nowadays A. Tinyakov’s poems are considered to be more truthful than cynical and defamatory: that is the way we wake up from the illusions. However, 
 it is important that Tinyakov was not alien to the tradition when he created texts of authentic idylls. In his lyrics we can see «the amplitude of oscillations» from idyll to its parody. 
 Despite A. Tinyakov’s differences with other poets, the article reveals intertextual connections with the lyrical statements of Mikhail Lermontov, Fyodor Tyutchev, Alexander Blok and Nikolai Zabolotsky. The research conducted on the basis of historical-genetic and comparative-historical approaches grounded in the concepts, methods, and results of mod-
 ern poetry, primarily ones of M. Gasparov and his school. In addition, we consider the scientific basis belonging to N.A. Bogomolov, the author of the only modern monographic research about the poet. The research results can be used in the research and teaching activities connected to the study devoted to the poetry formation and development in the 20th century.

The Dionysian and the Aesthetics of the Impossible: Contributions of the Young Nietzsche to the Modern Fantastic

The Dionysian and the Aesthetics of the Impossible: Contributions of the Young Nietzsche to the Modern Fantastic Patricia García “L’inexpliqué nous séduit, surtout l’inexplicable.” (Montorgueil 319)1 The Dionysian Vision of The Birth of Tragedy (1872) In 1872, Nietzsche released The Birth of Tragedy, his first published work on the philosophy of art. Much more than a simple aesthetic treatise, The Birth of Tragedy presented a critique of modern German culture and a reflection on the relationship between art and life, as well as an attempt to identify an antidote for what Nietzsche regarded as modern decadence. A central dimension of the book was Nietzsche’s perspective on the origin of the Greek tragedy, which argued for the importance of its reinterpretation in the context of modernity. The Birth of Tragedy (henceforth BT) raised many of the concerns that Nietzsche would later reformulate and refute but to which he would ultimately return. Nietzsche himself considered this work to be an early exploration of his philosophical intuitions, as he acknowledged in his prefatory essay “Attempt at a Self-Criticism” (henceforth “ASC”), which he published fourteen years after the original edition of The Birth of Tragedy. Among the key philosophical explorations was the concept of the Dionysian, which Nietzsche used to frame his attack on Christian morality, on the “hatred of the ‘world,’ a curse of affect, fear of beauty and sensuality, a world beyond, invented in order better to slander this world” (“ASC” 9). The Dionysian in The Birth of Tragedy later came to be regarded by critics as an early formulation of an anti-Christian attitude, challenging the morality that Nietzsche considered as contaminating Western culture through its refusal to celebrate [End Page 319] life as worth living in itself, rather than as a preparation for death. The harsh criticism that Nietzsche himself directed at his early work does not invalidate the value of many of the ideas he presented. One of the most innovative aspects of The Birth of Tragedy was its comparative method. The study of Greek Antiquity, specifically of Greek tragedy, was superimposed onto the philosopher’s contemporary period in order to develop a critique of the present. Nietzsche’s combination of metaphysics, cultural anthropology, and philosophy was met with resistance from his peers, and yet the transcendence and transgression of traditional boundaries between academic disciplines and methods that characterize The Birth of Tragedy renders this work a model of comparative literary thinking. In The Princeton Sourcebook in Comparative Literature, David Damrosch, Natalie Melas, and Mbongiseni Buthelezi refer to The Birth of Tragedy as “a major early example of comparative study as a mode of oppositional cultural criticism, blending linguistic, literary, and philosophical analysis to pose a stark challenge to the moral norms, and the intellectual protocols, of his day” (27). Following Nietzsche’s comparative spirit, this article offers an interpretation of the Dionysian as the foundation of fantastic literature, the latter understood here as an aesthetic phenomenon that emerged at the end of the eighteenth century as a critique of rationalist optimism. The main thesis of The Birth of Tragedy is apparent from the first sentence of this work. The opening passage contains some of the most important concepts, indebted to Schopenhauer, concepts to which Nietzsche, in an echo of the Wagnerian style of motif recurrence, later returns: We will have achieved much for the discipline of aesthetics when we have arrived not only at the logical insight but also at the immediate certainty of the view that the continuing development of arts is tied to the duality of the Apollonian and the Dionysian: just as procreation depends on the duality of the sexes, which are engaged in a continual struggle interrupted only by temporary periods of reconciliation. (BT 19; emphasis in original) A key thesis of this book concerns two fundamental and opposing impulses in the understanding of artistic practice: the Dionysian and Apollonian. As the work develops, it becomes clear that these antagonistic concepts define the essence not only of art but also that of the human being. The young Nietzsche understands art as a human metaphysical activity; the Dionysian and Apollonian are thus...

생존과 공존, 그리고 상상으로서 고대 문화의 미적 현상에 관한 연구 - 마음의 진화적 관점에서 -

스티븐 미슨은 인간의 여러 영역의 지능이 통합하면서 일어난 인식의 유동성으로 인류 문명의 탄생 과정을 밝히고 있다. 본 연구는 스티븐 미슨의 인식의 유동성 관점에서 인간의 보편적 심리에 의거, 고대 문화의 미적 현상을 분석하여 고도로 발달한 추상화 영역으로서의 예술이 자연사 지능, 사회적 지능, 기술지능의 결합 과정임을 밝히고자 한다. 연구의 범위로는 고대 문화 산물을 중심으로 미술적 해석의 여지가 있는 것을 대상으로 한다. 연구방법으로는 인식의 유동성 관점에서 문화 출현 범위를 범주화하고 그에 해당하는 문화 산물 사례를 선정, 추측되는 제작 의도와 예술성에 관한 일반적 인식을 알아보는 설문을 실행한다. 연구결과는 다음과 같다. 첫째, 문화 영역에서 나타난 ‘상징’이 인식의 유동성에 의한 결과로서 은유와 유추를 사용하는 추상화 사고임을 밝혔다. 둘째, 예술성 여부의 주요 개념어로 도출된 ‘시대성’은 예술이 단순한 심미성 이상의 사회적 시대의 의식을 담아내는 문화 영역으로서, 인식의 유동성에 따라 서사적 상상의 과정을 통해 비현실적, 비실용적 문화 예술이 출현하게 되는 예술 고유의 프로세스임을 확인하였다. 셋째, 인식의 유동성에 의해 자연사 지능, 사회적 지능, 기술지능이 각각 결합하여 인류 문화의 고유 영역을 만들어낸 심리기제로서 투사, 생존, 공존, 상상임을 밝혔다. 넷째, 예술 영역의 문화 산물은 인간에게 내재된 심미성을 기반으로 기능적인 것 이상의 감성가치 및 사회적, 상징적 가치가 개입된 예술적 결과물임을 확인하였다. 차후 본 연구의 결과가 미적 보편성을 이해하는 근거 자료로서 미술에 대한 이해의 확장과 함께 예술의 지향점과 가치 재고의 부표가 되기를 기대한다.

Aesthetic Self-Forgetfulness

Abstract Intense aesthetic experiences are often described in terms of self-forgetfulness, where the perceiver becomes immersed in the aesthetic phenomenon to the extent of losing consciousness of being the subject of the experience. Although such experiences have been described from the early eighteenth century onwards, there is still a surprising lack of detailed investigation on the precise nature of aesthetic self-forgetfulness. What happens in this experience, and precisely what is the ‘self’ that is forgotten? Building on phenomenological theories of self-consciousness, I argue that aesthetic self-forgetfulness cannot be understood as an absolute eradication of the self, as a pre-reflective self-consciousness stays intact even in deeply immersive aesthetic experiences. Thus, I argue that talk of self-forgetfulness is to some extent misleading, and the changes in the subject’s self-relation during aesthetic experience is better understood in terms of an altered sense of agency.

Эстетические представления и понятия индуистской традиции: особенности и аналогии

This article deals with the main ideas and basic concepts of Hindu aesthetics. The problem area reveals itself in the question of European culture’s perception of Hindu aesthetics. In this connection, the following questions are actualized: what can be considered as original aesthetic conceptions of Hinduism? is it possible to find direct analogies in other cultures? how relevant and correct is the conceptual apparatus describing various aesthetic phenomena? what is the role of the religious thought in the proposed aesthetic context? Proceeding from the historical and cultural position of aesthetic knowledge as it is presented in the European tradition, key approaches to the phenomenon of the aesthetic are shown, with the ideas of classical German philosophy – the cradle of aesthetic science (A. Baumgarten, I. Kant) – at the centre. The marked heterogeneity of aesthetic knowledge indicates its problematic status in the European historical-philosophical discourse and at the same time allows one to see, against its background, the harmonious place of aesthetics in Hindu culture. It mainly concerns the peculiarities of religious and worldview systems. Further, the paper studies the similarities and differences between the theoretical and ritual ideas and practices in Christianity and Hinduism. In particular, what they have in common is the importance of “threshold people” – liminal personae – in the spiritual life of society. Among the radical differences is the natural embedding of aesthetics in the religious system of India, while for European aesthetics, the religious world is just one of the spheres of the aesthetic. Using the method of comparative text analysis with reference to leading Russian orientalists and foreign researchers (V. Shokhin, D. Zilberman, E. Torchinov, R. Guénon, N. Gupta), the author takes a number of concepts as an example to demonstrate identity of religious and aesthetic ideas in Hindu and European cultures, as well as a possibility of mutual “cultural translation” of such basic concepts as aesthetics, the aesthetic, rasa and bhava.

КЛЮЧЕВЫЕ ОБРАЗЫ И МОТИВЫ ПОВЕСТИ В.Г. РАСПУТИНА «ДЕНЬГИ ДЛЯ МАРИИ» (филологический анализ)

The article presents a philological analysis of the story by V.G. Rasputin “Money for Maria”. The author sees the task of such an analysis in a harmonious combination of elements of literary and linguistic approaches. The subject of the research is a system of linguistic means of different levels, united around the dominant psychological characteristics of the main character – the state of anxiety and expectation. The motif of uncertainty is considered as the central in the story with a number of semantic associated oppositions: light – darkness, dream – reality, own – someone else’s, peace – anxiety, real – unreal. It is shown that the whole system of pictorial means of the story correlates with these oppositions. It is identified such key imagessymbols as wind, money, snow, etc. Elements of the “form” – the twists and turns of the plot, features of the composition, the lack of resolution of the event conflict, the entire system of linguistic expressive means – serve to express a borderline, a turning point in the fate of the main characters. The article considers syntactic, morphological, word-forming means associated with the hierarchical system “motive – semantic oppositions – key images-symbols”. The approach presented in the article contributes to the most accurate interpretation of the author’s artistic intention. The text of the story appears, on the one hand, as a complex aesthetic phenomenon, and on the other, as a specially organized system of linguistic means, subordinated to the author’s intention.

Multilingual style

ABSTRACT This essay uses the notion of multilingual style: stylistic games that emerge at the intersection of several languages and blur the distinctions between them, as an aesthetic and critical heuristic. Through a series of examples from some vastly different languages and geographies, we highlight this concept's usefulness to describing otherwise un-noted aesthetic phenomena that occur in a post-colonial, post-national, globalising literary and cultural sphere. We read texts that reject the native speaker as a linguistic and stylistic gold standard. We argue that to write as a multilingual stylist is to confront one's identity at its most creative, but also at its most vulnerable; it is to come up against the limits of national languages as sites of expression and creativity; it is also to come up against the limits of a human body as the site where different languages and cultures encounter each other, a site that such an encounter often demolishes both through the political violence that undergirds it and in the strain that it puts on our presuppositions of cultural self-knowledge and transparency to others. Finally, we ask what kind of audiences multilingual works presume and call for, and how we can be part of this audience as multilingual critics and readers.

Fashion as an Aesthetic Form of Life

Fashion is an aesthetic practice that concerns the ordinary sphere of our life: it is associated with everydayness and it is a source of endless aesthetic experiences. The purpose of this paper is to validate a new perspective on fashion based on Wittgenstein’s later aesthetic conception. In Philosophical Perspectives on Fashion (2017), Matteucci introduces the idea of combining the Wittgensteinian concept of “form of life” with fashion. In accordance with this thesis, the paper aims at showing how fashion is constituted as a “form of life”. Specifically, I shall argue that fashion is an “aesthetics form of life” which structurally employs a language of an aesthetic type ––one with a specific grammar (or set of rules) of its own. I claim that there is in fashion a contact point between the grammar of language and socially encoded aesthetic responses: fashion follows slavishly its own grammar, through its cyclical seasonality, while at the same time tending to creatively reinvent itself. Thus, anyone who daily commits to the practices of fashion acquires sensitivity to its rules, contributing to a social dialectic of identification/diversification typically belonging to fashion itself. Finally, on the basis of the claim that fashion is a “form of life”, and indeed since fashion is primarily an aesthetic practice, I claim that Wittgenstein’s aesthetic notions can coherently be related to fashion as well: concepts such as ‘aesthetic reaction’, ‘gesture’, and ‘correctness’ will be shown to be crucial to an analysis of the aesthetic phenomenon of fashion.

European Carnival: traditions and nowadays

The problems of functioning of carnival traditions in the countries of Western Europe are examined in the given article. The ancient holidays of Dionysius and Saturnalia are the genetic ancestors, these were the periods when golden age seemed to be approaching the earth – the kingdom of universal equality and freedom. The carnival became a mass folk holiday with street processions, games, and theatrical performances in masks in the Middle Ages due to the development of European self-governing cities and the formation of the bourgeois class. Carnival theory is a field of active scientific discussion. While criticizing the vulnerable aspects of the carnival concept of M. Bakhtin, a representative of the international scientific community, they recognize the priority of the component structure of the public square laughter culture revealed by him. Inversion is the main idea of carnival illustrates change of the age, gender, social status of the participants of the festive event. One might receive a comprehensive knowledge of the international fund of carnival forms while analyzing its national variants. Taking this into account, the researcher might reveal the genesis and historical transformation of the most popular European carnivals, which are regularly performed in such cities as Venice, Cologne, Bensch, London. The European Carnival is the antithesis of a totalitarian holiday, which is characterized by excessive seriousness, false pathos, a stereotypical set of ideological slogans and clichйs. The experience of organizing carnival entertainment is interesting as an example of democratic festive communication, a bright artistic and aesthetic phenomenon, an example of successful self-organization of local communities.

Art nouveau period: borders and concepts

The article offers an extensive overview of modern approaches to definition of art nouveau as a literary era and to establishing its chronological boundaries. There have been analyzed main variations of the self-definition of the era as well as researchers attempts to find an appropriate definition to this complex aesthetic phenomenon. The extended interpretation of art nouveau as a macroepoch is examined, the period dating back to the end of the 18th century and connected primarily with the artistic system of Romanticism. Based on the aesthetic manifestos of German Naturalism, the meaning of the literary situation in 1880th Germany is examined, where the widespread proclamations of the aesthetic revolution and modern attitudes coexisted with the adherence to the deterministic aesthetics of the previous decades. The leading trends in the culture of the fin de sicle are connected with the onset of the first stage of art nouveau in the art and literature of 1890-1900, soon to be replaced by avant-garde art at the turn of the second decade of the new century. Avant-garde, which associated itself with modernity, was mainly destroying already established art forms. This article suggests that the literary avant-garde as a project of the future manifests a utilitarian approach to the attitudes of the art nouveau on the brink of the new century, making art nouveau accessible for the audience and bringing the artist into the space of political interaction with the society.

Смыслообразующие функции пространственной координаты культуры в философской концепции М. Фуко

The article is devoted to the study of understanding the meaning-forming functions of culture, determined by its spatial characteristics in the philosophical work of Michel Foucault. He puts forward the thesis about the decisive role of space in social practice, the growth of complication of its organization from planar to three-dimensional, and opens up virtual spaces of cultural thinking. Space is understood not only geographically, but as the initial impulse and attribute of culture. The comparison method makes it possible to study the evolution of the thinker’s views from focusing on social aspects, through awareness of the problems of individual consciousness to understanding the deep dynamics of culture as a semiotic, ethical and aesthetic phenomenon. Striving for generalization, the author relies on such notions of M. Foucault as episteme, “spaces of disagreement”, and “heterotopic” spaces. The concept of “individuation of spatial vision” is introduced, and the principle of “multiplicity of spatial levels” is included in the scientific circulation. As a result of the analysis, a conclusion is made about the discovery of the cultural relativity of spatial meanings in the context of the historical comprehension of the topos, the dynamics of its points and the branching of spatial levels. This article is an attempt to reveal the mechanism of spatial displacements outlined by Foucault, which will become the basis for understanding the new possibilities of creativity in art and culture.

Особливості впровадження у загальноосвітніх закладах освітньої програми «Мистецтво»

The article substantiates the psychological and pedagogical features of the development of artistic and creative abilities of junior schoolchildren in Fine Arts. The authors write that the development of creative abilities depends on the learning conditions, the organization of the exercise process, the sequence of learned actions, the transition from simpler to more complex tasks, from slow to fast pace of their implementation. The main tasks of artistic and aesthetic development of junior schoolchildren by means of Fine arts today are: the development of personal integrity, spirituality and consistent formation of aesthetic culture; education of an active attitude to the aesthetic phenomena of reality and art; systematized the formation of skills of aesthetic perception and evaluation activities, stimulation and actualization of creative potential and improvement of practical knowledge, skills and abilities in the field of Fine arts; described the development of the desire for creative self-realization in various types of poly artistic activities.

Русский символизм Серебряного века: философская лирика как эстетическая проблема

The research objective is as follows: to identify specificity of philosophical lyrics as an aesthetic phenomenon in the Russian symbolist poetry of the Silver Age. The article clarifies the role of philosophical lyrics as a means to express existence, reveals its formal (poetical symbol) and meaningful (concept of two triads) aspects. Scientific originality of the paper lies in the fact that the researcher examines philosophical lyrics, a poorly investigated phenomenon of the Russian symbolist poetry. Contrary to previous studies focused on analysing the status of poetry in general, the article considers the status of philosophical lyrics in the Russian symbolism. The research findings are as follows: the author proves that philosophical lyrics most accurately describe the most complicated phenomena and conceptions, being a universal pattern through which human existential nature manifests itself.

Deep Integration of Chinese Modern Natural Painting Color and Film Ecological Art

The influence of beautiful color and composition on the film is very important. The colorful and hearty pictures not only make people have an amazing visual impact, but also enrich people's emotions. The perfect and full composition not only contains a lot of information and meaning, but also is the necessary means of plot and thinking. This paper focuses on the color and composition of the film screen. This paper analyzes and summarizes the representative typical elements to explore the beauty of the film screen. This paper puts forward that a good film should be good at using the color and composition of art to express the atmosphere and artistic conception of the film and convey the ideological connotation of the creator. This paper expounds that it is one of the inherent laws of film to interpret film with the beauty of picture. Whether it is gorgeous beauty, traditional beauty, true beauty or unsophisticated beauty, they are all different artistic expressions of beauty. The pursuit of materialization and transmission of beauty with film pictures is the essence of film art full of vitality. The experimental study shows that the viewpoint put forward in this paper is consistent with "art aesthetics takes the aesthetic phenomena, activities, laws and values in art as the research objects".